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Mostrando postagens de outubro, 2025

ANGEL ELIXIR MARAJOARA — Poema Coreográfico e Luminotécnico Carlos Eduardo Thompson Criação inspirada na Cultura Indígena Brasileira da Ilha de Marajó no Norte do Brasil Duração total: 10 a 12 minutos Interpretação: solo masculino (ou grupo em espelhamento) Música: eletrônica ambiente / experimental, com variações texturais de 60 a 110 BPM

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ANGEL ELIXIR MARAJOARA — Poema Coreográfico e Luminotécnico Carlos Eduardo Thompson  Criação inspirada na Cultura Indígena Brasileira da Ilha de Marajó no Norte do Brasil Duração total: 10 a 12 minutos Interpretação: solo masculino (ou grupo em espelhamento) Música: eletrônica ambiente / experimental, com variações texturais de 60 a 110 BPM ATO I — O DESPERTAR (“A molécula respira”) Iluminação: Luz azul pálida, vinda de baixo, em feixes difusos. Haze leve (neblina cênica). Fade in de 30 segundos. Música: Frequência grave contínua (baixo pulsante, BPM ~60). Sons de respiração, ecos líquidos, reverberações. Movimento: O corpo ainda adormecido no chão. Pequenas contrações no abdômen e nos ombros, sincronizadas com o som. Dedos exploram o espaço como sensores. Elevação progressiva, da base até o eixo central, mantendo o olhar baixo. Tempo corporal: Adagio. Intenção: o corpo nasce do perfume e do barro  — o ar se torna matéria. ATO II — O ESPELHO E A PELE (“Fragmentos de refl...
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NOVGOROD KREMLIN COLLECTION C.E. Thompson | Winter 2026 Moscow. Rio. Helsinki. Shanghai. In the frozen mists of the 9th century, on the banks of the Volkhov River, Novgorod stood as a vibrant crossroads — a northern hub where the Norse met the Slavs, where fur, iron, and faith traveled along the Varangian route from Scandinavia to Byzantium. But history, as rewritten by empires, tried to erase that origin. The Viking heart of early Rus’ was buried beneath layers of imperial narrative — a deliberate silence, an aesthetic amnesia. The Novgorod Kremlin Collection resurrects that forgotten pulse. Chainmail becomes fabric. Runes reappear as embroidery. The silhouette of the warrior merges with that of the wanderer, the trader, the mystic. Every stitch is an act of remembrance — an excavation of a shared past hidden under centuries of snow and ideology. C.E. Thompson revisits the frozen North not as nostalgia, but as confrontation: what does it mean to wear what history tried to erase? Textures of wool, metal, and untreated leather meet sculptural tailoring and fractured symmetry. The palette recalls oxidized iron, birch bark, and river ice — an homage to a landscape of endurance. From Moscow to Rio, Helsinki to Shanghai, Novgorod Kremlin becomes more than fashion — it is a reclamation of erased historicities, an aesthetic archaeology of the global North and its buried narratives.

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NOVGOROD KREMLIN COLLECTION C.E. Thompson | Winter 2026 Moscow. Rio. Helsinki. Shanghai. In the frozen mists of the 9th century, on the banks of the Volkhov River, Novgorod stood as a vibrant crossroads — a northern hub where the Norse met the Slavs, where fur, iron, and faith traveled along the Varangian route from Scandinavia to Byzantium. But history, as rewritten by empires, tried to erase that origin. The Viking heart of early Rus’ was buried beneath layers of imperial narrative — a deliberate silence, an aesthetic amnesia. The Novgorod Kremlin Collection resurrects that forgotten pulse. Chainmail becomes fabric. Runes reappear as embroidery. The silhouette of the warrior merges with that of the wanderer, the trader, the mystic. Every stitch is an act of remembrance — an excavation of a shared past hidden under centuries of snow and ideology. C.E. Thompson revisits the frozen North not as nostalgia, but as confrontation: what does it mean to wear what history tried to erase? Textu...
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NOVGOROD KREMLIN COLLECTION C.E. Thompson | Winter 2026 Moscow. Rio. Helsinki. Shanghai. In the frozen mists of the 9th century, on the banks of the Volkhov River, Novgorod stood as a vibrant crossroads — a northern hub where the Norse met the Slavs, where fur, iron, and faith traveled along the Varangian route from Scandinavia to Byzantium. But history, as rewritten by empires, tried to erase that origin. The Viking heart of early Rus’ was buried beneath layers of imperial narrative — a deliberate silence, an aesthetic amnesia. The Novgorod Kremlin Collection resurrects that forgotten pulse. Chainmail becomes fabric. Runes reappear as embroidery. The silhouette of the warrior merges with that of the wanderer, the trader, the mystic. Every stitch is an act of remembrance — an excavation of a shared past hidden under centuries of snow and ideology. C.E. Thompson revisits the frozen North not as nostalgia, but as confrontation: what does it mean to wear what history tried to erase? Textures of wool, metal, and untreated leather meet sculptural tailoring and fractured symmetry. The palette recalls oxidized iron, birch bark, and river ice — an homage to a landscape of endurance. From Moscow to Rio, Helsinki to Shanghai, Novgorod Kremlin becomes more than fashion — it is a reclamation of erased historicities, an aesthetic archaeology of the global North and its buried narratives.

