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L’esthétique du vide en photographie est aussi ancienne que le médium lui-même. Son origine remonte aux premiers balbutiements de la technique qui, visant à obtenir une représentation exacte de la nature, s’est retrouvé confrontée aux forces résistives du réel. À l’insu de tous, cette esthétique émergea d’une tension entre le geste de l’inventeur, du créateur, qui souhaite accomplir son projet – forcer la “nature” à son dessein – et le réel qui résiste et entrave les tentatives. Toute la photographie “primitive” est marquée plastiquement par ce tiraillement entre des forces antagonistes. L’illusion, tant souhaitée, d’une représentation fidèle se déroba, laissant à la postérité la beauté de ces images sans pareille, ouvrant l’espace aux possibles. Les zones obscures, troubles et vides ont participé activement à doter ces photographies d’une aura, plongeant les spectateurs dans des contemplations et des rêveries sans fin. La phénoménalité du monde a marqué de son sceau l’esthétique photographique, transformant paradoxalement les projets technicistes, épris de précision, en aventures plastiques singulières et étranges. Ce grand écart entre désir d’appréhension et résistance du réel a produit des effets, des traces tangibles de l’étrangeté même du monde. La maturité du médium et de ses acteurs aidant, il n’y a eu, ensuite, qu’un pas à franchir pour que coïncident ces traces et les questionnements philosophiques qui en résultent. Le vide, élément majeur de cette esthétique, fut repris à bon escient comme stratégie au service du sentiment du sublime. Pour mettre en scène ces problématiques, nous convoquons l’histoire du médium photographique et, avec elle, ses plus illustres acteurs. Cela nous servira de fil d’Ariane pour parcourir les deux siècles qui nous séparent de l’invention de la photographie et voir comment, au cours de l’histoire de ce médium, des photographes ont réactivé cette esthétique. Cette thèse se propose, à travers de riches analyses historiques, techniques et théoriques, d’évaluer les résonances de l’esthétique du vide en photographie, qui consiste à vider l’espace représentatif plutôt qu’à le remplir. Par des études de cas, pratique raisonnée de prises de vue à l’appui, nous tenterons aussi de démontrer comment la photographie est devenue, au fil du temps, un médium privilégié de contemplation, d’observation, d’examen critique des espaces laissés vacants au sein du tissu urbain et comment la dialectique entre lieux réels et représentations photographiques permet, en retour, une réflexion sur les enjeux paysagers de nos espaces urbains. / The aesthetic of emptiness in photography is as old as the medium itself. Its origin goes back to the early days of the technique, which, aimed at obtaining an exact representation of nature, was confronted with the resistive forces of reality. Unbeknownst to all, this aesthetic emerged from a tension between the act of the inventor, the creator, who wishes to accomplish his project - to force "nature" to his design - and the real that resists and hinders attempts. All "primitive" photography is plastically marked by this tension between antagonistic forces. The illusion, so much desired, of a faithful representation fainted, leaving to posterity the beauty of these unique images, opening space to possibilities. The dark, troubled and empty areas actively participated in endowing these photographs with an aura, plunging viewers into contemplations and endless reveries. The phenomenality of the world has marked with his seal the photographic aesthetics, paradoxically transforming technicist projects, loving precision, in singular and strange plastic adventures. This great gap between the desire for apprehension and the resistance of reality has produced effects, tangible traces of strangeness of the world. The maturity of the medium and its actors helping, there was, then, only a step to cross to coincide these traces and philosophical questions that result. The emptiness, a major element of this aesthetic, was appropriately used as a strategy in the service of the feeling of the sublime.To stage these issues, we convene together the history of the photographic medium and most famous actors. This will serve as a clue to glance to the two centuries that separate us from the invention of photography and see how, in the history of the medium, photographers have reactivated this aesthetic. This thesis proposes, through rich historical, technical and theoretical analyzes, to evaluate the resonances of the vacuum aesthetic in photography, which consists in emptying the representative space rather than filling it. Through case studies, reasoned practice of shooting in support, we will also try to demonstrate how photography has become, over time, a privileged medium of contemplation, observation, critical examination of spaces left vacant within the urban fabric and how the dialectic between real places and photographic representations allows, in return, a reflection on the landscape issues of our urban spaces.

