Word: paulo
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Dates: during 1960-1969
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...never really a eureka moment on any of these projects," said Hurley, "but when I began to plot these samples, the correlation was astounding. They all fitted exactly." In addition to the identical ages of the regions, Hurley, his M.I.T. associates and their collaborators at the University of Sao Paulo found the boundary line between the 550-million-and 2-billion-year-old areas in northeast Brazil exactly where they had predicted it would...
...many and mighty rivers offer a wealth of power-producing capacity, but less than 10% of the country's hydroelectric potential is utilized. Even major cities suffer from a severe kilowatt lag. In Rio de Janeiro, lights often flicker-and sometimes die-and Säo Paulo's massive industrial complexes are perennially pestered by a shortage of juice. Prospects are brighter: a giant project abuilding in south-central Brazil will help illuminate some of the country's dark corners and produce a stream of electricity for its cities...
...will increase the nation's power production in twelve years to 12 million kw. This is hardly startling by the standards of developed nations, but much of Brazil's huge area (3,290,000 square miles) will be affected. Most directly helped will be Säo Paulo, Brasilia and Rio, which now share power from the Cubatāo and Furnas dams. When Urubupungá turns on, a grid will assure an even flow of electricity from the three complexes...
...enthusiasms was for Karl Marx, but his interest was more scientific than ideological. Marx seemed to be talking about realities, hidden behind surface thought, that controlled some of man's responses to his environment. A chance appointment as professor of sociology at the University of Sāo Paulo dispatched Lévi-Strauss in 1935 to Brazil. The new arrival's intellectual curiosity shortly lured him into the jungle on anthropological field trips. The experience permanently altered his appreciation...
...success; his oils were being bought by the Metropolitan Museum, and his realism was accepted as the quintessence of the search for American roots and the often angry realism of Depression-era artists. Last March he was named the keystone artist to represent America at the 1967 Sao Paulo Bienal. Said Brandeis University's William Seitz, who made the selection: "There is no other master who can better represent what is most characteristic of art in the U.S. A pioneer in representing 'unpaintable' American subjects, he provides a bridge from the Ashcan School to the decade...