Le cinéma documentaire comme pratique sociale et comme expérience imaginaire de sociabilité : analyse de La moindre des choses, Ce gamin-là et Le moindre geste

L'objectif de ce projet de recherche était d'approfondir notre compréhension des liens entre communauté et cinéma, rendus possibles par et pour le film documentaire, à travers l'analyse des interactions entre le cinéaste, la personne filmée et le spectateur. L'expérience cinématographique sera analysée d'une part en tant que pratique sociale à travers la prise en considération du contexte de production des films. D'autre part, le film sera aussi considéré comme expérience imaginaire de sociabilité. Les trois films de notre corpus s'intéressent à des expériences communautaires atypiques et mettent en scène des relations fragiles et précaires avec des personnes souffrant de troubles sociaux majeurs, c'est-à-dire des psychotiques, des déficients intellectuels profonds ou des autistes. C'est à partir de l'expérience de l'apparente insociabilité de ces individus que nous réfléchirons au lien d'accompagnement ainsi qu'au concept de care qui seront envisagés, aussi, comme pouvant traduire la relation particulière qui a lieu entre le spectateur et le film. En effet, le cinéma permet l'élaboration d'une expérience relationnelle construite dans les œuvres médiatiques. Le dispositif filmique donne l'occasion au spectateur d'expérimenter des postures morales et affectives nouvelles. Nous tiendrons compte, au cours de ce mémoire, de la façon dont les choix esthétiques du cinéaste peuvent éduquer et faire évoluer la sensibilité du spectateur. Nous essaierons aussi de souligner les différents jeux de pouvoir et d'influence entre les trois instances que sont le cinéaste, la personne filmée et le spectateur. Après avoir décrit le cadre et les enjeux théoriques du projet, le premier chapitre concernera le film La Moindre des choses (1996) dans lequel Nicolas Philibert filme, jour après jour, les pensionnaires de la clinique psychiatrique de la Borde. Ce film nous a servi de prétexte pour penser ou repenser la place du spectateur comme étant inclus dans la relation entre le cinéaste et la personne filmée et cela à partir de cette phrase d'un des protagonistes du film : « On est entre nous, mais vous aussi, vous êtes entre nous. » Le deuxième chapitre s'intéressera au film Ce Gamin là (1985) de Renaud Victor qui cherche à faire voir au spectateur ce que le projet de Fernand Deligny de vivre dans les Cévennes en compagnie d'enfants autistes a d'original et de particulier. Nous pensons que l'enfant autiste nous amène à dépasser nos expériences de sociabilités habituelles. Le lien d'accompagnement d'enfants autistes, puisque toujours fragile et précaire, révèle quelque chose sur nos façons d'avoir du commun. L'étude des médias et de la médiation est pertinente parce qu'elle nous permet de multiplier et de diversifier les modes de communications. Dans Ce Gamin-là, bien que les images permettent au cinéaste de rendre compte de l'événement d'un contact, l'accent sera mis sur l'analyse du commentaire de Deligny, puisqu'il accompagne le spectateur dans l'appréhension d'une réalité qui lui est étrangère. Ce film nous a aussi appris que l’étude des techniques utilisées nous renseigne sur les différentes façons de dire ou de montrer un lien communautaire, affectif ou social particulier. Le Moindre Geste (1971) qui permet à Yves Guignard, déficient intellectuel sévère, de devenir le héros d'un film, se distingue des deux autres films de par la distinction radicale entre les deux étapes du tournage et du montage. Le troisième chapitre se concentrera, d'une part, sur l'analyse de la relation qui se développe entre Yves et Josée Manenti à la caméra. Ensuite, nous verrons de quelle façon le jeu du montage de Jean-Pierre Daniel laisse une grande liberté à Yves, mais aussi au spectateur en multipliant les possibilités d'interprétations.