Este trabalho propõe-se à reorganização e releitura de textos benjaminianos que se referem direta ou indiretamente à questão da percepção. Objetiva levar à maturação e sistematização de elementos para uma teoria da percepção benjaminiana que se encontra dispersa em alguns de seus diversos estudos. Aborda o conceito de percepção colocando-o em situação constelacional com outros conceitos como Estética, comentário, critica, percepção ótica, percepção tátil. Discute sobre o conceito de percepção em alguns momentos da tradição filosófica. Reflete sobre os regimes escópicos da modernidade. E discute sobre a compreensão benjaminiana da percepção como leitura. Aborda uma questão fundamental no pensamento benjaminiano sobre os meios audiovisuais que é o conceito de aura. Intenta situar os termos da discussão controversa sobre o declínio da aura e discorre sobre a forma de percepção que predominaria na recepção cinematográfica: a percepção de choque. Avalia a legibilidade da cidade, através de uma reflexão sobre a flânerie e a visão surrealista, entendidas como práticas sociais inspiradoras da original reflexão de Benjamin sobre a percepção. / The present thesis aims to show the result of Walter Benjamins theory of perception texts organization edited in several publishing. Thus, the general concept of perception is divided into other concepts such as Aesthetics, Comment, Criticism, optical perception and Philosophical perception, presenting the scopic regimes of modernity. Besides, it highlights Benjamins concept of perception meaning the same as reading. It also covers a fundamental subject in his thoughts on visual arts: the aura concept. In addition to these aspects, this thesis has the intention to spot not only the claim about the decline of aura, but also the way of perception that predominates in the movies reception: the shock perception. Finally, it evaluates the legibility of city through a reflection on flânerie and the surrealistic vision seen as social practices which inspired Benjamin original reflection on perception.

Made available in DSpace on 2014-06-12T22:57:28Z (GMT). No. of bitstreams: 2 arquivo1438_1.pdf: 3034354 bytes, checksum: d3fcabc97cc9a9d342f05f1aa763b735 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Universidade Federal de Pernambuco / O comportamento da enxaqueca durante a vida reprodutiva da mulher é influenciado pelas flutuações cíclicas de hormônios sexuais, com ataques ocorrendo predominantemente no período menstrual. Mudanças na frequência da enxaqueca também podem ocorrer durante a gestação, lactação, uso de anticoncepcionais e menopausa. O objetivo da presente tese foi descrever o comportamento da enxaqueca com e sem aura durante a gestação, sua classificação e fatores que possam influenciar o seu curso, além de observar a recorrência de enxaqueca na primeira semana pós-parto e acompanhá-la prospectivamente na quarta semana pós-natal, em mulheres com enxaqueca antes da gestação, comparando essa recorrência entre as mulheres que amamentavam ou não exclusivamente. É um estudo de seguimento com dois componentes, retrospectivo e prospectivo, realizado no Instituto de Medicina Integral Professor Fernando Figueira (IMIP), Brasil, num período de seis meses. De um total de 686 mulheres consecutivamente assistidas na primeira semana pós-parto, 266 foram identificadas como portadoras de enxaqueca com ou sem aura antes da gestação, e nelas foi aplicado a primeira parte do formulário de coleta de dados que respondia a questões relacionadas à gestação e ao pós-parto. Dessas, uma em cada cinco que estava amamentado exclusivamente (53 mulheres) e todas consecutivamente assistidas usando outras modalidades de alimentação (40 mulheres) fizeram parte de uma sub-amostra, totalizando 93 puérperas, para o estudo prospectivo. Nova avaliação foi realizada neste subgrupo, na quarta semana pós-parto, para a investigação da recorrência da enxaqueca. Houve desaparecimento das crises de enxaqueca, tanto na sem aura em 35,4%, 76,8% e 79,3%, como na enxaqueca com aura em 20,7%, 58,6% e 65,5%, respectivamente, no primeiro, segundo e terceiro trimestres de gestação, com diferença estatisticamente significante quando se comparou o primeiro, com o segundo e terceiro trimestres. Essa diferença não se confirmou entre o segundo e terceiro trimestres de gestação. Os fatores associados à presença de crises de enxaqueca