The Video Installation Rejeitorio

International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 The Video Installation Rejeitorio: Inspirations, Work, Exhibitions, and Public Reception Inês Regina Barbosa de Argôlo, Universidade Federal do Vale do São Francisco, Brazil* https://orcid.org/0000-0001-5974-4889 Bruno Mendes da Silva, Universidade do Algarve, Portugal Gabriela Borges, Universidade do Algarve, Portugal https://orcid.org/0000-0002-0612-9732 ABSTRACT Rejeitorio is an interactive video installation mediated by digital technology that points to the urgency of preserving the São Francisco River, especially after the dam collapse in the city of Brumadinho (Brazil), which resulted in the contamination of one of its tributaries with toxic tailings. The video installation features 2D animations that alternate according to the presence or absence of the public within the demarcated space. This paper addresses its exhibition, reception by the public, and related works in aesthetic, media, or operational terms. This is an expanded version of a paper presented at the 10th International Conference on Digital and Interactive Arts (ARTECH 2021). KEyWoRDS Animation, Artifact, Brumadinho, Digital Media Art, Hinterlands, São Francisco River, Video Installation INTRoDUCTIoN Rejeitorio is an interactive video installation mediated by digital technology in which different 2D animations are displayed depending on the absence or presence of the audience. Conceived in 2019 by the artist Inês Regina Argôlo, in the context of her doctoral research in digital media art at the University of Algarve, Portugal, and supervised by professors Bruno Mendes da Silva and Gabriela Borges, the artifact primarily aims to make the public reflect on how much human actions are contributing to the destruction of the São Francisco River. The São Francisco River runs through five states in Brazil: it originates in Minas Gerais, crosses the states of Bahia, Sergipe, Pernambuco, and Alagoas, and then flows into the ocean. Several legends, beliefs, and myths occupy the imagination of the population in relation to São Francisco. Considered sacred by some of the communities residing in the cities where its waters cross, the “Velho Chico” DOI: 10.4018/IJACDT.316135 *Corresponding Author Copyright © 2022, IGI Global. Copying or distributing in print or electronic forms without written permission of IGI Global is prohibited. 1 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 has ecological, historical, economic, and social importance. Passing through many places with a semi-arid climate in the Brazilian Northeast, this river is the only source of water in several regions; therefore, animals, plants, and entire cities would succumb to its destruction. In 2019, an environmental and human tragedy caused national commotion and generated panic in the residents of the cities bathed by the river: a tailings dam of the mining company Vale do Rio Doce collapsed in the Brazilian city of Brumadinho, located in the state of Minas Gerais. Tailings are solid mining waste without economic value, plus water. The toxic sludge from this dam dragged like a tsunami through several parts of the city, decimating many people (G1 Minas, 2019), animals (Diário Online, 2019), part of the local flora (Vegazeta, 2019), in addition to “killing” the Paraopeba River (Ribeiro, 2019), which is one of the tributaries of the São Francisco. Residing in the São Francisco Valley, more precisely in the city of Juazeiro da Bahia, which is an extremely hot region that is totally dependent on the São Francisco River, the artist not only followed closely but also experienced the fear of possible contamination of that river. At the time of the tragedy, some media, such as G1, a portal belonging to the Globo group (G1 PE, 2019), and environmental entities, such as Fundação SOS Mata Atlântica (SOS Mata Atlântica, 2019), reported that the mud had already reached the mining part of the river and sooner or later it would reach the other states. The seriousness of the situation worried the artist greatly, spurring the creation of Rejeitorio, a work of activism through art. The video installation is entitled Rejeitorio, partly because it alludes to the set of tailings but also because the two cells that make up the word (tailings + river, in Portuguese, rejeitos + rio) point to the action of rejecting the river, in the sense of despising it to the point of devastation. This apparent contempt reflects an attitude on the part of the mining company that generated the ecological disaster, in the deepest sense of the term: According to Capra (2006, p. 16), “deep ecology does not separate human beings—or anything else—from the natural environment.” The contempt began in Brumadinho and with effects that, even after two years, may still extend to other cities (Comitê da Bacia Hidrográfica do Rio São Francisco, 2021). It also demonstrates the contempt of the whole society, because at the moment when the economy is placed above possible environmental damages and deaths, in addition to the population justifying the “necessity” of the irresponsible work of the company in order to guarantee their jobs, it is also contributing to ecological destruction. As the main methodology, practice-based research was adopted, which consists of an original work that aims to acquire “new knowledge partly by means of practice and the outcomes of that practice” (Candy, 2006, p. 1). Therefore, the results of the