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NOVGOROD KREMLIN COLLECTION C.E. Thompson | Winter 2026 Moscow. Rio. Helsinki. Shanghai. In the frozen mists of the 9th century, on the banks of the Volkhov River, Novgorod stood as a vibrant crossroads — a northern hub where the Norse met the Slavs, where fur, iron, and faith traveled along the Varangian route from Scandinavia to Byzantium. But history, as rewritten by empires, tried to erase that origin. The Viking heart of early Rus’ was buried beneath layers of imperial narrative — a deliberate silence, an aesthetic amnesia. The Novgorod Kremlin Collection resurrects that forgotten pulse. Chainmail becomes fabric. Runes reappear as embroidery. The silhouette of the warrior merges with that of the wanderer, the trader, the mystic. Every stitch is an act of remembrance — an excavation of a shared past hidden under centuries of snow and ideology. C.E. Thompson revisits the frozen North not as nostalgia, but as confrontation: what does it mean to wear what history tried to erase? Textu...
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FASHION PHOTO КАРЕН ( KAREN ) МАРКИНА BY CARLOS EDUARDO THOMPSON

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FASHION PHOTO КАРЕН ( KAREN ) МАРКИНА BY CARLOS EDUARDO THOMPSON  
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FASHION PHOTO КАРЕН ( KAREN ) МАРКИНА BY CARLOS EDUARDO THOMPSON

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FASHION PHOTO КАРЕН ( KAREN ) МАРКИНА BY CARLOS EDUARDO THOMPSON  
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Russian Arctic Archaeology Trip with National Geographic Sunday 03.03.2024 #carloseduadothompson

Russian Arctic Archaeology Trip with National Geographic Sunday 03.03.2024 #carloseduadothompson  
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Tarfala Forskningsstation – Stockholm universitet | Carlos Eduardo Thompson Tarfala forskningsstation är Stockholm universitets centrum för glaciologisk, alpinsk och arktisk fältforskning. Stationen ligger i Tarfaladalen i norra Sverige, vid Kebnekaisefjällen, på cirka 1130–1135 meter över havet. Den omges av flera glaciärer (bland annat Storglaciären), alpina bergsområden och sjöar. Stationen bedriver långsiktiga mätprogram inom glaciologi, meteorologi, hydrologi, permafrost och ekosystemförändringar. Mätningarna av Storglaciärens massbalans har pågått sedan 1946, vilket gör dem till en av världens längsta sammanhängande tidsserier inom glaciologisk forskning. Tarfala är en viktig plats för klimat- och miljöforskning, både nationellt och internationellt.

Tarfala Forskningsstation – Stockholm universitet | Carlos Eduardo Thompson Tarfala forskningsstation är Stockholm universitets centrum för glaciologisk, alpinsk och arktisk fältforskning. Stationen ligger i Tarfaladalen i norra Sverige, vid Kebnekaisefjällen, på cirka 1130–1135 meter över havet. Den omges av flera glaciärer (bland annat Storglaciären), alpina bergsområden och sjöar. Stationen bedriver långsiktiga mätprogram inom glaciologi, meteorologi, hydrologi, permafrost och ekosystemförändringar. Mätningarna av Storglaciärens massbalans har pågått sedan 1946, vilket gör dem till en av världens längsta sammanhängande tidsserier inom glaciologisk forskning. Tarfala är en viktig plats för klimat- och miljöforskning, både nationellt och internationellt.  
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Applications of Space Archaeology to Mars: A JPL-Based Remote Sensing Approach Carlos Eduardo Thompson #carloseduadothompson