durante a gestação foram enxaqueca sem aura relacionada à menstruação antes de gestação no primeiro trimestre, multiparidade no primeiro e segundo trimestres e ser portadora de doença durante a gestação no primeiro e terceiro trimestres. A recorrência da enxaqueca ocorreu em 35,5% e 54,8%, respectivamente na primeira e quarta semanas pós-parto. Após análise multivariada, praticar o aleitamento materno exclusivo, não ter problemas relacionados à amamentação e renda per capita inferior a meio salário mínimo estavam associados à diminuição da recorrência da enxaqueca na primeira semana pós-parto. Na quarta semana pós-parto a prática do aleitamento materno exclusivo continuou como fator protetor para a recorrência de enxaqueca. O estudo contribuiu para elucidar o comportamento da enxaqueca durante a gestação e mostrar que a diminuição da recorrência da enxaqueca pós-parto, tanto na primeira como na quarta semana pós-natal, parece ser mais uma vantagem do aleitamento materno exclusivo

L’appropriation des biotechnologies par les artistes en vue de créer des œuvres de « bioart » a souvent été considérée comme une démarche transgressive par rapport à la frontière qui délimite l’art et la science. Ma recherche vise à analyser un corpus de productions bioartistiques (Que le cheval vive en moi du duo Art orienté objet, Natural History of the Enigma, d’E. Kac et Ear on Arm de Stelarc) afin de mettre en perspective les « paramètres » par lesquels ont juge qu’il y a, notamment, appropriation et transgression, c’est-à-dire qu’il y a « art ». À partir de l’idée que les œuvres de bioart sont celles qui mettent à contribution les biotechnologies pour leur spécificité, c’est-à-dire la capacité à transformer le vivant, une analyse sémiologique met en évidence l’« incarnation » comme principale stratégie plastique du faire art dans les œuvres du corpus. En expérimentant les œuvres, le spectateur expérimente leurs conditions biologiques d’existence, qui sont similaires aux siennes. Il prend alors acte de cette incarnation, ce qu’une analyse phénoménologique met à jour. En comparant les modes de médiation des œuvres du corpus à ceux des icônes byzantines, une analyse médiologique révèle enfin l’équivalence entre incarnation et médiation et la transparence des œuvres de bioart à la technique dont la cybernétique est facteur de totalisation. Il semble qu’en créant des sujets vivants technicisés, les œuvres de bioart posent un jalon à l’évolution des objets techniques, telle qu’elle a été conceptualisée par Simondon : c’est l’intuition sur laquelle se referme cette thèse. / The purpose of my research is to define the aesthetic aims of works of bioart. Its starting point is the need to make an aesthetic analysis of some productions of this movement in order to understand its strategies, for these are wrongly considered as coming from Duchamp’s readymade, since bioartists tend to use biotechnologies to create works of art. This research suggests “bioart” gathers various works which involve biotechnologies inasmuch as they manage to transform the living. In this thesis, three bioartworks are studied: Que le cheval vive en moi, by French artists Art Objet orienté, Natural History of the Enigma, by American artist E. Kac and Ear on Arm by the Australian Stelarc. In order to define the aesthetic aims of these three works of art, an analysis grid inspired by semiology highlights aesthetical mechanisms. This analysis shows that “embodiment” is the main plastic way to art. This embodiment provokes a “sense of presence” in the works of the corpus, which can be identified as their “aura”. The aura allows the viewer to become aware of the biological realm of existence he shares with the artworks themselves. Therefore the aura is the manifestation of the contact between the viewer and the biotechnological meaning of the work. This implies that the works of the corpus embody their messages. The corpus has been compared to the Byzantine icons, which also “embody” their messages, in order to understand to what extent the biotechnological production of the living in art represents such a shift in art theory. By using biotechnologies, the works of the corpus testify about cybernetics, which is one of the main organizing principles of globalization and of the increasing presence of technology in human ways of life. It even appears that with the creation of technical living subjects, they pave the way for the evolution of technical objects, as it was conceptualized by Simondon – this is how the thesis comes to its conclusion.