investigation are demonstrated through an artistic manifestation, and both the meaning and the context of artistic practice are described in this type of research. Thus, this article approaches the Rejeitorio artifact and other aspects that involve it, such as: other artistic works that relate to it in aesthetic, media, or operational terms, exhibitions in which it was integrated and public reception through survey, and finally, present the general considerations and conclusion of the above-mentioned subject. AESTHETICS, MEDIA, AND FUNCTIoNAL PRoXIMITIES Although the interactive video installation mediated by digital technology Rejeitorio is an original artistic work, some works present approximations of it, whether in aesthetics, media, or functional terms. As for aesthetics, which corresponds to 2D animations that use the popular northeastern woodcut as a source of inspiration, simulating it in digital media, we can exemplify it with at least two works: A Árvore do Dinheiro (The Money Tree) and the commercial for Cuscuz São Bráz (São Bráz Couscous). It is important to mention that both are not about video installations but audiovisual productions. A árvore do dinheiro is a short film directed by Marcos Buccini and Diego Credidio. Produced in 2002 by the Quattor group using the discontinued Adobe Flash software, the animation was intended to be enjoyed in internet browsers. Recited like a string, it tells the story of José, who has the help 2 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 of a stranger to get married to the daughter of a colonel. The work is mostly in black and white and features traces of irregular lines, reminiscent of works made with gouges and other cutting instruments in the construction of the woodcut matrix. Among other aspects that bring to light the inspiration of the popular northeastern woodcut are the lack of use of perspective, the game of positive and negative in the construction of images, and visual textures. Regarding the movements, we emphasize that they are quite consistent with the concept: objects and characters “move” like engravings that move, that is, in a non-organic way. The commercial for Cuscuz São Brás, a color animation, was created in 2018 by the production company Gato do Mato Animation, a company from Rio Grande do Norte. The play tells the story of Couscous, a hero who leaves the countryside, goes to the big city, and becomes a favorite food, especially in the Northeast, even getting March 19 declared World Couscous Day. Regarding aesthetics, there is the application of textures that reproduce the cuts made in the matrix developed with woodcut tools, vibrant and flat colors, and lack of perspective and texture in the background, simulating the printing failures, common in woodcut copies. About the animation, the illusion of movement of the characters is quite organic, as in conventional 2D animations. The most used framing is the open shot, almost always with a still camera. Among the few camera movements used are the pan (i.e., the camera moves on its axis) at the beginning and later frontal tracking at certain times. As for similar media approaches, that is, video installations in the context of media that use 2D animations, we can exemplify with the work of Shahzia Sikander, Gopi-Contagion, featured in 2015 on Times Square’s synchronized billboards at 11:57 p.m. until midnight for a month, manipulated various digital cartoons in order to create a swarm of collective behavior. It is noteworthy that although this work works with animation, its operation is not so similar to that of Rejeitorio. His examples that technically have an essence a little closer to Rejeitorio, that is, proposals in which the digital images animated react through the behavior of the interactor(s), it is possible to cite the works of Edmond Couchot and Michel Brett, La plume and Les Pissenlits. In La Plume (1988), a bird’s feather was displayed at the bottom of the monitor screen, and, through a microphone, the interactor should blow on it. With this action, the animated feather simulated having been hit by the wind, consequently being dragged according to the intensity and duration. The same principle was used in Les Pissenlits (2005), which owned a digital garden of dandelions, and the whistle of the interactor moved the seeds. Among all the works examined, the most technically similar to Rejeitorio are External Measures by Camille Utterback and Espante os corvos de Van Gogh (Scare the Crows by Van Gogh), from Media Lab–Federal University of Goiás (UFG), as they work relatively similarly, in addition to using 2D animations. However, the themes and aesthetics are quite different. External Measures, by Camille Utterback, 2003, is the third in a series of interactive video installations by the artist in the context of digital media in which when the space in which the video installation was located was empty, curved lines moved on the screen until it saturated. When the sensor detected someone at the location, a hole or empty space based on that person’s outline would be registered in the middle of the animation. As the person moved, this void also moved on the screen. When the spot was empty again, once again, the gaps in the canvas were filled with the lines and shapes that moved. The Media Lab team, coordinated by Brazilian professor Cleomar Rocha, produced the installation Espante os corvos de Van Gogh in 2011, in a trial version and a definitive version in the