La subjectivité poétique face à la peinture : le cas de L'Atelier contemporain de Francis Ponge

L’Atelier contemporain recueille la plupart des textes sur l’art de Francis Ponge. Malgré sa réputation de « poète des choses », celui-ci n’y écrit pourtant pas avant tout sur les œuvres finies (les tableaux), mais plutôt sur les artistes mêmes. S’appuyant sur un approfondissement de la conceptualisation de la poétique pongienne comme érotique entre le sujet et l’objet, ce mémoire cherche à découvrir, à travers les questions particulières que la peinture pose à l’écriture de Ponge, les raisons du déplacement du regard de l’écriture de la chose muette à la personne parlante. Il semble que Ponge, face à des œuvres artistiques non verbales, soit à la recherche d’une signifiance qu’il ne peut trouver, ce qui l’oblige à se tourner vers les personnes. Mais ces personnes finissent toujours par céder la première place, dans L’Atelier contemporain, au « je » du poète.

Le train est l'ancêtre d'Internet

Nous sommes fascinés par le train et le cinéma, fascination provoquée parce que tous les deux donnent l’impression du mouvement réel, un mouvement technique qu’on est capable de gérer : lorsqu’on regarde un film, on peut toujours faire un arrêt sur image. L’approche philosophique nous permet aussi de relier Internet dans ce mouvement qui va du train au cinéma. Le Web est un flux de données, ses contenus ne sont jamais stables à l’opposé des contenus des autres médias. Et ce qui nous passionne dans le numérique et fait la force d’Internet, c’est qu’il nous donne l’illusion du réel et que nous pouvons facilement le gérer. Cela pose le problème de la mission de créer des archives du Web, qui peut sembler irréaliste tant le matériel concerné est vaste et non structuré : ne serait-ce pas trahir ce mouvement perpétuel ? Ou alors, on peut considérer que le Web est une trahison du continu du réel et les archives la structure la plus appropriée pour appréhender ce nouveau média…

Evidence for intergranular tunnelling in polyaniline passivated α-Fe nanoparticles

Nanoparticles are of immense importance both from the fundamental and application points of view. They exhibit quantum size effects which are manifested in their improved magnetic and electric properties. Mechanical attrition by high energy ball milling (HEBM) is a top down process for producing fine particles. However, fineness is associated with high surface area and hence is prone to oxidation which has a detrimental effect on the useful properties of these materials. Passivation of nanoparticles is known to inhibit surface oxidation. At the same time, coating polymer film on inorganic materials modifies the surface properties drastically. In this work a modified set-up consisting of an RF plasma polymerization technique is employed to coat a thin layer of a polymer film on Fe nanoparticles produced by HEBM. Ball-milled particles having different particle size ranges are coated with polyaniline. Their electrical properties are investigated by measuring the dc conductivity in the temperature range 10–300 K. The low temperature dc conductivity (I–V ) exhibited nonlinearity. This nonlinearity observed is explained on the basis of the critical path model. There is clear-cut evidence for the occurrence of intergranular tunnelling. The results are presented here in this paper

Avaliação das propriedades sensoriais de uma formulação cosmética contendo óleo de café verde

O óleo de café verde (OCV) é um ingrediente bastante conhecido com propriedades cosméticas como: manter a hidratação da pele, melhorar o fator de proteção solar e manter a função barreira da pele. Assim, o objectivo deste estudo foi avaliar a influência da adição de uma quantidade considerável de OCV (15%) nas propriedades sensoriais de uma formulação cosmética. O painel sensorial consistiu de 19 voluntários com idades entre 19 e 43 anos. Os atributos sensoriais foram avaliadas em uma região definida de 25 cm2 na parte interna do antebraço. Os voluntários foram instruídos a avaliar as propriedades sensoriais que eles sentiam para cada formulação imediatamente e 5 minutos após a aplicação. As formulações mostraram quase a mesma percepção entre os voluntários. A maioria dos voluntários percebeu a pele suave e hidratada após a aplicação das formulações. No entanto, a percepção de um resíduo oleoso sobre a pele foi o principal efeito da formulação contendo OCV. Assim, podemos concluir que a quantidade total de OCV utilizado mostrou propriedades interessantes para aplicação em peles secas ou cremes noturnos, uma vez que foi capaz de deixar uma película oleosa sobre a pele.