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-12T13:09:58Z No. of bitstreams: 1 José João Name.pdf: 61896518 bytes, checksum: 748295c88a0b436907b486e18ed44728 (MD5) / Made available in DSpace on 2016-09-12T13:09:58Z (GMT). No. of bitstreams: 1 José João Name.pdf: 61896518 bytes, checksum: 748295c88a0b436907b486e18ed44728 (MD5) Previous issue date: 2016-04-14 / The production of photographic images is intense today and their poetic characteristics – like photogeny, for instance – become a permanent debate. Connections between the concepts of photogeny and aura expand boundaries and widen the analytical range of this subject. According to Walter Benjamin, aura as an element which declines due to the technical reproducibility starting in the XIXth century; except specific works offering a poetic approach, despite their reproducibility. Edgar Morin defines photogeny as the poetic quality of beings and things intensified in the image. These assumptions may be evaluated especially in settings of the modern metropolis and in virtual structures and digital cultural environments overlapping and merging with the physical metropolis. The reflection on the contemporary flâneur is emphasized at the intersection between modern metropolis and cybercity. These new characters and environments require a relational approach regarding concepts such as objectivity and subjectivity, documental and fictional, also emerging as criteria for the reception of photographic images. The purpose of this thesis is to analyze the interaction present in the relation between production, product and reception using photoessays which I made: a) Impactos da Copa 2014: Favela Vila da Paz e arredores (FVP); of a documental nature; b) Cidade dos Crocodilos: incertezas e estranhamentos (CC), of a fictional nature. São Paulo (Itaquera) and New York, the two metropolises where the essays were made are shown from the perspective of their dynamics of construction and reconstruction. The photographer and the receptors chosen for this study were also part of the metropolises. The theoretical foundation used to carry it out and analyze the results is found in the mediation theory developed particularly by J. Martín Barbero and Guillermo Orozco G.; and in the study on the reception of soap operas by M. Immacolata V. Lopes, Silvia H. S. Borelli and Vera Rezende. The mediation of situational and demographic references and photographic narrativity allowed thinking on the connections and cultural matrices underlying the interaction receptor/product/producer. By using the mediation perspective, the present study assumes that the photographic narrativity is based not only on elements resulting from the media, the interviewees’ cultural background but also based on a material related to the poetic aspect, aura and photogeny of images / A produção de imagens fotográficas tem se intensificado na atualidade e suas características poéticas, como a fotogenia, por exemplo, continuam em permanente debate. As aproximações entre os conceitos de fotogenia e aura propiciam um alargamento das fronteiras e ampliam o alcance analítico sobre a temática. Walter Benjamin situa a aura como um elemento que se atrofia diante da reprodutibilidade técnica a partir do século XIX; reserva, entretanto, para certas obras, uma abordagem poética apesar da reprodutibilidade que as caracteriza. Edgar Morin define fotogenia como a qualidade poética dos seres e das coisas, intensificada na imagem. Esses pressupostos podem ser analisados especialmente nos cenários da metrópole moderna e nas estruturas virtuais e também nas atmosferas das culturas digitais que se sobrepõem e se mesclam à metrópole física. A reflexão sobre o flâneur contemporâneo destaca-se na intersecção entre a metrópole moderna e a cybercity. Estes novos personagens e ambientes demandam um posicionamento relacional para os conceitos de objetividade e subjetividade, de documental e de ficcional, e emergem também como critérios para a recepção de imagens fotográficas. Esta tese objetiva analisar as interações estabelecidas na relação entre produção, produto e recepção, por meio de dois ensaios fotográficos de nossa autoria: a) “Impactos da Copa 2014: Favela Vila da Paz e arredores” (FVP), de