following year. In it, the image of Van Gogh’s painting, Wheatfield with Crows (1890), was designed, and it was enough for the interactor to move so that an animation with the crows running away was triggered. ABoUT THE INSTALLATIoN As mentioned earlier, Rejeitorio is an installation composed of 2D animated videos that alternate according to the presence and absence of the audience in the demarcated space of the room where the work is located. When there is no one in the delimited space, the video is a landscape with a clear 3 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 river, full of flowering cacti and animals (see Figure 1). When the interactor(s) enter the demarcated space, in the video the mud will invade the river (see Figure 2), plants will decompose, the bird leaves, the fish die (see Figure 3). If there is still someone inside the given space, the landscape will continue to deteriorate until there are no more plants and animals left. When all the interactors leave the demarcated space (see Figure 4), the video will show the mud leaving the river, plants reborn, and animals reappearing in the landscape. Obviously, there is an intention to demonstrate the negative impact of human beings on our rivers, thanks to our indifferent, unconscious, or deliberately cruel actions, especially after the tragedy of Brumadinho, which consequently also end up collaborating in the destruction of fauna and flora, without reflecting that these actions will also lead us to extermination. The work was developed in order to be mounted in exhibition spaces such as galleries, and museums, among other places of the same genre. For the video installation to work correctly, the interactors must enter and exit only through the demarcated space on the floor. Figure 1. When there are no interactors, the landscape in the video is full of life. Image by Inês Argôlo Figure 2. When interactor(s) approach, the river begins to fill with mud. Image by Inês Argôlo 4 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 Figure 3. When interactors are present, the landscape deteriorates. Image by Inês Argôlo Figure 4. When all the interactors leave, the landscape is restored. Image by Inês Argôlo Physical Elements From a technical point of view, the video installation is composed of the physical part and the digital part. The components present in each module and other necessary equipment are described below, as well as the function of each of these physical items. • • Module 1 ◦ Arduino UNO ◦ Cables ◦ Protoboard ◦ Bluetooth module (HC-05) ◦ Ultrasonic sensor module (HC-SR04) ◦ USB cable Module 2 ◦ Arduino UNO 5 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 • ◦ Cables ◦ 2 infrared sensors (E18-D80NK) ◦ Bluetooth module (HC-05) ◦ 9V source Other necessary equipment and materials ◦ Video monitor (or TV of at least 32”) or projector ◦ Laptop or tablet computer ◦ 3 tables or 1 table and two small sculpture displays ◦ Black adhesive tape or any other flashy color Module 2 detects the people who will enter and leave the delimited space of the vídeo installation (through the counting system), in addition to sending the information via Bluetooth. Module 1 captures the presence of the public that will be in front of the TV. The USB cable has the function of sending information from the Arduino software to the notebook or tablet. The notebook or tablet will process the information and forward it to the TV monitor. The TV will play one of the three videos sent, depending on the presence and absence of people in the demarcated space. The tables are to support the TV (if it is not fastened by a wall bracket) and support the modules. Finally, the adhesive tape serves to demarcate the transit area of the interactors and fix Module 1 and Module 2. The location map of the physical components can be seen in Figure 5. Digital Elements The lines of the animation were inspired by the drawings of cordel covers, generally made with the woodcut technique, very popular in the cities of Juazeiro and Petrolina, and in colored woodcuts produced by Northeastern artists, well known in the region. One of the screens of one of the animation videos can be visualized in Figure 6. In order to make the drawings look like engravings, manual and digital drawing techniques were used. Before proceeding with the creation of the static scenarios and dynamic objects of the animation, however, research was carried out about representative vegetation of the Sertanejo region initially consulted in the publication by Siqueira (2012); later, the artist went to the field to look for this flora in order to photograph it to use as a reference. Among the chosen plants, there are: coroa de Frade, scientific name melocactus bahiensis (see Figure 7); mandacaru, scientific name: Cereus jamacaru Figure 5. Location map of physical components. Image by Inês Argôlo 6 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 Figure 6. Video capture: Strokes are based on colored woodcuts. Image by Inês Argôlo (see Figure 8), Xique-Xique, scientific name: Pilosocereus polygonus (see Figure 9), and palmatória, whose scientific name is Oputia cochenillifera (see Figure 10). These choices were made because they are the best-known cacti in the São Francisco Valley. Visual references of the plants were collected in their versions without flowers, with flowers (born, open and withering), growing and rotting. For the creation of the fauna, in which fish and a bird appeared, the artist