Alguns textos teóricos de 1896

Seleção e tradução de alguns textos teóricos de 1896 de Alfred Jarry.

Inhibition of Aspergillus fumigatus and its biofilm by Pseudomonas aeruginosa is dependent on the source, phenotype and growth conditions of the bacterium

Aspergillus fumigatus (Af) and Pseudomonas aeruginosa (Pa) are leading fungal and bacterial pathogens, respectively, in many clinical situations. Relevant to this, their interface and co-existence has been studied. In some experiments in vitro, Pa products have been defined that are inhibitory to Af. In some clinical situations, both can be biofilm producers, and biofilm could alter their physiology and affect their interaction. That may be most relevant to airways in cystic fibrosis (CF), where both are often prominent residents. We have studied clinical Pa isolates from several sources for their effects on Af, including testing involving their biofilms. We show that the described inhibition of Af is related to the source and phenotype of the Pa isolate. Pa cells inhibited the growth and formation of Af biofilm from conidia, with CF isolates more inhibitory than non-CF isolates, and non-mucoid CF isolates most inhibitory. Inhibition did not require live Pa contact, as culture filtrates were also inhibitory, and again non-mucoid>mucoid CF>non-CF. Preformed Af biofilm was more resistant to Pa, and inhibition that occurred could be reproduced with filtrates. Inhibition of Af biofilm appears also dependent on bacterial growth conditions; filtrates from Pa grown as biofilm were more inhibitory than from Pa grown planktonically. The differences in Pa shown from these different sources are consistent with the extensive evolutionary Pa changes that have been described in association with chronic residence in CF airways, and may reflect adaptive changes to life in a polymicrobial environment.

Tradições orais como subsídio para escritas de cena: das tradições orais à artes performativas

Projeto para obtenção do Grau de Mestre em Teatro. Especialização em Artes Performativas — Escritas de Cena.

The optical and scopic urges viewed from a phenomenological perspective

Taking as starting points the books The Address of the Eye: A Phenomenology of Film Experience, by Vivian Sobchak, and Les quatre concepts fondamentaux de la psychanalyse, by Jacques Lacan, this article proposes to look at two well renowned film objects – Rear Window (Alfred Hitchcock, 1954, USA) and Peeping Tom (Michael Powell, 1960, UK) – in order to equate two forms of perception that, all things considered, come together as one: the perception of the mechanical apparatuses that record and project film and the optical and mental apparatuses that operate on the human filmmakers as well as their intradiegetic protagonists. In fact, these two films not only explore the characteristics and limits of vision and affection in their diegetic world, that is part of the filmmaker’s world itself, but reveals just how much the human lives through the eye and the expression of the machine itself. Film ontology is foremost a matter of (re)production rather than creation.