caráter documental; b) e “Cidade dos Crocodilos: incertezas e estranhamentos” (CC), de caráter ficcional. As metrópoles de São Paulo (região de Itaquera) e de Nova Iorque, locais da realização dos ensaios, foram analisadas sob o ponto de vista de suas dinâmicas de construção e reconstrução, nas quais encontravam-se também inseridos tanto este fotógrafo quanto os receptores selecionados para esta pesquisa. A base teórica para estruturação do campo e da análise dos resultados encontra-se na teoria das mediações desenvolvida, em particular, por J. Martín Barbero e Guillermo Orozco G., e, no Brasil, por pesquisa de recepção de telenovelas realizada por M. Immacolata V. Lopes, Silvia H. S. Borelli e Vera Rezende. As mediações situacional, demográfica/ de referência e narratividade fotográfica possibilitaram estudar os vínculos e matrizes culturais que estruturam a interação receptor/ produto/ produtor. Esta pesquisa considera, por meio da perspectiva das mediações, que a narratividade fotográfica se estrutura não só embasada por elementos provenientes das mídias e da formação cultural dos entrevistados mas também de faculdades vinculadas ao poético, à aura e à fotogenia das imagens

Cell division requires accurate DNA replication and cells develop checkpoint mechanisms toensure the correct passage of the genetic material. Cells arrest by a checkpoint when DNAdamage is found. After the checkpoint is silenced, the cell cycle can be resumed. Polo-likekinase 1 (Plk1) and Aurora A kinase (AurA) are both important regulators for checkpointrecovery. The question how AurA is activated was studied by many researchers, but the exactmechanism stays unclear.We developed a new setup to study AurA activation during checkpoint recovery. Quantitativeimmunofluorescence of fixed cells as well as a FRET probe that monitors Plk1 activity intime-lapse filming were applied in this study as indirect readouts of Aurora A activation. Theresult suggests that a Plk1-AurA feedback loop exists during checkpoint recovery. It can alsobe concluded that the inhibition of Cdk1 reduces Plk1 and AurA activity during checkpointrecovery. We also investigated the effect of calcium interfering drugs on AurA activation butno conclusive result was obtained.

The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research.

In this thesis, I contend that some form of aura can be recovered from the ravages of technological reproduction described in Walter Benjamin’s “The Work of Art in the Age of its Technological Reproducibility (Third Version).” Recovering this aura, however, may require adopting an aesthetic of immediacy through destruction and even wanton disposability (what Georges Bataille in his general economic theory calls “nonproductive expenditure”) to ensure that, though routinely diluted and discarded, the split-second authenticity of a work remains, its radical ephemerality and formal irreproducibility opposing the enslaving, commodifying powers of the copy. The poetry and poetic theory of American poet Charles Olson, especially in his long poem “The Kingfishers” and his essays “Projective Verse” and “Human Universe,” serves as an example of how an author might inscribe auratic energy along nonproductive, general economic lines.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-06-04Bitstream added on 2014-06-13T18:26:24Z : No. of bitstreams: 1 falvo_ca_me_arafcl.pdf: 206330 bytes, checksum: fa68773724189052a0436d7aa277c054 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / La disertación de Maestría O Fantástico en Carlos Fuentes: Aura tiene por principal objetivo analizar la obra Aura desde el punto de vista de lo fantástico, abordándolo conexo al mito del doble, fundamental para el género. Se empieza por una presentación del autor Carlos Fuentes, seguida de una presentación de la historia literaria de lo fantástico para, por fin, hacerse una análisis detallada acerca del aspecto fantástico de la novela en estudio. / A dissertação de Mestrado O Fantástico em Carlos Fuentes: Aura tem como objetivo central analisar a obra Aura sob o ponto de vista do fantástico, abordando-o em conexão ao mito do duplo, fundamental para o gênero. Inicia-se com uma apresentação do autor, Carlos Fuentes, seguida de uma apresentação da história literária do fantástico para, finalmente, ser feita uma análise detalhada sobre o aspecto fantástico na obra em estudo.