spoke with local fishermen to learn about the most common fish in the São Francisco; he also consulted with biology specialists from the Universidade Federal do Vale do São Francisco (Federal University of Vale do São Francisco) in order to research on fish, as well as on the most common birds in the Caatinga biome. Among the fish, the Surubim (Pseudoplatystoma corruscans), the Dourado (Salminus brasiliensis), and the Curimatã (Prochilodus argenteus) were chosen. Among the birds, the Assum-preto (Gnorimopsar chopi) was chosen. With a completely black coat, this bird is typical of the Caatinga, but it had to be represented with “positive-style” wings and tail in order to contrast with the animal’s body, scenery and other elements of the animation. The scenery seeks to allude to the São Francisco Valley, featuring mountains, the river, clouds and the scorching sun of the hinterland. After research and hand drawing using ink and markers, the images were digitized, corrected in Adobe Photoshop CS6 software, and transformed into a line in Adobe Illustrator CS6. After this step, the illustrations were imported into the student version of the ToonBoom Harmony software, where the animation was developed. Among the techniques used in the production of animations, Figure 7. The “coroa de frade” cactus. Images by Inês Argôlo 7 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 Figure 8. The mandacaru cactus. Images by Inês Argôlo Figure 9. The Xique-Xique cactus. Images by Inês Argôlo both the straight-ahead and pose-to-pose processes were used. In the first, each frame is created and positioned in chronological order on a continuous basis. In the last one, each main pose is drawn, also known as key poses, and the intermediate poses are inserted later. After the creation of the three videos, the modules with sensors and other equipment were assembled, and their operation, from a logical point of view, took place through the use of Arduino, version 1.8.5, which sends instructions to the board, as well as operates and receives information from sensors. The Processing software, version 3.3.6, was also used to forward each video that would be played according to the audience’s absence and presence. 8 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 Figure 10. The palmatória cactus. Images by Inês Argôlo EXHIBITIoN AND PUBLIC RECEPTIoN The work Rejeitorio was exhibited on two occasions: the first in the exhibition “Tradição, tecnologia e arte” (tradition, technology, and art) and the second in the exhibition “[In]Tangibilidades Digitais” (Digital [In]Tangibility). Organized by the digital media art doctoral program of Universidade Aberta in partnership with the University of Algarve, the exhibition “Tradição, tecnologia e arte” took place at Casa José Saramago and at the Municipal Museum, both located in the city of Óbidos, Portugal. 23 to July 26 2019. The exhibition featured ten artifacts produced by eleven artists from three nationalities (Portugal, Brazil and Mozambique). During the entire period in which the exhibition was open to the public, many artists remained close to their works in order to mediate with the public, guiding them, clarifying doubts, and providing other complementary information. The dynamics of mediation varied according to the attitude of the public, basically being configured in two situations (and consequent mediation actions): 1. 2. The interactor showed that he did not want more follow-up or information about the work; the artist-mediator was positioned at the back of the room and just let the interactor experience the artifact with greater freedom, only interfering if any doubts or difficulties arose; Interactor arrived asking questions about the use of the work and its concept; the artist-mediator provided some basic explanations before the experimentation (How to interact with the artifact, information about the artist, her place of origin, and the aesthetics of popular northeastern woodcuts) but tried not to go too deep into the conceptual issue in order to allow the interactor to build his own understanding of the work; it was only after experimentation that, based on the interactor’s reaction, more detailed explanations of the concept were given. In general, the public had no difficulties interacting with the artifact, and there were no problems regarding the functioning of the work in this exhibition. One aspect that we consider important to emphasize is that although the artifact was experienced by different people who visited the exhibition and we were observing and following the responses of the interactors in relation to the work (both in the sense of interaction with the artifact and the oral externalization of what they thought of this interaction), at the time, we were not interested in recording them through certain collection instruments. Such as quizzes or audio recordings. Only later did we rethink this possibility. However, it is worth mentioning that even though we have not recorded the public’s verbal opinion, we perceive, based on their statements, that the understanding that the work addressed environmental destruction in the face of human interaction was explicit, even when conceptual explanations were not provided 9 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 before the experimentation. Thus, we included in the following exhibitions at least one instrument for collecting the public’s responses that would record them. “[In]Tangibilidades Digitais,” the