Memoria para optar al Título de Realizadora en Cine y Televisión / “Ver la luz” es un ensayo poético realizado con material de archivo íntimo contenido en una pieza u obra audiovisual, la cual evoca momentos sensibles de su vida mediados con la llegada de un hijo. A nivel conceptual el término que se trabaja es lo “genuino", como la conexión sensible entre el realizador/ autor y el modo de creación, termino acuñado a partir del concepto de Aura que sostiene Walter Benjamin, al referirse a la conexión sensible entre obra y espectador, como una conexión real. Es por ello que el foco principal se basa en hallar dicha conexión sensible en el proceso creativo de la obra misma. Bajo esta premisa esta obra se trabaja en un nivel completamente subjetivo de parte de la realizadora, cuyos cánones y márgenes que delimiten y den forma a la obra estarán completamente ligados a un proceso personal expresivo en la búsqueda por crear un lenguaje audiovisual cómodo que le permita evocar y/o representar su imaginario. !

The central argument advanced in this dissertation is that the production of totalitarian space relies on the systematic destruction of spatial aura. I begin by critically studying the term “totalitarian” with references to Hannah Arendt and Robert Conquest, and re-appropriating it based on relevant insights from Herbert Marcuse, Theodor Adorno and Max Horkheimer, Georg Lukács, and Slavoj Žižek. In the meantime, I introduce the Baath state in Syria and Iraq as an example of totalitarianism, and present a concise account of its ideological history. Here I also shed light on important aspects of Critical Theory, which will have a recurring role throughout the project. I then discuss spatial production by critically explicating Henri Lefebvre’s dialectical theory of the production of space, which claims that space is produced according to the dominant modes of production. However, despite its critical significance to my project, Lefebvre’s theory alone cannot account for totalitarian space. Therefore, after pausing on Lefebvre’s concepts of appropriated versus dominated spaces, I move to Michel Foucault’s work on the Panopticon as a major spatial technology of power and a generalizable formula in societies of control and discipline. I also introduce Foucault’s heterotopia and Gaston Bachelard’s poetic space as counter examples to totalitarian space. Indeed, I argue that Lefebvre’s appropriated space, Foucault’s heterotopia, and Bachelard’s poetic space all have something in common. Aura, with its inherent negativity, is precisely the concept to indicate such spatial uniqueness, the systematic elimination of which is definitive of totalitarian space. In addition to critically exploring Walter Benjamin’s definitions of aura and developing his secularized notion of it, I also focus on his claim that mechanically reproduced works of art lack aura. This then brings me to the last stage of my project where I argue that mechanically reproduced images are not just auraless; they also destroy the aura of space. Finally, by way of illustration, I turn back to the example of the Baath state and analyze the use of mechanically reproduced images of the leader as destroyers of spatial aura and thus crucial components of the production of totalitarian space.

Submitted by Marcelo Andrade Silva (marcelo.andradesilva@ufpe.br) on 2015-03-09T14:05:20Z No. of bitstreams: 2 DISSERTAÇÃO Sérgio Henrique de Souza Rocha .pdf: 2937078 bytes, checksum: dd560e3c5a0cbfb8982d829b73fa1613 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-09T14:05:20Z (GMT). No. of bitstreams: 2 DISSERTAÇÃO Sérgio Henrique de Souza Rocha .pdf: 2937078 bytes, checksum: dd560e3c5a0cbfb8982d829b73fa1613 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2014 / FACEPE / A migrânea gera grande impacto socioeconômico e na qualidade de vida dos pacientes. Apesar da fisiopatologia não está completamente elucidada, sugerese que alterações na atividade neuronal do córtex occipital podem ser um dos responsáveis por desencadear a enxaqueca. O estudo teve o objetivo de comparar a excitabilidade do córtex visual de pacientes migranosos, com ou sem aura no período entre as crises, com a de sujeitos saudáveis; modular a excitabilidade cortical de pacientes migranosos com a estimulação transcraniana por corrente contínua (ETCC) e observar suas repercussões clínicas e neurofisiológicas. O presente estudo foi dividido em duas etapas. Na primeira, um estudo de corte transversal foi conduzido para comparar a excitabilidade do córtex visual de 23 migranosos (11 com aura e 12 sem aura) com a de 11 indivíduos saudáveis. Na segunda etapa, foi realizado um ensaio clínico piloto, randomizado, controlado e duplo cego, com 15 migranosos distribuídos aleatoriamente em dois grupos: grupo experimental (n=10), submetido a 12 sessões de ETCC catódica sobre o córtex visual; e grupo controle (n=5), submetido a 12 sessões de ETCC sham (fictícia). O diário de cefaleia foi aplicado antes, durante e após o tratamento e analisado como medida de desfecho primário. Como indicador do nível de excitabilidade cortical, o limiar de fosfeno induzido pela estimulação magnética transcraniana no córtex visual foi realizado antes e após cada sessão e analisado como medida de desfecho secundário. Na primeira etapa do estudo, o teste Anova one-way revelou maior nível de excitabilidade cortical entre os migranosos (com e sem aura) e os voluntários saudáveis. Não foi observado diferença na comparação entre os migranosos com e sem aura. Na segunda etapa, o teste de Friedman indicou uma diminuição significativa após as sessões de ETCC nos dias relatados com migrânea, no uso de medicamentos e na duração das crises apenas no grupo experimental. A análise do limiar de fosfeno não indicou alterações significativa na excitabilidade cortical após as sessões de ETCC catódica. Os achados das duas etapas do estudo revelaram que o córtex visual de pacientes migranosos é mais excitável do que a de indivíduos saudáveis e sugere que a ETCC inibitória pode ser utilizada como método de tratamento profilático da migrânea.