Ordenamiento de los relatos de Salvador: los del artista, y mucho después…(Dossier: Cuatro narradores del 30, relecturas en su centenario)

Se plantea que la crítica suele ignorar las colecciones de cuentos que Humberto Salvador publicara entre las décadas de 1930 y 1980. Salvador recrea, a lo largo de toda su producción, la sociedad y la cultura que lo rodean, buscando descifrar su esencia moral, para ello, otorga a la intuición un valor positivo, por sobre la razón. Entre los temas iniciales del autor guayaquileño (década de 1920), sobresale su reflexión sobre el arte, como producción inmersa en la cultura, la historia y la sociedad, una obra sería conjunción del trabajo literario y el azar de la vida cotidiana: por ello es un objeto por encontrarse. Después de este período «estético», Salvador buscó representar la sociedad, con personajes desclasados principalmente, que no se adhieren a ningún código ortodoxo. Hizo énfasis en aspectos psicológicos o en estados mentales (enfermedades como la esquizofrenia, la histeria, etc.). A decir del crítico Wilfrido H. Corral, los relatos del guayaquileño progresan del tema del artista hacia el de la cotidianidad, y de éste al del artista menos libre, son joyas, insiste, de la comedia existencial, de la angustia y de la moderación doméstica.

Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

Concurrent recordings of bladder afferents from multiple nerves using a microfabricated PDMS microchannel electrode array

In this paper we present a compliant neural interface designed to record bladder afferent activity. We developed the implant's microfabrication process using multiple layers of silicone rubber and thin metal so that a gold microelectrode array is embedded within four parallel polydimethylsiloxane (PDMS) microchannels (5 mm long, 100 μm wide, 100 μm deep). Electrode impedance at 1 kHz was optimized using a reactive ion etching (RIE) step, which increased the porosity of the electrode surface. The electrodes did not deteriorate after a 3 month immersion in phosphate buffered saline (PBS) at 37 °C. Due to the unique microscopic topography of the metal film on PDMS, the electrodes are extremely compliant and can withstand handling during implantation (twisting and bending) without electrical failure. The device was transplanted acutely to anaesthetized rats, and strands of the dorsal branch of roots L6 and S1 were surgically teased and inserted in three microchannels under saline immersion to allow for simultaneous in vivo recordings in an acute setting. We utilized a tripole electrode configuration to maintain background noise low and improve the signal to noise ratio. The device could distinguish two types of afferent nerve activity related to increasing bladder filling and contraction. To our knowledge, this is the first report of multichannel recordings of bladder afferent activity.

Compliant Multi-electrode Micro-channel Array for Recording Afferent Nerve Activity

We have fabricated a compliant neural interface to record afferent nerve activity. Stretchable gold electrodes were evaporated on a polydimethylsiloxane (PDMS) substrate and were encapsulated using photo-patternable PDMS. The built-in microstructure of the gold film on PDMS allows the electrodes to twist and flex repeatedly, without loss of electrical conductivity. PDMS microchannels (5mm long, 100μm wide, 100μm deep) were then plasma bonded irreversibly on top of the electrode array to define five parallel-conduit implants. The soft gold microelectrodes have a low impedance of ~200kΩ at the 1kHz frequency range. Teased nerves from the L6 dorsal root of an anaesthetized Sprague Dawley rat were threaded through the microchannels. Acute tripolar recordings of cutaneous activity are demonstrated, from multiple nerve rootlets simultaneously. Confinement of the axons within narrow microchannels allows for reliable recordings of low amplitude afferents. This electrode technology promises exciting applications in neuroprosthetic devices including bladder fullness monitors and peripheral nervous system implants.

