O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

Orientadores: Stephen Hyslop, Carla Beatriz Collares-Buzato / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Biologia / Made available in DSpace on 2018-08-10T23:21:13Z (GMT). No. of bitstreams: 1 Nascimento_JulianaMinardi_D.pdf: 8097756 bytes, checksum: 5350a8b542e9015bd5486f4418b36285 (MD5) Previous issue date: 2008 / Resumo: As peçonhas de serpentes Bothrops são responsáveis por diversos danos locais (na região da mordida) e sistêmicos durante o envenenamento. Dentre as manifestações sistêmicas, a insuficiência renal aguda e um dos mais importantes efeitos tóxicos causados por acidentes botropicos. Esta tese teve como objetivos: 1) investigar a ação da peçonha bruta de B. alternatus em células epiteliais renais MDCK; 2) proceder a purificação e caracterização de uma DNase acida presente nesta peçonha; e 3) determinar a possível ação apoptotica desta DNase sobre células MDCK em cultura. Com relação as ações in vitro do peçonha bruta de B. alternatus, observamos modificações no citoesqueleto, nas junções intercelulares e sobre a morte celular das células MDCK tratadas com 10 ou 100 µg/mL de peçonha bruta. Dentre as modificações observadas, houve uma diminuição da resistência transpitelial, uma redistribuição de algumas proteínas associadas as junções intercelulares acompanhada por um desarranjo do citoesqueleto envolvendo as fibras de estresse na superfície basal e adesão focal associada a F-actina na região de contato celula-matriz. A analise morfometrica mostrou uma diminuição do numero de células entrando em mitose e um aumento do numero de células com núcleos picnoticos ou morfologicamente alterados apos tratamento com o peçonha. Microscopia eletrônica de varredura revelou uma densidade de microvilosidades diminuída, assim como a alteração da morfologia celular normal, de poliédrico para um formato fusiforme, nas células tratadas. O tipo principal de morte celular induzido pelo tratamento com o peçonha bruta foi a necrose, com uma freqüência pequena de indução de apoptose. O pré-tratamento das células MDCK com catalase, superoxido dismutase e L-NAME inibiu os efeitos sobre morte celular causados pelo peçonha bruta, indicando o envolvimento de espécies reativas de oxigênio e nitrogênio nos danos causados pelo envenenamento pela peçonha de B. alternatus. As peçonhas ofídicas possuem uma grande variedade de enzimas que degradam ácidos nucléicos e seus constituintes. As desoxirribonucleases (DNases) são endonucleases presentes em peçonhas de serpentes que hidrolisam acido desoxirribonucleico (DNA). Sua ação no envenenamento ocorre em conjunto com outras enzimas que quebram ligações fosfato (ATPases, 5¿-nucleotidases, fosfodiesterases, ribonucleases). Vários estudos sobre endonucleases em mamiferos sugerem que a DNase II (DNase acida) seria responsável pela fragmentacao do DNA durante a apoptose. E também conhecido que peçonhas são capazes de induzir apoptose em células. Através de uma combinação de cromatografias de troca iônica, gel filtração, afinidade e HPLC, foi purificada uma DNase da peçonha de B. alternatus, com atividade especifica de 3.489 unidades/mg (atividade especifica da peçonha: 65 unidades/mg) e fator de purificação de ~54 vezes. As características bioquímicas desta enzima são: uma massa molecular de ~31 kDa, ausência de subunidades, pI de 4,4-5,2, pH otimo de atividade de 4,7, termo estabilidade ate 40oC. O Km e Vmax são 10.1 µg/mL e 352.5 U/mg, respectivamente. A enzima degrada preferencialmente DNA de dupla fita, com atividade menor sobre DNA desnaturado; também degrada DNA circular (dos plasmideos pGEM e pBR322) mas não degrada RNA ou poly A. E inibida por altas concentrações (100 mM) de cations (Ca2+, Mg2+ e Zn2+), e também por N-etilmaleimida, iodoacetamida, acido aurintricarboxilico e DTT, mas não por EDTA. A enzima e reconhecida por IgG antibotropica em Western blot e no ELISA e por anti-DNase II humana no Western blot. Em celulas MDCK, a DNase produz alterações morfologicas como vacuolacão do citoplasma, retração e destacamento das celulas em monocamada, presença de núcleos condensados e/ou fragmentados. Através de ensaios de viabilidade e citotoxicidade, verificamos que