No description available.

Thesis (M.Sc.)--Memorial University of Newfoundland, 1988. / Typescript. Bibliography: leaves 70-74. Also available online.

Aims: Test the putative contribution of 17-beta-estradiol in the development of spreading depression (SD) events and head pain in awake, non-restrained rats. Main Methods: Female, Sprague-Dawley rats were intact or underwent ovariectomy followed one week later by surgery to place electrodes onto the dura to detect epidural electroencephalographic activity (dEEG). dEEG activity was recorded two days later for 12 hours after systemic administration of 17-beta-estradiol (180 mu g/kg, i.p.). A separate set of rats were observed for changes in exploratory, ambulatory, fine, and rearing behaviors; periorbital allodynia was also assessed. Key Findings: A bolus of 17-beta-estradiol significantly elevated serum estrogen levels, increased SD episodes over a 12-hour recording period and decreased rearing behaviors in ovariectomized rats. Pre-administration of ICI 182,780, an estrogen receptor antagonist, blocked 17-beta-estradiol-evoked SD events and pain behaviors; similar results were observed when the antimigraine therapeutic sumatriptan was used. Significance: These data indicate that an estrogen receptor-mediated mechanism contributes to SD events in ovariectomized rats and pain behaviors in both ovariectomized -and intact-rats. This suggests that estrogen plays a different role in each phenomenon of migraine where intense fluctuations in concentration may influence SD susceptibility. This is the first study to relate estrogen peaks to SD development and pain behaviors in awake, freely moving female rats, establishing a framework for future preclinical migraine studies.

Effondrement et poussée sont les deux étais qui font le soutènement de la surface picturale dans l’art contemporain. De cette hypothèse, est né un parcours esthétique à la recherche de ce qui crée l’événement dans la surface : l’espacement de la surface mallarméenne, l’ouvert de Maldiney et le « vide actif » chez Cézanne ou Mondrian, le saut ou « jump » de Willem de Kooning, l’incise, la déchirure, ce par quoi le regard semble tomber dans la surface, semble s’abimer dans ses dessous et provoquer ce que Walter Benjamin nomme l’image dialectique, un état-limite où la sensation d’effondrement intérieur se double d’un plaisir esthétique fondé sur une pratique de chiffonnier : la récolte de détritus ou de déchets pour créer un montage de temps, une surface complexe. Cet état-limite de la peinture est développé par Didi-Huberman grâce au concept de pan dont la force antithétique réunit les pôles entre lesquels s’écartèle la peinture : ordre et chaos, autrefois et présent, lointain et proche, structure et texture, vide et plein… Le battement qui en résulte fait naître, fait pousser un regard autre, caractéristique de l’aura dont on se demande si elle n’est pas l’origine même de la peinture et non pas sa conséquence, ses effets. Ainsi, la question de l’aura génère-t-elle des questions plastiques telles que la trace, la marque, le trait, le blanc, le vide, le rien… mais aussi celles du pli, du dépli, du repli et de son équivalent le retrait. La métaphore anthropologique de la peau est le fil conducteur de cette thèse dont les occurrences se retrouvent également dans la figure de l’arbre, de l’écorce, feuilles et nervures. Le livre ou le cahier auxquels est dévolue une partie de la recherche prend sa source dans la matière même de l’arbre, le liber, pellicule entre l’écorce et le bois. Le geste même de l’inscription est interrogé et, avec lui, les lieux et les temps mêmes de sa déposition, surfaces picturales. / Pictorial surfaces: collapse & thrust is based on the assumption that the “surface entity”, following the expression coined by Christian Bonnefoi, is the unstable location of painting, whose construction can only be chronological. An aesthetic journey unfurls on the foundation of this allegation, the first step being the attempt to determine a typology of surfaces : surface spacing as in Mallarmé’s work, the “open” in Maldiney’s work, with “active emptiness” in Cezanne or Mondrian’s work -, and also, what opens the body of painting. The rift on the surface, the missing part has the value of Willem de Kooning’s leap or “jump”. The incision, the tear through which the eye seems to drop onto the surface takes the shape of a strip, grating or mesh. Collapse can put on the attire of disaster. What emerges at the precise spot where stars fell is the dialectical venue of images, a border-line where the sensation of inner disintegration comes with an aesthetic pleasure based on a practice giving preference to withdrawal and generating a complex surface. This border-line of painting is taken up by Didi-Huberman, with the concept of “face”, whose antithetical strength brings together poles between which painting is torn apart: order and chaos, past and present, distance and proximity, structure and texture, emptiness and completeness. The resulting pulsation gives birth to, creates a different vision, which characterises the aura which may be the very origin of painting, we may wonder, not its consequence or effects. So, the question of the aura reaffirms the idea that there is something unknown about the surface and gives rise to the question of sensation in painting and concomitantly that of memory in the creative process.

