 the term appropriation because they serve a very specific function in the exhibition of the three series by emphasizing the relation of the images. The exhibition was organized to orient the viewer in a fluid reading of the images much the same as the cinematic experience. There is a strong concept based on reading one image after the other or reading a cluster of images because we organized several groupings, image blocks and polyptychs to create analogies that resulted in a dynamic in each cluster moving from wall to wall, room to room. The paintings underline this orientation. Ever since I started in photography, I have been interested in the relation of painting and photography, specially the way we visualize painting and photography in space—a great deal of my work is based on this assumption. The fact the paintings are next to the photos emphasizes this premise.
A technical curiosity, what camera do you carry with you?
I have been using the same camera for over twenty-years, a 35mm Leica with only one lens. I don’t like changing equipment, I try to make photographing the most simple and economical I possibly can. I use the same film, the same lens. I don’t use a tripod and no special lighting. Nothing in my photos is manipulated; I like the natural rawness of photography. I don’t develop my own films anymore but I follow the whole analog process of printing, nothing escapes me. This is a significant part in analog photography. I participate in every single decision from the framing of each photo to the hang of each picture. In analog photography the process is vital. All the details are fundamental. “Album,” for example, shows a stretch of time of over twenty years, starting before the advent of digital photography in the beginning of my practice as a photographer till now. If I had updated my equipment the work would have lost its strength since the structural unity is crucial for the linear reading of the images in time. Contrary to digital photography, what seduces me so in analog photography is not its immediateness but the deceleration of time and the physicality of the process: having to send the film to the lab, sliding over the contact sheet with a loupe analyzing image by image to begin the edition process. It all has to do with the development of a physical archive in constant transformation.
Who or what contributed to your formative years in the arts?
It happened in the mid 1980s thanks to my visits to the MASP museum when I moved from my native town in the state of São Paulo and lived nearby Paulista Avenue. It was there I had my first contact with the visual arts and immediately fell in love with painting. I don’t have any master or specific artist who inspired or influenced me instead it is my group of friends and artists who influence and inspire me. Lately I have been going through the works of iconic photographers such as Garry Winogrand, Diane Arbus, Peter Hujar and Luigi Ghirri, for example.
After this exhibition is over what are your plans? Are there plans to show “Album” in another institution?
Since its production was a lot of work in the last three years I want some time off and I must dedicate some time to reorganize my photo archive and my studio. Unfortunately we do not have plans to itinerate for now but we plan to offer it to other institutions but nothing concrete as yet.
What do you have to say for a beginner in the art of photography?
I find it hard to give away advice however I would tell a beginning photographer to shoot as many pictures possible of his family, friends, daily life, trips, lovers, frustrations, his town… Everything changes with time and registering the past is precious. The ability to freeze time and have it on paper or, as today goes, in the monitor of the computer or the cell phone is one of the things that makes photography a remarkable art.
Before the closing question, a curiosity. In 2009, you photographed Obama’s inauguration in Washington D.C., which was in your exhibition “Mirante” on show in Madrid, the same year, also curated by Rodrigo Moura. What about Trump’s inauguration?
I only photograph what moves me and arouses my curiosity. This has driven me to capture the inaugurations of Lula and Obama, the wakes of Fidel in Havana and Oscar Niemeyer in Brasilia, the protests against the coup in Brazil in 2016, the transformations of the city of São Paulo, the Maré favela complex in Rio, as well as architecture, ruins, my family, friends, trips. I have no interest whatsoever in Donald Trump’s inauguration and for that matter the inauguration of Michel Temer last year in Brazil.
Last question, do you always carry your camera twenty-four-seven?
"The photographer should exercise his voyeurism in everything, everywhere": A Preview of SP-Arte/Foto and Interview with… Positioning Brazil as a serious contender on the international stage of contemporary photography, the eleventh edition of SP-Arte/Foto runs Thursday through Sunday with thirty-two local galleries.
