Abstract: Pyrolysis is a promising technology for thermal conversion of lignocellulosic biomasses into a higher added value fuel. The aim of this study was to analyze the potential of four agroforestry biomasses to produce energy as a raw material or as a bio-coal. In this study, slow pyrolysis was conducted in three final temperatures to evaluate the bio-coal production of four agroforestry biomasses widely available in Brazil. The biomasses used were sugarcane bagasse (Saccharum sp.), bamboo (Dendrocalamus giganteus), straw bean (Phaseolus vulgaris) and eucalypts wood chips (Eucalyptus sp.). In the first part was presented the raw biomasses proprieties, such as lignin, carbon, hydrogen and ash contents. In the second part was showed the bio-coal proprieties, such as gravimetric and fixed carbon yields, fixed carbon and ash contents. These bio-coal results were showed as a function of final temperature of pyrolysis. The best energy indicators for bio-coal production, such as fixed carbon yield, high heating value, was observed in the bamboo and eucalypts. The bagasse and straw bean biomasses have high concentrations of ash and low lignin content when compared with the other biomasses assessed and are less suitable to produce bio-coal.

Nos anos 90, a presença da arte brasileira tornou-se cada vez mais freqüente na cena artística internacional. Curadores e demais agentes internacionais vêm adotando um discurso politicamente correto, segundo o qual as fronteiras entre centro e periferia, que sempre organizaram o campo artístico internacional, teriam desaparecido, permitindo assim a valorização da arte de países periféricos pelas instituições mais prestigiosas dos países centrais. Contudo, a maior parte dos diferentes eventos em torno da arte brasileira servem muito pouco à democratização do campo artístico ou à difusão da cultura brasileira no plano internacional. De fato, eles refletem a globalização em seus efeitos perversos, servindo para aumentar o prestígio e o poder econômico de algumas poucas instituições e indivíduos, limitando a cultura brasileira à reprodução de seus estereótipos. Neste artigo, para demonstrar essa idéa, analisam-se em detalhe quatro exposições de arte brasileira organizadas na exterior: Brazil Body and Soul (Museu Guggenheim, Nova Yorque), Hélio Oiticica Quasi-Cinemas (New Museum, Nova Yorque), Un art populaire (Fundação Cartier, Paris), Tunga/Mira Schendel (Galeria Nacional Jeu de Paume, Paris).

During the 1990's, the presence of Brazilian Art became more and more visible in the international art scene. Curators and other international agents adopted a kind of "politically-correct" discourse according to which borders between center and periphery - that always organized the international artistic field - would disappear, thus allowing peripheral art to enter the most prestigious institutions of central countries. Nevertheless, most of the exhibitions, including Brazilian art, do not correspond to a democratization of the international artistic field and do not help to promote Brazilian art internationally. In fact, they reflect the perverse consequences of globalization, serving to raise the prestige and the economic power of a few institutions and individuals and to reduce Brazilian culture to stereotypes. In order to illustrate this idea we will analyze the following exhibitions in this paper: Brazil Body and Soul (Guggenheim Museum, New York), Hélio Oiticica Quasi-Cinemas (New Museum, New York), Un art populaire (Cartier Foundation/Paris), Tunga and Mira Schendel (Galerie National du Jeu de Paume, Paris).