From the closing decades of the twentieth century, the philosophy of Walter Benjamin has been readily employed by academics seeking to legitimate lens-based art as critical practice and challenge the ideals of high modernism. Yet this situation has engendered a compulsion to read Benjamin as a harbinger of post-modernism, a tendency responsible for severe miss-interpretations of his work. This is most evident in accounts of arguably his most famous thesis: the philosophy of the aura. For scholars aiming to renounce autonomy, originality and genius in artistic labour, Benjamin’s reading of the aura’s decline has become a weapon of choice. However, although the auratic holds immediate significance for creative practice, what is often overlooked by invocations of Benjamin’s study is the fact that the aura does not describe a material or phenomenal quality that objects may or may not possess. On the contrary, the aura is a form of perceptual experience, a sensation analogous to reverie or contemplation. It is in response to claims that Benjamin’s thesis has been misconstrued that Aura, Craft and Labour is conceived. My dissertation sets out to re-stage the critical study of the auratic and thus revivify the philosophical, political and psychological motifs at play in Benjamin’s work. But to achieve this I do not intend to bypass subjects of artistic production and aesthetics. Rather, I aim to explore the sensory and experiential matrix of the auratic against the context of a critical dialogue between photography and painting, thereby identifying how an assessment of the breaks and ruptures that mark revolutions in creative practice can illuminate our insight into the aura debate.

The modern gaze developed through a network of changes to perception during the nineteenth century. A significant element within these changes is Walter Benjamin's concept of the 'aura'. This research paper examines the social aura contained in the space of a nineteenth century European city, the aural perception of an individual mobile gaze, and the decay of the aura that results from the decline of experience in the contemporary metropolis. I have linked the decline of experience and loss of aura to the arrival of photography in the 1840's. This new technology had the ability to fix a visual image into a permanent record and as recorder of reality, had a large impact on perception. For example, it had the ability to bring the exotic near, and provide close-ups of natural objects not possible with the naked eye. The camera 'sees' in a different way to how the eye 'sees'', yet photographic seeing is accepted as being the normal mode of perception. It is a way to capture an experience, and to relive this at a later date by providing a reference point for memory; the modern gaze looks back, it lacks a lived experience in the now / Master of Arts (Hons)

<p>Värdet av ett konstverk på auktionsmarknaden kan bestämmas av ett antal faktorer såsom marknad, trender, smak mm. Även begreppen aura och konstnärens kanonisering kan spela en stor roll för värdet. Syftet med uppsatsen är att ge en inblick i hur aura och kanonisering kan påverka värdet av konst. Det är troligt att det inte finns någon tidigare forskning i större utsträckning som har inriktat sig på detta specifika problem.</p><p>Tillvägagångssättet är att uppsatsen inleds med en genomgång av begreppen aura och kanonisering samt en kort analys av hur konstvärdering går till i praktiken. Därefter analyseras tre verk, som har sålts till ett lågt pris på kvalitetsauktion i Stockholm, med avseende på konstnärens kanonisering och verkets aura för att försöka utröna hur detta har påverkat värderingen.</p><p>De tre verken är Carl Johansson, <em>Strandlandskap i aftonljus</em>, Dirck van Baburen (hans efterföljare) <em>Dryckesbroder</em> samt Edv. Stengel, <em>Hamnbild i månsken</em>.</p><p>Kanon har här definierats som en "kändislista" över väl etablerade konstnärer. Den klassiska kanon bygger på tanken att kvaliteten hos konst objektivt kan bestämmas. Det finns emellertid ett högst subjektivt element i konsten som kan beskrivas som verkets aura. Denna kan beskrivas som det element som finns i ett original men inte i en kopia, dess historia, slitage mm. Till detta hör även konstnärens uttryck av något sinnligt och estetiskt som förmedlar en upplevelse när man betraktar verket.</p><p>Slutsatsen är att de tre analyserade verken med låg aura och låg kanonisering har sålts till ett förhållandevis lågt pris. Ett av de analyserade verken hade en kanoniserad konstnär (Carl Johansson) men det räckte inte till för att ge en högre värdering.</p>