Latest news with #MinasGerais
Reuters
2 days ago
- Business
- Reuters
Brazil finds bird flu in wild bird, investigates potential case on commercial farm
SAO PAULO, May 27 (Reuters) - Brazil identified fresh bird flu cases in wild animals, which it said should not have any commercial impact, and is investigating a new potential case on a commercial farm, Agriculture Minister Carlos Favaro said on Tuesday. Brazil, the world's largest chicken exporter, earlier this month identified a bird flu outbreak on a commercial farm in the southern city of Montenegro, triggering both nationwide and regional trade bans from dozens of countries. The new case on wild birds happened in the city of Mateus Leme, located in the southeastern state of Minas Gerais, data in the Agriculture Ministry's website showed. Favaro told a Senate hearing that the case should be treated as something "natural", since Brazil is rich in migratory birds, which generally transmit viruses. The minister also said that authorities were investigating a potential new case on a commercial flock in the Brazilian southern state of Rio Grande do Sul, the same state where the Montenegro outbreak had happened. The case under investigation was from a commercial farm in the city of Anta Gorda, where Brazil identified an outbreak of Newcastle disease on a poultry farm last year. Brazil is currently investigating about a dozen of potential outbreaks of highly pathogenic avian flu, but only two, including the one in Anta Gorda, are on commercial farms, data from the ministry showed. Preliminary tests had already indicated a negative result for a case under investigation on a commercial farm in the northern state of Tocantins.
Forbes
4 days ago
- Entertainment
- Forbes
Legendary Brazilian Photographer Sebastião Salgado Has Died At 81
Sebastião Salgado at his exhibition at Les Franciscaines cultural center in Deauville It is with deep sorrow that we bid farewell to Sebastião Salgado, one of the most visionary and compassionate photographers of our time, who passed away on May 23, 2025 in Paris from leukemia. For over five decades, he dedicated his life to bearing witness to the beauty and suffering of our world, crafting an unparalleled body of work that gave voice to the most vulnerable and revealed the fragile majesty of our planet. With his lifelong partner, Lélia Wanick Salgado, he created images that transcended photojournalism – offering instead a poetic, unflinching reflection on human dignity, resilience and the urgent need for environmental stewardship. Together, Sebastião and Lélia not only transformed how we see the world, but actively helped to heal it through the Instituto Terra, a reforestation initiative in Aimorés in the state of Minas Gerais in his native Brazil that has planted more than three million trees. From war zones to remote landscapes, his lens never flinched, even as his own health declined after contracting a rare form of malaria in 2010 in Indonesia during his 'Genesis' project. Complications from that illness ultimately led to a severe form of leukemia that claimed his life. He leaves behind not just a towering photographic legacy, but a living testament to hope, endurance and the possibility of renewal – survived by his beloved wife, their sons Juliano and Rodrigo, and grandchildren Flávio and Nara. Salgado's spirit will undoubtedly live on through the countless lives he touched and the timeless images he created. His work is currently being celebrated in the 'Amazônia' exhibition at Tour & Taxis in Brussels until November 9, 2025 displaying more than 200 large-format photographs that capture the breathtaking richness of the Amazon rainforest and the lives of its indigenous peoples, accompanied by an original soundtrack composed by Jean-Michel Jarre, as well as a major survey show at Les Franciscaines cultural center in Deauville, France, on view until June 1, 2025, presented in collaboration with the Maison Européenne de la Photographie in Paris. The Q&A that follows was one of the final interviews Salgado gave before his death, offering a powerful reflection on his life's work, values and vision for the world. Sebastião Salgado, Greater Burhan oil field, Kuwait, 1991, MEP Collection, Paris How did your relationship with black-and-white photography begin? At first, I did a lot of color. When I started working for the press, I had to make a living. Magazines in the '70s and '80s didn't publish black-and-white photos. All the commissions we had were in color. But never in my life was I a photographer of color. Color bothered me enormously from focusing on my image. At the time, we worked with slides, which had high-contrast colors. I knew that blues and reds were going to become hugely important visually when I looked at the final image, and it made me lose all the focus I had on a person's dignity and personality. Black and white is an abstraction. Nothing is in black and white. But there I transformed all the color ranges into grayscale, and everything became a range of grays where I could focus on wherever I wanted. One of your most iconic projects is your documentation of the Serra Pelada gold mine in Brazil. What made that experience so powerful? In 1986, I did a story on the gold mine in Brazil. It was discovered in 1980. I had tried to go to this mine in '80, '81, '82, '83, '84, '85. I never had permission because it was the Brazilian army that controlled this mine. I was