Now that fibre deployment has become common, and splicing has moved from the OSP into the data centre environment and enterprise. When it comes to fusion splicing, it uses localised heat to melt and fuse together the ends of the two optical fibres. This preparation process includes taking out protective coating from the fibre, inspection of fibre-end faces and cleaving.
While fusion splicing is available for many decades, it is a trusted method for permanent fusing. When it comes to two optical fibres, they require to be of a particular length and to repair a broken fibre link. In order to do fusion splicing, you would require Fusion Splicer, which is a fibre optic splicing machine.
How does Fusion Splicer work?
Fusion splicers work when joining two optical fibres from one end to the other end with the use of heat. Both the fibres should be fused so that the light passing through the fibres is not disrupted but reflects from the splice. Thus, the splice and the area around it that are strong because of virgin fibre. The fusion splicer apparatus has two fixtures in which the fibres are mounted with two electrodes. With the help of an inspection microscope, it will review the placement of the prepared fibre ends that go into the fusion-splicing setup. These fibres are then put into the apparatus, straightened and then fused.
First, fusion splicing will use nichrome wire which is the heating unit required to fuse or melt the fibres together. With the new fusion splicing techniques, it has switched the nichrome wire with a fractional Co2 laser, electric arcs or gas flames that heat the fibre ends, and this makes them fuse together. The small fusion splice, in addition to the creation of automated fusion-splicing machines, will make an electric arc fusion.
Mechanical Splicing vs Fusion Splicing
As you know, two kinds of optic fibre splicing are available. Fusion splicing is one, and the other is mechanical splicing. When it comes to mechanical splicing, there are two fibre optic cables kept together from one end to other inside a sleeve with the help of a mechanical apparatus. Here, these fibres are not joined permanently but held together so that the light can easily pass from one end to the other end. While in fusion splicing two fibres are fused or fixed together with the help of an electric arc. In today’s environment, the fusion splicing is very popular. This is because it acts as a reliable join that has lower insertions loss, and there is next to no back reflection. This is why Fusion splicing is applied to single-mode fibres and in some cases to multimode fibres.
In conclusion, it is safe to say that fusion splicing allows permanent low-loss connections that are done fast and have its advantages over several other competing technologies in the market. Additionally, the fusion splicers can be designed to provide enhanced features and high-quality performance which makes very affordable as well. For additional information and details, you can connect with us at Apollo Technology by calling 03 9775 1795.[Beitrag in Sammelband] Schlomske-Bodenstein, N. & Standl, B. (2022). A Pilot Study to Identify Evidence-based Technology-enhanced Teaching Patterns in Pre-service Teacher Education, Proceedings of the Society for Information Technology & Teacher Education International Conference (SITE 2022) (S.661-666). San Diego, CA, United States: Association for the Advancement of Computing in Education (AACE).
[Beitrag in Sammelband] Standl, B. & Schlomske-Bodenstein, N. (2022). Development of a Vignette-based Instrument to Assess Students’ Perception of the Teacher's Empathy during Collaborative Algorithmic Problem-solving Tasks, Proceedings of 2022 IEEE Global Engineering Education Conference (EDUCON) (S.1153-1159). Tunis, Tunisia: IEEE.
[Beitrag in Sammelband] Standl, B. & Schlomske-Bodenstein, N. (2022). Exploring Pre-service Computer Science Teachers’ Perception of Collaborative Learning in Online Teaching from a TPK Perspective, Mobility for Smart Cities and Regional Development - Challenges for Higher Education (S.107-113) (Band 389). Cham: Springer.
[Beitrag in Sammelband] Ritter, F. & Standl, B. (2022). Promoting Computational Thinking in Teacher Education - Combining Semantic Waves and Algorithmic Thinking, ACM Conference on International Computing Education Research (ICER) (S.48-49). Lugano and Virtual Event, Switzerland: Association for Computing Machinery (ACM).