second exhibition that Rejeitorio took part in, was also organized by the digital media art doctoral program at the University of Algarve, taking place in the former Convento do Espírito Santo, in the city of Loulé, Portugal, July 12–15, 2022. The show included 10 artists, with the same amount of works, nine of which were produced by first-year doctoral students, with the exception of Inês Regina Argôlo, who was in her third year of studies at the time. (You can learn more about the works and artists that made up this show on the page https://dmad.ciac.pt/ category/2022/exposicao/artistas). The concept of the exhibition addressed the notion of what can be considered tangible or intangible, discussing the possibilities or impossibilities of digital art, its limits, the way in which the digital experience can become tangible and impact the world positively, as well as the expansion or contraction of this same world from digital resources. Regarding the Rejeitorio artifact in this exhibition, it should be noted that, unlike the previous exhibition, in which the artifact was presented and experienced without any problems, in this one, we faced some challenging technical problems. On the day of the assembly, which corresponded to the day before the opening of the exhibition, we noticed that the computer with the software and the programming to execute the video installation seemed to be damaged after the long transfer to Loulé. (Between alternating trips by bus and plane, the artist faced approximately 24 hours of transfers, covering the routes from Juazeiro da Bahia to Salvador, then from Lisbon to Porto, then to Lisbon and Faro.) It was necessary to look for a technician at the last minute in the city, who informed us that the computer had problems with the hard disk and that it could not be ready until the opening of the exhibition. Thus, it was necessary to borrow another computer and reprogram several code lines. After solving this problem, another one was consolidated: one of the cables from one of the infrared sensors had bad contact. After an attempt to fix it in a position where the artifact was working properly, we concluded the assembly on the opening day. As shown in Figure 11, the artifact was at the back of the auditorium, quite far from another artifact, which was positioned at the entrance of the place. Figure 11. Left: Map of the installation location in the former Convento do Espírito Santo adapted from Fabian (2022, p. 15). Right: the installation; picture by Inês Argôlo 10 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 This physical space also proved to be more suitable in terms of lighting than the space used in the previous exhibition. Since as it had multiple lamps arranged throughout the auditorium, it was possible to leave only a few of them on, resulting in an environment where it was possible to visualize the markings made on the floor without much effort (see Figure 11, on the right) and we were also able to see the projected images more clearly (see Figure 12). Another very important positive point for the investigation that could be carried out in this exhibition refers to the records: this second time, it was possible to record the use of the work by Figure 12. Audience watching; adapted from Centro de Investigação em Artes e Comunicação (2022) Figure 13. Three simultaneous visitors. Picture by Inês Argôlo 11 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 several people at the same time (see Figure 13), as well as the feedback from the public in regarding the artifact. It is necessary to mention something negative that occurred during the exposition: The infrared sensor that had a malfunctioning cable again presented problems of poor contact, resulting in the immediate non-display of the video that showed the nature recomposing at the output of the interactors. It was necessary to move the cable for it to work again and display that video. Returning to the positive aspects addressed previously, in order to have the registration of feedback from the interactors, open questionnaires with only two questions were applied: “Where are you from? [Country]” and “What do you understand about the work?” in Portuguese and English. The dynamics took place as follows: The questionnaires were arranged next to Module 2 of the artifact, accompanied by a pen, and the public was free to answer them before or after use (or even just viewing the experimentation of anyone in the exhibition opening). Forty questionnaires were made available, and eight of these were returned, which corresponds to 20% of the total. Audience comments are shown in Table 1. By analyzing the first column of this table, we noticed that among those who answered the questions, five people were of Portuguese nationality, and three were Brazilian. With Brazil and the destruction caused by the dam failure, as a theme, it was noticeable that a small fraction of people went very specific about their comprehension of it. One respondent even identified that a representation of the São Francisco River was portrayed in the video. The majority of the public already understood that the message of the work addresses the destruction of the natural environment thanks to human activity, which, in fact, corresponds to the message at a macro level. The answers show that the work proved to be relevant by prompting a reflection on those issues. CoNCLUSIoN This paper has presented the context that motivated the creation