In situ impedance spectroscopy study of the electrochemical corrosion of Ti and Ti-6Al-4V in simulated body fluid at 25 degrees C and 37 degrees C

The corrosion resistance of Ti and Ti-6Al-4V was investigated through electrochemical impedance spectroscopy, EIS, potentiodynamic polarisation curves and UV-Vis spectrophotometry. The tests were done in Hank solution at 25 degrees C and 37 degrees C. The EIS measurements were done at the open circuit potential at specific immersion times. An increase of the resistance as a function of the immersion time was observed, for Ti (at 25 degrees C and 37 degrees C), and for Ti-6Al-4V (at 25 degrees C), which was interpreted as the formation and growth of a passive film on the metallic surfaces. (C) 2009 Elsevier Ltd. All rights reserved.

Structural Investigation of MFe(2)O(4) (M = Fe, Co) Magnetic Fluids

Ferrites of the type M(II)Fe(2)O(4) (M = Fe and Co) have been prepared by the traditional coprecipitation method. These ferrites were modified by the adsorption of fatty acids derived from soybean and castor oil and were then dispersed in cyclohexane, providing very stable magnetic fluids, readily usable in nonpolar media. The structural properties of the ferrites and modified ferrites as well as the magnetic fluids were characterized by XRD (X-ray powder diffraction), TEM (transmission electron microscopy), DRIFTS (diffusion reflectance infrared Fourier transform spectroscopy), FTMR (Fourier transform near-infrared), UV-vis, normal Raman spectroscopy, and surface-enhanced Raman scattering (SERS). XRD and TEM analysis have shown that the magnetic nanoparticles (nonmodified and modified) present diameters in the range of 10-15 nm. DRIFTS measurements have shown that the carboxylate groups of soybean and castor oil fatty acids adsorb on the ferrite surface, forming three different structures: a bridging bidentate, a bridging monodentate, and a bidentate chelate structure. The FTIR and Raman spectra of nonmodified Fe(3)O(4) and CoFe(2)O(4) nanoparticles have shown that the number of observed phonons is not compatible with the expected O(h)(7) symmetry, since IR-only active phonons were observed. in the Raman spectra and vice versa. SERS measurements of a CoFe(2)O(4) thin film on a SERS-active gold electrode at different applied potentials made possible the assignment of the signals near 550 and 630 cm(-1) to Co-O motions and the signals near 470 and 680 cm(-1) to Fe-O motions.

Arte-educação: um desafio de muitas faces

Esta dissertação resultou do desenvolvimento de algumas reflexões sobre a Arte-Educação no ensino regular, e visa trazer contribuições ao debate sobre as dificuldades encontradas na sua prática. Uma abordagem histórica é apresentada, com o objetivo de enriquecer os caminhos para o esclarecimento das questões de fundo que permeiam as discussões do momento atual. O trabalho se baseia no pressuposto de que a arte é uma linguagem, como o são, o falar e o escrever, e como tal deve ser considerada no âmbito escolar, levando em conta suas especificidades. Como linguagem livre e criadora, a matéria da arte e primordialmente a vivência do ser humano; seus pensamentos, sua emoção, sua imaginação e sua capacidade simbólica, que se revelam através dos meios físicos disponíveis, que o arte-educador adequará à sua prática. E neste sentido que algumas questões metodológicas são discutidas a partir de situações objetivas, referentes principalmente ao ensino público. Procurou-se mostrar, ainda, que estar sensível ao infinito universo da criação artística é fundamental à formação do arte-educador para que, através de sua atuação junto aos alunos contribua para a democratização das práticas expressivas criadoras nos meios educacionais.