a DNase e citotoxica as células MDCK em doses a partir de 400 U/mL (~20 µg/mL). Alem disso, causa fragmentação de DNA e um aumento no numero de células apoptoticas, em menor proporção, de células em necrose. A via de apoptose estimulada pela enzima envolve a ativação das caspases 3, 8 e 9, e uma diminuição na expressão da proteína anti-apoptotica Bcl-2. Estes resultados mostram que a peçonha de B. alternatus e citotoxica as células MDCK, com parte desta toxicidade mediada pela DNase II. Esta enzima induz apoptose que poderia contribuir para a toxicidade geral da peçonha / Abstract: Bothrops snake venoms are cytotoxic to a variety of cells (endothelial, smooth muscle, renal and inflammatory cells), and may cause cell death by apoptosis. The venom components implicated in apoptosis include metalloproteinases and L-amino acid oxidase. In contrast, although acidic deoxyribonucleases (DNase II) have been implicated in DNA fragmentation during apoptosis in mammals, nothing is known of the involvement of venom deoxyribonucleases in this phenomenon. In this thesis, we 1) investigated the cytotoxicity of Bothrops alternatus venom in Madin-Darby canine kidney (MDCK) epithelial cells, 2) purified and characterized an acidic DNase from this venom, and 3) assessed the apoptotic activity of this DNase in MDCK cells. Treatment with B. alternatus venom (10 and 100 µg/mL) markedly decreased the transepithelial electrical resistance of cultured cells, and caused redistribution of some junctional proteins followed by cytoskeletal rearrangement involving stress fibers at the basal cell surface and focal adhesion-associated F-actin in the cell-matrix contact region. There was a decrease in the number of mitotic cells and an increase in the number of cells with pycnotic or morphologically altered nuclei. Scanning electron microscopy revealed a decrease in microvillar density and alteration in the normal cell morphology from polyhedric to fusiform. Staining with annexin V-FITC and electrophorese of cellular DNA suggested that cell death was predominantly by necrosis. Pretreating the cells with catalase, superoxide dismutase or L-NAME significantly attenuated the venom-induced cell death, indicating the possible involvement of reactive oxygen and nitrogen species in this phenomenon. DNase II was purified from B. alternatus venom by a combination of ion exchange and gel filtration chromatographies (specific activity = 1.9x103 units/mg vs. 36.1 units/mg for venom, purification factor = 51.2, with a protein yield of 1.75%). The molecular mass of 26.4 kDa (SDS-PAGE) was unaffected by dithiothreitol or i-mercaptoethanol, indicating a single-chain protein. Immunoblotting with affinity-purified IgG from commercial bothropic antivenom also yielded a single protein band with the same molecular mass. The enzyme was also recognized by antibothropic IgG in ELISA and crossreacted with anti-human DNase II in western blots. The isoelectric point determined by 2Dgel electrophoresis was ~5.0. DNase II cleaved double-stranded DNA, denatured DNA and circular DNA (from the plasmids pGEM and pBR 322), but there was no degradation of RNA. The enzyme was active in the pH range of 4.5-5.5, with an optimum at 4.7; activity was lost at >50oC. The Km and Vmax were 10.1 µg/mL and 352.5 U/mg, respectively. Enzymatic activity was inhibited by aurintricarboxylic acid (25 µM), iodoacetamide (1 mM), DTT (1 mM) and Ca2+, Mg2+ and Zn2+ (100 mM), but not by EDTA (5 mM). In MDCK cells, DNase II produced cytoplasmic vacuolization, cell shrinkage and cell detachment from the substrate, as well as condensed and/or fragmented nuclei. DNase was cytotoxic to MDCK cells at > 400 U/mL (~20 µg/mL), caused DNA fragmentation, and increased the proportion of apoptotic cells. The apoptotic pathway stimulated by this enzyme involved the activation of caspases 3, 8 and 9, and a decrease in the expression of the anti-apoptotic protein Bcl2. These results show that B. alternatus venom is cytotoxic to MDCK cells, with part of this toxicity probably being mediated by DNase II. This enzyme induces apoptosis that could contribute to the general cytotoxicity of the venom / Doutorado / Bioquimica / Doutor em Biologia Funcional e Molecular