very close to a guerrilla movement in Brazil that was the number one enemy of the army. But in 1986, they left the mine, and it was the cooperative –people who had the concession and the workers – that were in charge, and they allowed me to come. I hadn't published my photos because it wasn't worth it – magazines didn't publish in black and white at the time. They only published in color. It took at least six or seven months to get them published. But when Magnum, where I was, decided to diffuse them, Jimmy Fox, the publisher, said, 'This story is exceptional.' The Sunday Times Magazine gave me 10 pages and the cover. It was exceptional in black and white, as we hadn't published in black and white for 15 years. Right away, The New York Times Magazine did the same. Three weeks later, it was Paris Match and Stern. We broke the code of color with this story. And from then on, it was possible for me to abandon color photography and work only in black and white. Sebastião Salgado, Serra Pelada Gold Mine, State of Pará, Brazil, 1986, MEP Collection, Paris You've dedicated your life to long, immersive projects. What toll has this work taken on your body? I wore out my body a lot. I had an operation on my Achilles tendon. The Istanbul police attacked me and broke my Achilles tendon. I broke my knees twice; I have a mechanical knee. I had an operation on the tendon in my left shoulder and my right shoulder tendon. I've had a lot of accidents. I broke my machine producing red and white blood cells. And I'm a little battered. At 81 years old, I'm trying to hold on a little bit, to see if I can live a few more years. The projects I did in photography were long-term projects. I've worked on stories that took me five or eight years, and if I take on a project like that now, I might not get to the end because I might disappear before then. You've spoken about a health crisis that changed your life. What happened? I caught a very strong form of malaria – plasmodium falciparum – the strongest of the malarias. And I treated the malaria, but my doctor in Paris, in the service of Professor Gentilini at the Pitié-Salpêtrière Hospital, said, 'Sebastião, when you get falciparum, you have to rest for at least four to six months because it attacks the whole body. You are weakened everywhere.' And I said, 'Yes, you're right.' But a fortnight later, I was on the Colorado Plateau working because I had a whole expedition organized with guides, assistants, everything, to get to this wonderful part of the world. I was so tired that I couldn't walk properly anymore. When I returned to Paris, my immunological defense was zero. I got an infection in a dental implant and had a generalized infection. I took a brutal load of antibiotics. Everything was awakened in my body, except one thing: my machine to produce white blood cells, red blood cells, platelets. It was broken. It was a kind of cancer that I caught. The doctors who treat me are doctors who treat cancer. I've been taking medication for 15 years. It more or less resolves the problem, and I can travel, work, do everything. I did a whole project in the Amazon afterwards. But then a few months ago in Brazil, my body denied these drugs that I had been taking for 15 years. You've spoken about giving up photography after witnessing the genocide in Rwanda in the early 2000s and becoming sick. What happened? While we were in Brazil resting, my parents became old. I am from a family of eight children. I have seven sisters, but I am the only son. And there, my parents made the decision to give our farm, the farm where I was born, to Lélia and I. And I made the decision to give up photography. Lélia and I would become farmers. We were going to give up everything, take this farm and start planting grass for cattle. We came back to Paris and we returned to Brazil during Christmas. My father had rented a bulldozer to build a road that goes up the mountain. The farm is huge, and it was the rainy season. There was heavy rain and the rain carried away all the earth that the bulldozer had dug up. It killed our stream, a beautiful stream in which I'd swum with caimans when I was a child. We lived in this stream, and we killed the stream. Lélia said to me, 'You're not a farmer. I'm not a farmer. We're going to take this land and plant the forest that was here before.' And little by little, we started to rehabilitate a forest. We were not activists in any movement. But today, we are ecologists. Sebastião Salgado, Shaman ngelo Barcelos (Koparihewë, which means 'Head of Song' or 'Voice of Nature'), from the community of Maturacá, interacts with Xapiri spirits in visions during an ascent to Pico da Neblina, the highest mountain in Brazil. For the Yanomami, it is a sacred place called Yaripo. Yanomami Indigenous Territory, State of Amazonas, 2014 How did immersing yourself and reconnecting with nature through growing a forest lead you to rediscover your passion for photography and inspire your project, 'Genesis', thereby making the transition from people to nature as your central interest? It gave meaning to 'Genesis'. I had given up photography. While we were in Brazil, I simply did a photography project because I'm a UNICEF Goodwill Ambassador, and UNICEF asked me to make a book about the end of polio. Although I was no longer a photographer, I went to a lot of countries around the world for this project with UNICEF. We published a book in New York. Seeing