Mr. B, a 22-year-old Caucasian male nursing student, ingested oral marijuana 100mg Pretzel for the first time under peer pressure.  Within 30 min he felt trippy with out of body experiences. He slept for 24 hours and woke feeling still as if out of his body looking at himself with disconnected, numb hands and feet; everyone and everything appeared cartoonish; and his voice was like an echo. He felt anxious with panic attacks, experienced eye floaters and could not tolerate sunlight so covered his bedroom windows with blankets and isolated himself from usual activities. His friends, who were not novice users, felt high for 24 hours but had no dissociative symptoms. The patient saw his PCP where UDS was positive only for tetrahydrocannabinol and all other lab tests were normal. He was treated with paroxetine 10mg, buspirone 15mg bid, and prn hydroxyzine 50mg for insomnia for 3 weeks but experienced nausea, vomiting, diarrhea, drowsiness and suicidal ideation. He was switched to escitalopram 5mg daily and lorazepam 0.5mg prn for anxiety for 2 weeks which resulted in 90% improvement in symptoms but when escitalopram was increased to 10mg he felt worse. When presenting to psychiatry he reported daily persistent anxiety worrying about having these symptoms for life and panic attacks every 3days relieved with lorazepam. He had a history of anxiety and panic attacks at the age of 8 around parental divorce with therapy for 6 months. There was a family history of anxiety and panic disorder. At 2, 4, 6-month follow-ups the patient reported thrice a week anxiety lasting 5 min but no panic attacks. He also had rare episodes of 2 min duration when everything around him seemed in high definition imagery. He felt stable on daily escitalopram and thrice a week lorazepam. Transient or prolonged cannabis induced Depersonalization-Derealization Disorder (DDD) is typically reported to occur after repeated use of inhaled cannabis with improvement with avoidance of the offending agent or use of SSRI, benzodiazepine, or rarely anti-psychotics. Cannabis’s psychoactive properties are primarily due to delta-9-tetrahydrocannabinol (Δ9-THC) which is the primary inhaled component, but metabolism by the liver after ingestion results in the more psychoactive 11 hydroxy-THC that has a slower onset but longer lasting effect. Cannabis’ potency has been increasing in recent years with current edible forms containing an average of 50% up to 90% THC. Our case emphasizes the importance of recognizing that even single use de novo marijuana can induce a protracted Depersonalization-Derealization Disorder. In this poster, we elaborate on the typical risk factors for DDD that include chronic use, adolescent age, cannabis potency, prior history of anxiety and panic attacks, precipitating stress, genetic vulnerability, and family history of anxiety/panic disorder. We also address the hypothesized neurochemistry underlying the association between dissociative states and cannabis use.

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Dream Machine is a collection which constructs a body of contemporary mythology, grappling with themes of American paranoia, online identity formation, and bodily alienation. Stories such as "Offerings" and "Pareidolia" explore the digital commodification of the body, following characters who—through Instagram-sourced sugar daddies and nude art modeling, respectively—offer themselves up freely as subjects of voyeurism and surveillance. Other stories, such as "Network Support" and "Dream Machine" involve characters who abandon their physical forms to disappear into the internet, existing as free-floating data and radiant frequencies. "Downstream," "Grass So Green," and "Little White Crosses" engage with the stark landscape of a country starved of its spirituality, where conspiracies, hallucinations, and deathly apparitions seem to possess the same inherent logic as a blue sky. / Master of Fine Arts / Dream Machine is a short story collection.