Este texto descreve minha produção artística desde 1996. Partindo da obra \"Um pouco para cá, um pouco para lá\" estabeleci um fio condutor entre os trabalhos que a antecederam, descritos no capítulo \"Os Primeiros Trabalhos Tridimensionais\", e os trabalhos feitos depois dela, que estão no capítulo \"Experiências em Áreas Públicas\". Todas as obras apresentadas aqui são feitas de tecido; este material mole, em um primeiro momento, encontra apoio nos planos do ambiente onde são expostos e, em um segundo momento, em estruturas de madeira ou ferro. A obra principal desta dissertação apresenta características que considero importantes para compreensão deste percurso; ela está em uma condição intermediária entre os primeiros trabalhos de escala próxima à corporal e dependentes de um ambiente fechado para sua conformação e os trabalhos de grande escala feitos para áreas públicas que possuem uma estrutura que dá suporte ao tecido. O texto é acompanhado de uma documentação fotográfica dos trabalhos descritos e de situações cotidianas que são referências para sua criação; os textos de artistas e pensadores que auxiliaram na compreensão do meu percurso estão citados e/ou comentados em notas de rodapé, criando uma reflexão paralela ao texto principal. / This text describes my artistic production since 1996. Departing from the work \"Um pouco para cá, um pouco para lá\" I have established a conductor thread to connect the works that preceded it, described at the chapter \"First Three-dimensional Works\", and the works done after it, which are at the chapter \"Experiences in Public Areas\". All works presented here are done with textiles; this soft material, in a first instant, finds support at the environment planes where it is exhibited and, in a second instant, in wood or metal structures. The main work of this dissertation presents qualities which I consider important to the comprehension of this course; it is in an intermediary stage between the first works of a scale near to the corporeal and dependent on a closed ambient for its conformation and the big scale works done to public areas which have a structure to give support to the textile. The text is supplied with a photographic documentation of the described works and of quotidian situations which are references to its creation; texts from artists and think- ers which helped me to comprehend my course are cited and/or commented in foot- notes, creating a parallel reflection to the main text.

This work examines the selective deposition of two different metals on the same DNA origami template for nanofabrication. DNA, with adjustable size and shape serves as a suitable template for fabricating metal junctions in the nanometer domain via bottom-up assembly. Bottom-up assembly utilizes the recognition capability of molecules like DNA to self-assemble and form structures. In this regard, DNA origami provides a useful means for forming nanostructures by folding single-stranded DNA into different two and three dimensional shapes. Selective deposition of metal on specific locations of a DNA template is essential for making DNA-templated electronic circuits.Site-specific metallization of DNA origami templates was recently demonstrated, for a single metal at molecularly designated sites. This study addresses the next important step of depositing multiple metals on the same template. Specifically, it is an experimental study to demonstrate the gold-copper metal junction on a DNA origami template, and to understand the challenges associated with junction fabrication. DNA-templated circuit fabrication depends on the ability to deposit multiple components on a DNA template. To achieve this, a section of the DNA template was seeded with Au nanoparticles and electrolessly plated with Au. This Au plated section of the template was then masked with an organic layer to protect it from additional deposition. The remaining section of the same template was subsequently seeded with Pd and plated with copper to form the desired metal junction. This work is the first of its kind to demonstrate metal junctions on a DNA origami template. Metallized origami templates were characterized with the help of SEM imaging and EDX composition data to confirm the presence of the two different metals on the same template. In addition, a chemical “mask” was also used successfully at nanometer resolution to protect previously metallized sites (gold plated) to prevent further metal deposition. The results obtained represent important progress toward the realization of DNA-templated components for nano-circuit fabrication. The work also provides the basis for the next step to make metal-semiconductor junctions on a DNA template.