this forest come to life in Brazil is wonderful because a tree, even a small tree, gives leaves, flowers and fruit, and then the insects come, so do the birds, then the mammals. We saw life and the birth of a forest. That gave me the crazy desire to go and photograph there, but no longer our species, to go and photograph all the other species. That's when, with Lélia, we conceived a series of trips over eight years, to go around the world to photograph the pristine part of the planet, the part that hasn't been destroyed. And that's how 'Genesis' was born. We have destroyed a good part of our biodiversity, but we still have 47 % of the planet – almost half of the planet – that's still here. It's not the easiest part to destroy because these are the deserts, the very cold part of the planet, the very high lands, the very humid lands. They are intact. Over eight years, I made 32 trips to 32 countries or regions of the world, from the Arctic to Antarctica, but the greatest journeys I've ever gone on are within myself, to discover that I am one single species among thousands of other species, and each one is as important as ours. I was in total despair when I finished the Rwanda project. When I stopped, my hope was dead. And after, my hope was reborn, no longer based on the human species, but based on all the other species on the planet. If we disappear, and we will disappear, because we are programmed to end, the planet will completely reconstitute itself. I believe in evolution, that it's the history of this planet. The planet is fantastic.
New York Times
5 days ago
- Science
- New York Times
These Plants Protect Larvae From Wildfires
Living things have long needed to find ways to survive wildfires. Some of them, researchers recently discovered, can even build their own flameproof panic rooms. Galls are outgrowths induced on plants by other organisms. In some instances, they form when parasitic insects like midges, moths and wasps release substances that prompt the plant to produce more cells. Galls shelter the larvae of the insects that made them grow, and they protect newborns from predators, parasitoids and adverse weather conditions. It turns out that this perfect nursery can also protect some insect larvae from the flames and heat of wildfires. The discovery, announced this month in the journal Ecology, came from Jean Carlos Santos, an ecologist at the Federal University of Sergipe in Brazil, who was working in Minas Gerais, a state in the Cerrado, a region of savannas in the heart of the country. At that time, in 2012, 'a massive fire erupted in the area,' he recalled, burning for 24 hours. While walking through the area devastated by the flames, he cut open the galls of Solanum lycocarpum, a common plant living in the Cerrado that is also known as wolf's fruit. These galls were made by females of the Boheman weevil, which lay their eggs on the wolf fruit's shoots, inducing thick, multichambered galls that host many larvae. To his surprise, weevil larvae were still hanging on inside. 'This was both fantastic and intriguing!' Dr. Santos wrote in an email. 'I was eager to understand how this was possible.' To investigate further, Dr. Santos came back to the area a few days later with his students. They collected dozens of galls from 40 wolf fruits; some had been exposed to the fire and some had not. Back in the lab, the team cut the galls open and checked whether the weevil larvae and pupae survived. The galls were at a height on the plants where they 'were clearly exposed to extreme heat from the fire. All the galls in the burned areas bore signs of charring,' Dr. Santos said. 'Initially, we assumed that no insects could have survived within the galls.' Despite that, the survival rate of larvae sheltering in burned galls was about 66 percent. Inside 20 galls, all larvae survived; in 23, only some of them came out alive; while in nine galls all weevils succumbed to the flames. 'The thicker the epidermis, the greater the weevil survival,' Dr. Santos also said. Nadir Erbilgin, a forest entomologist at the University of Alberta who was not involved in the study, said the findings align with many other examples of adaptations by plants and insects to survive fires, especially where fires are recurring events. For example, some bark beetles survive fires by sheltering in the galleries they dig beneath a tree's bark. 'Nature has a lot of these kinds of surprises,' Dr. Erbilgin said. He added that he would have liked the researchers to focus more on comparing the burned galls where all the weevils survived with the burned galls where only some of them, or none, survived. Doing so, he added, could have offered more clues to how exactly the weevils outlasted the flames. It's possible, he added, that such a mechanism has evolved in other parts of the world. However, as the climate shifts, bringing increasing severity and recurrence of fires, those plant and insect adaptations to survive the flames might not be enough in some places. 'Climate change screwed up all the balance,' Dr. Erbilgin said. For example, more frequent, stronger fires might put to the test the gall's sheltering ability that allowed the Boheman weevils to survive. 'Eventually, the system is going to break up,' Dr. Erbilgin said. The fire from the study, in fact, only lasted one day. 'If another fire comes next week or the next month, they may not have that survival ability,' he warned.
