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Abstract Background Plant-parasitic nematodes are economically important pests responsible for substantial losses in agriculture. Researchers focusing on plant-parasitic nematodes, especially on finding new ways of their control, often need to assess basic parameters such as their motility, viability, and reproduction. Traditionally, these assays involve visually counting juveniles and eggs under a dissecting microscope, making this investigation time-consuming and laborious. Results In this study, we established a procedure to efficiently determine the motility of two plant-parasitic nematode species, Heterodera schachtii and Ditylenchus destructor, using the WMicrotracker ONE platform. Additionally, we demonstrated that hatching of the cyst nematode H. schachtii can be evaluated using both the WMicrotracker ONE and by assessing the enzymatic activity of chitinase produced during hatching. Conclusions We present fast and straightforward protocols for studying nematode motility and hatching that allow us to draw conclusions about viability and survival. Thus, these methods are useful tools for facilitating fast and efficient evaluation in various fields of research focused on plant-parasitic nematodes.

Em entrevista realizada por Jiří Anger e Tomáš Jirsa, a teórica americana Eugenie Brinkema explica sua abordagem formalista ao terror e outros “gêneros corporais”, fala da dimensão ética da violência e os desafios da análise afetiva para a teoria do cinema, ao mesmo tempo em que oferece uma ampla gama de maneiras inspiradoras de como tornar o pensamento através do filme esteticamente generativo e conceitualmente enriquecedor.

This paper deals with the aesthetics of absence and pre-postmodern strategies as carried out in the short story “Prázdná židle [Empty Chair]” (1916) by Richard Weiner. Drawing on the methodological fusion of narrative analysis, media philosophy, and visual anthropology, I argue that Weiner’s text offers a specific “portrait of absence”, which is able to intensify the subject despite its physical non-presence. In the first part, Weiner’s discursive strategy of feigning, revealing common features with postmodern metafiction and producing a rupture between what the text says and what it does, is explained. The second part analyzes an ironization of its affective and thematic center while bringing forth a new concept of “dia-narrative”. The third part explores the main figure of the empty chair in its intermedial relations with the portraits of Vincent van Gogh (1888) and the founding work of the conceptual art by Joseph Kosuth (1965).