This dissertation focuses on va-rious strategies of presenting identity in contemporary art and the current trend of forming its mutations and mystifications. It deals with approaches such as when the name of an artist is absent from his performance, various forms of concealment, and the subsequent detection of an artist. The term “anonymity” is not examined as its mere literal definition, but it subsequently forks into other related meanings. The introduction points at our daily meetings with anonymity, the condensation of information stemming from all spheres including the sphere of visual arts. The subject of the dissertation is explored though the influence of media operating at a given time (time-specific) and a given place (site-specific): here and now. The text primarily deals with the phenomenon of being “anonymous”. While examining this topic, the period starting with the 1990s is discussed and supplemented by examples from the history of Slovak, Czech, and international visual art with extensions to literature, music and film. It closely focuses on the following four bi-polar forms of anonymity: celebrity / anonymous artist, art groups / collective exhibitions, street art / net art, signature art / untitled art. These terms are defined and organized into dictionary entries (containing both names of artists and definitions of terms). Comprising of over two hundred words, a hybrid thematic dictionary has been produced. It consists of already existing definitions taken from the Slovak and Czech mutations of Wikipedia which are quoted with consistence with each entry. The collaboration with Wikipedia is based on subsequent addition of the author’s definitions and thus supplements it with missing information from the sphere of visual arts. The text also deals with a current trend of renaming as a symbol of a hegemonic tool of power. The terms a.k.a., name, monogram, nick, and pseudonym are explored.

With the current upsurge of a technological era, there is an underlying global threat to the cultural development of theatre, especially opera. Therefore, there is a need for a paradigm shift that will re-imagine and transcend opera into the 21st century. Site-specific opera merges the potential of theatrical entertainment and the value of an existing site. Both the location and the performance have the ability to remove the audience from their lives and submerge them in a fantasy or created reality. With the focal approach being the interpretation of the Magic Flute Opera at a site-specific location, a concept of cultural heritage awareness is revealed. With this in mind, the preservation extends into a consideration of the existing site. The site, Fort Daspoortrand, is currently in a state of physical degradation, and the decay of heritage and cultural fabric is prominent. Thus, the potential for preservation and cultural celebration arises. It is proposed that through a site-specific opera performance of William Kentridge’s adaptation of The Magic Flute by Mozart, a sense of wareness can be created for both the site and a South African interpretation of opera. The opera will catalyse the awareness of the site, and the scenography will act as a vehicle to bring site and opera together in a visual and spatial experience. Through the merging of opera and site, the heritage and cultural significance of both entities will be explored, allowing the opportunity for life to be breathed back into both the fort and opera in general. The design intention of this project is to bring awareness to the existing fabric of the site, as well as the dramatic opportunities that the site naturally presents. In this way, the physical and cultural decay of both Fort Daspoortrand and opera are brought to the public’s attention. The intention in this creation of site awareness is to promote an afterlife for the site, by exposing its character in an attempt to ignite future development at the site once the opera has finished. Through combining opera and site, the audience will be exposed to the beauty of the site and the cultural richness of opera simultaneously. The temporary design intervention aims to strategically link the themes of The Magic Flute with the characteristics of the site to explore the relationship between narrative, fort and opera. Emphasis is placed on how to take the audience on a winding and intertwining journey of the site during the performance of the opera adaptation. The fluidity and natural progression of the audience through the site will ultimately create a reflective and emotive understanding of The Magic Flute’s theme of the journey from darkness to light. / Mini-dissertation Mint(Prof)--University of Pretoria, 2018. / Architecture / MInt(Prof) / Unrestricted