of the video installation Rejeitorio, discussed other works that are related to it to some extent, then delved into the description of the artifact and, finally, addressed the exhibitions that the work was exposed and the public’s impressions of it. With the responses of the interactors, we realized that Rejeitorio was able to sensitize the visitors of the exhibitions in which the artifact participated. Produced in the context of a doctoral program, the artifact Rejeitorio is the first version of an ongoing research project. There is a second version, called Rejeitorio: The man’s struggle against the Table 1. Data obtained from the answers to the questionnaires Nationality Portugal Audience comment The work reveals, in a poetic and imagistic way, the human pressures on ecosystems. The work awakens the viewer’s sensitivity to environmental issues. The artifact puts us in the place of the actor in relation to the environmental issue. There is an environmental pollution problem in Brazil, with the discharge of sludge into rivers, where its stop is in the hands of man–figuratively, the sensors show this, revealing in the images how much it interferes with ecosystems. A representation of the consequences of human presence on natural resources It denounces human action, more specifically the São Francisco River and the need to become aware of its impact on future generations. Brazil How human action is capable of destroying nature, which in itself is so harmonious. Human intervention in the river environment and surroundings was evident. The exhibition of the work leads us to understand that the action of man, especially his lack of conscience, causes harmful and irreversible damage to nature. 12 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 river, which is being developed at the present time. Basically, the video installation is the same, but it has audios that have the sound design composed of sounds captured near the São Francisco River, in the city of Juazeiro da Bahia, such as the noise of the waters and other ambient sounds. There is also a plan to add a soundtrack performed with viola caipira and a string recited in a sudden form. Combining human and digital in the artifact’s production process, aesthetics, and public interaction, the video installation ends up drawing attention to both local and global problems. The reflection on the importance and possible destruction of the São Francisco River leads to discussions that involve the history, economy, society, and ecology of the Brazilian Northeast semi-arid region. And, in view of the environmental destruction in different corners of the Earth and also after noticing the recovery of several ecosystems during the recent SARS-CoV-2 pandemic due to the low contingent of human beings circulating (or total absence in some places), we realized that Rejeitorio can assume a bias that transcends the temporality that involves the tragedy of Brumadinho and the strictly local issues, being to a greater extent a work that points to the need to experience, in fact, a deep ecology in our daily life. 13 International Journal of Art, Culture, Design, and Technology Volume 11 • Issue 3 REFERENCES Candy, L. (2006). Practice based research: A guide (Vol. 1). University of Technology. Capra, F. (2006). A teia da vida: Uma nova compreensão científica dos sistemas vivos. Editora Cultrix. Centro de Investigação em Artes e Comunicação. (2022, July 13). Facebook image post. https://www.facebook. com/ciac.ualg/photos/pcb.5834187586611175/5834173119945955/ Comitê da Bacia Hidrográfica do Rio São Francisco. (2021, January 25). Brumadinho: Tragédia faz 2 anos e insegurança ainda ameaça a bacia do São Francisco. https://cbhsaofrancisco.org.br/noticias/novidades/ brumadinho-tragedia-faz-2-anose-inseguranca-ainda-ameaca-a-bacia-do-sao-francisco Diário Online. (2019, January 27). Vídeos mostram animais agonizando após rompimento de barragem em Brumadinho. https://www.diarioonline.com.br/noticias/brasil/noticia-571740-videos-mostram-animaisagonizando-apos-rompimento-de-barragem-em-brumadinho.html Fabian, L. (2022). Room sheet [Image]. https://drive.google.com/file/d/1GmzpUVdDD38JbTTgrSC15RIHa6p foSe5/view G1 Minas. (2019, January 26). Lista de mortos na tragédia em Brumadinho: Sobe para 233 o número de identificados até agora. https://g1.globo.com/mg/minas-gerais/noticia/2019/01/26/veja-quem-sao-as-vitimasda-tragedia-em-brumadinho.ghtml G1 PE. (2019, March 29). Rejeitos de Brumadinho chegaram ao Rio São Francisco, diz Fundação Joaquim Nabuco. https://g1.globo.com/pe/pernambuco/noticia/2019/03/29/rejeitos-de-brumadinho-chegaram-ao-riosao-francisco-diz-fundacao-joaquim-nabuco.ghtml Ribeiro, L. (2019, February 4). Após tragédia, fundação considera Rio Paraopeba como “completamente morto.” Jornal Estado de Minas. https://www.em.com.br/app/noticia/gerais/2019/02/04/interna_gerais,1027814/apostragedia-fundacao-considera-rio-paraopeba-completamente-morto.shtml Siqueira, J. A. (2012). Flora das caatingas do Rio São Francisco: História natural e conservação. Andrea Jakobsson. SOS Mata Atlântica. (2019, April 4). Rejeitos contaminados pelo rompimento de barragem da Vale chegam ao rio São Francisco. https://www.sosma.org.br/107943/rejeitos-contaminados-de-rompimento-de-barragem-davale-chegam-ao-rio-sao-francisco Vegazeta. (2019, January 28). Rejeitos de minério da Vale comprometem a mata atlântica de Brumadinho. https:// vegazeta.com.br/vale-compromete-a-mata-atlantica-de-brumadinho 14