Applications of Space Archaeology to Mars: A JPL-Based Remote Sensing Approach Carlos Eduardo Thompson #carloseduadothompson  
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Space Archaeology and the Management of Terrestrial and Underwater Archaeology through Remote Sensing and LiDAR Carlos Eduardo Thompson Alves de Souza Abstract This paper examines the application of Space Archaeology, Remote Sensing, and LiDAR technologies in the detection, documentation, and management of terrestrial and underwater archaeological sites. By integrating satellite data, aerial imagery, and laser scanning, it is possible to identify buried structures, submerged landscapes, and cultural patterns with high spatial accuracy. These technologies provide essential tools for non-invasive archaeological research and for the sustainable management of cultural heritage in rapidly changing environments. 1. Introduction Archaeological research has undergone a significant transformation through the integration of geospatial technologies. Space Archaeology refers to the use of satellite platforms and aerial observation systems for the detection and analysis of archaeological features on the Earth’s surface and underwater. Remote Sensing provides multispectral and radar data that allow the identification of anomalies associated with past human activity. LiDAR (Light Detection and Ranging) complements this by generating precise topographic models capable of penetrating vegetation cover and shallow water, revealing otherwise inaccessible archaeological information. These methods contribute not only to site discovery but also to long-term monitoring and management strategies for cultural heritage preservation. 2. Materials and Methods 2.1 Remote Sensing High-resolution satellite imagery (optical, multispectral, hyperspectral, and radar) was analyzed to detect geomorphological and anthropogenic anomalies. This included the identification of ancient settlement patterns, landscape modifications, and submerged features. Data were processed using standard image enhancement and classification techniques to improve archaeological feature visibility. 2.2 LiDAR Surveys Airborne and terrestrial LiDAR systems were employed to acquire three-dimensional topographic data. Point clouds were processed to generate Digital Terrain Models (DTMs) and Digital Surface Models (DSMs). These datasets enabled the detection of buried structures, paleo-channels, and submerged landscapes, even in densely vegetated or sedimented contexts. 2.3 GIS-Based Integration All Remote Sensing and LiDAR datasets were georeferenced and integrated into a Geographic Information System (GIS). Spatial analysis tools were applied for feature extraction, pattern recognition, and predictive modeling. This integration facilitated systematic documentation, spatial correlation, and heritage management planning. 3. Applications 3.1 Terrestrial Archaeology Spaceborne and airborne datasets allowed the detection of ancient urban grids, road systems, fortifications, agricultural terraces, and other anthropogenic structures. In heavily forested regions, LiDAR proved especially effective in revealing topographic signatures hidden beneath vegetation. 3.2 Underwater Archaeology Bathymetric LiDAR and satellite-derived bathymetry were applied to identify submerged landscapes, paleoshorelines, and shipwreck sites in shallow coastal waters. These methods provide essential baselines for understanding prehistoric coastal occupation and maritime trade routes. 3.3 Cultural Heritage Management The integration of geospatial data supports the creation of digital archaeological inventories, vulnerability assessments, and monitoring systems. These tools are fundamental for designing sustainable conservation policies, especially in areas affected by urban expansion, agriculture, or climate change. 4. Discussion The combined use of Remote Sensing and LiDAR represents a paradigm shift in archaeological prospection. These methods allow for large-scale, non-invasive data acquisition and analysis, reducing the need for extensive ground surveys. However, challenges remain regarding data resolution, interpretation accuracy, and the integration of interdisciplinary datasets. Continued technological development and methodological standardization are necessary to enhance the reliability and applicability of these approaches. 5. Conclusion Space Archaeology, Remote Sensing, and LiDAR offer unprecedented opportunities for the identification, analysis, and protection of terrestrial and underwater archaeological sites. Their integration into heritage management frameworks enables more effective conservation strategies and contributes to the understanding of cultural landscapes on a regional and global scale. References (Sample structure – replace or expand with actual sources) Bewley, R. H., Crutchley, S. P., & Shell, C. A. (2005). New light on an ancient landscape: lidar survey in the Stonehenge World Heritage Site. Antiquity, 79(305), 636–647. Parcak, S. (2009). Satellite Remote Sensing for Archaeology. Routledge. Opitz, R., & Cowley, D. (2013). Interpreting Archaeological Topography: Airborne Laser Scanning, 3D Data and Ground Observation. Oxbow Books. Chase, A. F., Chase, D. Z., Weishampel, J. F., et al. (2012). Geospatial revolution and remote sensing LiDAR in Mesoamerican archaeology. PNAS, 109(32), 12916–12921.

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Space Archaeology and the Management of Terrestrial and Underwater Archaeology through Remote Sensing and LiDAR Carlos Eduardo Thompson Alves de Souza Abstract This paper examines the application of Space Archaeology, Remote Sensing, and LiDAR technologies in the detection, documentation, and management of terrestrial and underwater archaeological sites. By integrating satellite data, aerial imagery, and laser scanning, it is possible to identify buried structures, submerged landscapes, and cultural patterns with high spatial accuracy. These technologies provide essential tools for non-invasive archaeological research and for the sustainable management of cultural heritage in rapidly changing environments. 1. Introduction Archaeological research has undergone a significant transformation through the integration of geospatial technologies. Space Archaeology refers to the use of satellite platforms and aerial observation systems for the detection and analysis of archaeological feat...
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