Street furniture as art in public space The thesis is about street furniture and its development in the context of history of public places in the Czech Republic. The main attention is paid to its transformation into an art form - statue, memorial or site specific. The thesis is focused on artists who work with features of street furniture and public place in the Czech Republic. How street furniture completes landscape of a city and how individual artist perceive it? The main objective of this thesis is to map these art interventions and put them into the world context. Keywords street furniture, art, public space, city, intervention, site specific

The composition 161 Glass is a 17-minute musical work with percussion, wind and brass instruments in which the intersection of mid-century architecture, and the art and culture of a dynamic city are inextricably linked. Through this paper, I explore the process of composing a musical work in relationship to the significance of site specific context. The paper begins by defining the concept of site specific art works; then reviews the discourse of the intersection of art, music and architecture. I then delve into the cultural and geographic context surrounding this project from the modern era through the present, and how those perspectives apply to the building and my piece. I reveal how the composition relates the musical ideas to the site. Finally, I describe the collaborative process between myself, the musicians and the Dallas Contemporary staff.

The joining of two molecular functions or the strategy of adding functions to proteins has been tremendously important for the development of proteins as tools in research and clinic. Depending on the intended application, there are a wide variety of functions that can be added to a proteins. In clinical applications drugs are a commonly conjugated to antibodies and in research adding reporter groups such as biotin, enzymes or fluorophores is a routine procedure. The chemistries and methods most often used suffer from drawbacks such as lack of stringency, which could lead to undesired effects on the protein. Many site-specific methods of labeling of antibodies require modification or insertion of handles in the antibody recombinantly, before labeling can be performed. The core of this thesis is the development of a strategy for covalent specific labeling of antibodies by exploiting the site specific binding of the Z domain to Protein A. Photoreactive Z-domains were produced by solid phase peptide synthesis, which provides the opportunity to insert a photoreactive amino acid and a reporter biotin at specific positions in the domain. The inherited binding to the Fc-part of the antibody in combination with the incorporated photoreactive amino acid, BPA, is used for site-specific interaction, and thereafter, covalent coupling to the antibody. The exposure with the appropriate wavelength of light enables the formation a covalent linkage between the Z domain and the antibody. The biotinylated photoactivable domains were subsequently used to site-specifically label a number of different types of antibodies, polyclonal rabbit IgG, monoclonal human IgG1 and monoclonal mouse IgG2a, and thereafter the antibodies was employed in a variation of applications. The photolabeling procedure of antibodies by the use of photoactivable Z domains has proven to be successful and could serve as a valuable tool in several applications. / QC 20120507

This dissertation examines the post-1968 work of the Argentine artist and architect Clorindo Testa (1923-2013), arguing that 1968 represents a major turning point in his career, when he rethought his artistic practice in response to the dramatically altered institutional, political, and economic circumstances of Argentina in the late 1960s. Over the years between 1968 and 1974 Testa worked out the logic of this transformation and established the conceptual, stylistic, and thematic basis for the final four decades of his career. His studio production from this period is bracketed by the creation of two major, architecturally-themed works: the 1968 site-specific installation Prop for a Museum (Apuntalamiento para un museo) at National Museum of Fine Arts in Buenos Aires and the 1974 mural-sized Dwelling, Transportation, Work, and Recreation (Habitar, circular, trabajar y recrearse), conceived for the Galería Carmen Waugh, in the same city. This dissertation proposes that, on an international level, Prop for a Museum stands out as one of the pioneering works of the emergent conceptualist practice of institutional critique, and that together with Dwelling, Transportation, Work, and Recreation it represents a kind of manifesto for the new, post-1968 direction in the artist’s work.