The sensation of detachment and reclusion frequently gives rise to an uncanny and dreamlike space. Enveloped within this dimension, the quirks of memory become a fragile lifeline to bygone, intangible ideas of reality. Fixated on this threshold, my artistic explorations in print, collage, and assemblage navigates these elusive realms, rendering fragmented and distant shapes and figures in stark contrast to elements that evoke an eerie sense of familiarity. In this manner, my work invites viewers to embrace the disconcerting and unsettling aspects of the in-between, all the while establishing an unsettling connection to reality through the lens of nostalgic objects and imagery.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-05-28T16:57:42Z No. of bitstreams: 1 URSULA CONRADO.pdf: 1072931 bytes, checksum: 674e291fef1486dee5ff2e95b7916601 (MD5) / Made available in DSpace on 2018-05-28T16:57:42Z (GMT). No. of bitstreams: 1 URSULA CONRADO.pdf: 1072931 bytes, checksum: 674e291fef1486dee5ff2e95b7916601 (MD5) Previous issue date: 2018-02-23 / There is an inventive procedure, a writing approach in the novel Dom Casmurro by Machado de Assis that works as backbone for the deconstruction of the traditional novel and or the incorporation of the modernity. The composition of the work transports the reader to the instances within the concept of the modern novel in a different point of view, far from the classic mimetic. This derealization process and the way that the art presents goes through, renounces the place of representation and acquires the production way, besides the art is not recognized only as a motif.The form that Machado de Assis build and installs the narrator picture and how he deals with the language work, approximating and connecting his discourse to the others artistic systems, especially to the eccentric and fantastic pieces of the surrealist painter René Magritte;The pictures that Machado de Assis presents in the narrative and the digressives charts invite the readers to take a trip into the inner work itself and to the human being condition. It’s remarkable all the associations both of the plastic and narrative discourse shows the dissociation and the reduction of the being and the narratives procedures / O procedimento inventivo de Machado de Assis no romance Dom Casmurro tem como espinha dorsal a desconstrução do romance tradicional e a incorporação da modernidade. O modo composicional da obra leva o leitor às instâncias da concepção do romance moderno e o modo de construção dentro de uma visão mimética distinta em relação à mimética clássica. O processo de desrealização e o caminho que a arte percorre para abandonar o seu lugar de representação e adquirir um caráter de produção deixando, então, de ser reconhecida apenas tematicamente.A forma que Machado de Assis constrói e instaura a imagem do narrador e como opera no trabalho com a linguagem, aproxima seu discurso com outros sistemas artísticos e sobretudo com a insólita e fantástica articulação plástica do pintor surrealista René Magritte.Os quadros que Machado de Assis apresenta durante a narrativa e os cortes digressivos convidam o leitor a uma viagem para o interior não só da própria obra, mas na própria condição humana. É notável as associações tanto no discurso plástico como no discurso narrativo que mostram a dissociação e a redução tanto do ser humano quanto dos procedimentos narrativos.

Den här uppsatsen undersöker Py Sörmans roman Aloë utifrån begreppet derealisering. Derealisering, menar uppsatsförfattaren, utgör en medvetenhet om problem gällande representationen av realitet som är central för postmodernismen. Denna medvetenhet aktualiserar frågeställningar gällande förhållandet mellan narrativitet och realitet, frågeställningar som är närvarande i den moderna och postmoderna romanen. Aloës ämne och narrativitet, argumenterar uppsatsen, belyser dessa frågeställningar. Uppsatsförfattaren strävar efter att bevisa detta genom att analysera romanen med hjälp av begrepp från narrativ teori. Den avslutande utvärderingen av undersökningen (slutdiskussionen) finner inte att derealisering är Aloës allra mest centrala ämne, men finner att derealisering är en närvarande frågeställning, är bestämmande för romanens representation och är en inneboende del av romanens struktur. / This essay uses the term derealization to investigate Py Sörman’s novel Aloë. Derealization, the author of this essay claims, consists of an awareness of problems regarding the representation of reality that are central to postmodernism. This awareness gives rise to questions regarding the relationship between narrativity and reality, questions that are present in the modern and postmodern novel. Aloë’s subject and narrativity, the essay argues, highlights these questions. The essay aims to prove this by analysing the novel using concepts from narrative theory. The concluding evaluation of this investigation finds that derealization is not Aloë’s most central subject or theme, but finds that questions regarding derealization are present, that they affect the novel’s representation, and that they form an integral part of the novel’s structure.