Yahoo
5 days ago
- Sport
- Yahoo
Corinthians and Atlético-MG draw and remain stuck in the table
This article was translated into English by Artificial Intelligence. You can read the original version in 🇧🇷 here. At Arena MRV, Corinthians and Atlético-MG drew 0-0 this Saturday (24th), in the tenth round of the 2025 Brasileirão. TUDO IGUAL NA ARENA MRV! O @atletico empata com o @corinthians pelo placar de 0x0, em BH! 💥⚽️📸: Pedro Souza — Brasileirão Betano (@Brasileirao) May 25, 2025 Timão was slightly superior in the first half, but the best chance belonged to Galo. Rony received a cross at the penalty spot, but was stopped by a great save from Hugo Souza. The main talking point in the first 45 minutes was the controversy involving Lyanco. The defender from the Minas Gerais team made two tough challenges on Héctor Hernández, but only received a yellow card. POLÊMICA EM ATLÉTICO-MG X CORINTHIANS! 🚨 Aos 17 minutos, Lyanco recebeu um cartão amarelo por pisão em Héctor. Aos 34, o atacante do Corinthians pediu cartão para após nova chegada. Era pra segundo amarelo e expulsão, torcedor? #Brasileirão2025 — TNT Sports BR (@TNTSportsBR) May 25, 2025 In the second half, the best chance to change the score also belonged to Atlético-MG. Scarpa took a dangerous free kick, and Hugo Souza stretched all the way to palm it away. To make matters worse for Corinthians, Yuri Alberto left the field injured and had to be helped by his teammates. 🚨| Yuri Alberto sai de campo com dores e preocupa comissão técnica do dores de cabeça para o torcedor corinthiano pode ter aumentado ainda mais. O atacante Yuri Alberto saiu de campo com o auxílio dos companheiros após sentir dores na região da lombar durante o… — Meu Timão (@MeuTimao) May 25, 2025With the result, Corinthians and Atlético-MG both have 14 points, but Timão sits in eighth place due to having more wins (4 vs 3). Galo is in tenth, with Mirassol between the two. Corinthians will be back on the field on Tuesday (27th), when they visit Huracán for the final round of the 2025 Conmebol Sudamericana group stage. Atlético-MG, meanwhile, will host Cienciano on Thursday (29th) in the same continental tournament. In the Brasileirão, Timão will host Vitória at Neo Química Arena on Sunday (1st) for the 11th round, while Galo visits Ceará at Arena Castelão on the same day. 📸 Pedro Vilela - 2025 Getty Images
Yahoo
5 days ago
- Sport
- Yahoo
G-6 rivals Atlético Mineiro and Corinthians announce starting line-ups
This article was translated into English by Artificial Intelligence. You can read the original version in 🇧🇷 here. Atlético-MG and Corinthians face off at Arena MRV, this Saturday (24), at 21h (Brasília time), for the tenth round of the 2025 Brasileirã Galo and Timão have 13 points, but the Paulistas are in eighth place due to having more wins compared to the Minas Gerais team (ninth place). In relation to the last game (4-0 against Maringá, for the Copa do Brasil), coach Cuca opted only for Bernard's entry in Cuello's place, at Atlético-MG. At Corinthians, who come from a 1-0 win over Novorizontino, coach Dorival Jr decided to spare the main players with an eye on the "decision" for the South American tournament, mid-week. Only goalkeeper Hugo Souza, defender Cacá, and midfielder Raniele remained among the starters. Top scorer Yuri Alberto, for example, starts on the bench. 📋 GALO ESCALADO! Veja a nossa escalação para enfrentar o Corinthians, na @ArenaMRV, pela 10° rodada do Brasileiro! #VamoGalo #CAMxCOR 🏴🏳️ — Atlético (@Atletico) May 24, 2025 Corinthians escalado pra mais um compromisso pelo Brasileirão! 📋⚫⚪#ATLxSCCP#VaiCorinthians — Corinthians (@Corinthians) May 24, 2025 📸 Pedro Vilela - 2025 Getty Images