Depersonalization-Derealization Disorder (DDD) is a dissociative syndrome characterized by a sense of disconnectedness from one’s own self and the world around. People suffering from the condition report feeling like external observers, cut off from their own bodies, emotions and thoughts; their surroundings are perceived as unreal. The present thesis analyses DDD by sustaining the view that its phenomenology can be understood through Metzinger’s notion of phenomenal transparency. This idea is not entirely new: recent contributions (Ciaunica et al., 2020; Ciaunica et al., 2021; Seth et al., 2012) have framed the dramatic experiences of depersonalization and derealization as instances of highly opaque mental states. However, more detailed discussions of phenomenal transparency are sparse. My contribution wishes to partially fill in this gap. To elucidate the concept of transparency, I will first highlight the distinction between the classical representationalist notion of transparency and the metzingerian, phenomenal account of it. I will then argue that phenomenal transparency adequately describes the associated depersonalized phenomenology. Finally, I will attempt to present and dissipate ambiguities contained in the concept and address potential criticism regarding the redundancy of transparency as an explanatory tool for dissociative phenomena. / Depersonalisations- och Derealisationssyndrom (DDD) är ett dissociativt syndrom som kännetecknas av en känsla av att vara frånkopplad från ens eget jag och omvärlden. Människor som lider av tillståndet rapporterar att de känner sig som externa observatörer, avskurna från sina egna kroppar, känslor och tankar; deras omgivning upplevs som overklig. Denna avhandling analyserar DDD genom att stödja uppfattningen att dess fenomenologi kan förstås genom Metzingers föreställning om fenomenal transparens. Denna idé är inte helt ny: senaste bidrag (Ciaunica et al., 2020; Ciaunica et al., 2021; Seth et al., 2012) har ramat in de dramatiska upplevelserna av depersonalisering och derealisering som förekomster av mycket ogenomskinliga mentala tillstånd. Mer detaljerade diskussioner om fenomenal transparens är dock sparsamma. Mitt bidrag vill delvis fylla denna lucka. För att belysa begreppet transparens kommer jag först att lyfta fram distinktionen mellan den klassiska representationalistiska föreställningen om transparens och den metzingerska, fenomenala redogörelsen för den. Jag kommer då att hävda att fenomenal transparens på ett adekvat sätt beskriver den associerade depersonaliserade fenomenologin. Slutligen kommer jag att försöka presentera och skingra oklarheter som finns i konceptet och ta upp potentiell kritik angående transparensens redundans som ett förklarande verktyg för dissociativa fenomen.

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Объектом данного исследования является сталинская культура. Целью работы было выявление специфики влияния макросоциального процесса модернизации на становление сталинской культуры Основная гипотеза заключается в том, что, по нашему мнению, советская культура 30-50-х и все, что с ней связано, является результатом сталинской модернизации и не могла существовать вне этого макросоциального процесса. Благодаря тому, что этот процесс был неполноценным относительно европейской модернизации (и ее продуктов), весомую роль в ней играло искусство (соцреализм), которое одновременно являлось таким же средством модернизации, как и индустриализация. Искусство оказалось средством формирования системы представления о мире, являлось способом трансляции ценностей, что говорит о нем как способе воспроизводства сталинской культуры. В ходе работы удалось выяснить, что сталинская модернизация как макросоциальный процесс обладает признаками западной модернизации, но ее инструментарий наследует много из того, что было в отечественной истории. Советская модернизация обладала своим собственным преобразовательным пафосом в отношении переустройства человеческой жизни. Проект модернизации был направлен на достижение определенной социальной утопии, где большую роль играл бы труд как воспитательный механизм. Само существование человека в этой системе несло онтологический характер, труд – воспитательный. Соответственно реальность, в т.ч. трудовая, подменялась синтетическим образом желаемой действительности, которая примирялась с окружающим миром за счет дерализации. Искусство в такой ситуации становится реальным рычагом модернизации и способом построения определенной картины мира, который дополняет прочие рычаги: политический и экономический. / The object of this study is the Stalinist culture. The aim of the work was to determine the specificity of the effect of macro-modernization process on the development of Stalinist culture The main hypothesis is that, in our opinion, the Soviet culture 30-50th and everything connected with it, is the result of Stalin's modernization and could not exist outside of this macro-process. Due to the fact that the process was defective with respect to the modernization of the European (and its products), a significant role in it played an art (the Socialist Realism) that is both the same means of modernization, as well as industrialization. Art was a means of forming a system of beliefs about the world, it is a method of translation of values, which speaks of it as a method of reproduction of the Stalinist culture. During the work we found out that Stalin's modernization as the macro-process has signs of Western modernization, but it inherits many of the tools that have been in the country's history. Soviet modernization has its own transformative fervor against reorganization of human life. The modernization project was aimed at achieving a particular social utopia, where he played a major role to work as an educational mechanism. The very existence of man in this system carried ontological character, work - educational. Accordingly reality, including labor, supplanted by synthetic way the desired effect, which is at peace with the world around them by deralization. The art in this situation becoming a real lever of modernization and a certain way to build a picture of the world that complements the other levers: political and economic.