Responsabilidade social e investimento social privado na empresa GTECH Brasil: estudo de caso

Esta dissertação traça uma trajetória, evitando, no entanto, uma linha evolucionista, dos termos e conceitos que foram usados no decorrer da história para identificar as intervenções das empresas em ações sociais, desde as atuações assistencialistas até a atuação direta em projetos, com criação de institutos e fundações ligados às empresas, compartilhando não só investimentos financeiros, mas conhecimento, tecnologia e mão de obra especializada. Mas, como veremos, só isso não é suficiente para que uma empresa seja caracterizada como socialmente responsável. Como parâmetro, será trabalhada a diferenciação entre responsabilidade social empresarial (RSE) e investimento social privado (ISP), usando as definições e modelos do Instituto Ethos de Responsabilidade Social e do Grupo de Institutos e Fundações e Empresas (GIFE), respectivamente. Como estudo de caso, será apresentada a GTECH Brasil, empresa multinacional do ramo de loterias online, que, para realizar ações sociais, criou o Instituto Gtech de Cidadania e Cultura (IGCC), em 2000. A empresa, fazendo uso da verba disponível de incentivo à cultura, com a Lei Rouanet, realizou um projeto corporativo de arte-educação, chamado Projeto Asa, que tinha por foco trabalhar com jovens de sete a 17 anos, englobando arte e tecnologia. Por acreditar no poder transformador da arte, o projeto foi se atualizando e passou a desenvolver o conceito de arte-cidadania. O Asa funcionou até 2009, durando mais do que a própria empresa, que, em 2006, encerrou as atividades no Brasil. Nesse período, atendeu a mais de 3.500 crianças e jovens. Por meio de documentos, manuais, relatórios e diversas entrevistas, o presente trabalho delineou as atividades sociais da GTECH, analisando se a empresa deveria se enquadrar como RSE ou ISP e também demonstrando alguns dos impactos gerados pelas ações realizadas tanto nos funcionários da empresa, quanto na equipe do projeto e, principalmente, nos jovens que participaram das atividades.

A função social do contrato como concretização de direitos fundamentais nas relações privadas

This dissertation deals with the social function of the contract, based on constitutional principles, especially those relating to fundamental rights. The social function of the contract (general clause) is described in the Civil Code so intentionally generic, no precise criteria to define it. Because of the fluidity of this principle, it is justified its closer study, seeking to assess its various meanings and looking away from the legal uncertainty that an unlimited conceptual vagueness can cause. The social function of the contract arises from a transformation experienced in private law from the inflows received from the Constitutional Law, the result of an evolutionary process by which it became the state structure, leaving the foundations of the classical liberal state and moving toward a vision guided by existential human values that give the keynote of the Welfare State. Arose, then the concern about the effectiveness of fundamental rights in relations between individuals, which is studied from the inapplicability of fundamental rights in private relations (U.S. doctrine of State action), passing to the analysis of the Theory of indirect horizontal effect of fundamental rights (of German creation and majority acceptance), reaching the right horizontal efficacy Theory of fundamental rights, prevailing Brazilian doctrine and jurisprudence. It has also been investigated the foundations of the social contract, pointing out that, apart from the provisions of the constitutional legislation, that base the principle on screen, there have also been noticed foundations in the Federal Constitution, in devices like the art. 1, III, the dignity of the human person is the north of the relationship between contractors. Also art. 3rd, I CF/88 bases the vision of social covenants, equipping it for the implementation of social solidarity, as one of the fundamental objectives of the Republic. Still on art. 170 of the Constitution it is seen as a locus of reasoning in the social function of the contract, the maintenance of the economic order. It is also studied the internal and external aspects of the social function of the contract, being the first part the one that considers the requirement of respect for contractual loyalty, through the objective good faith, as a result of the dignity of the hirer may not be offended by the other through the contract. On the other hand, the external facet of the social function of the contract, in line with the constitutional mandate of solidarity, indicates the need for contractors to respect the rights of society, namely the diffuse, collective and individual third party. In this external appearance, it is also pointed the notion of external credit protection, addressing the duty of society to respect the contract. There has been shown some notions of the social contract in comparative law. Then, there has been investigated the content of principle study, through their interrelationships with other provisions of private and constitutional law, namely equality, objective good faith, private autonomy and dignity of the human person. We study the application of the social contract in contractual networks as well as the guidance of conservation of contracts, especially those denominated long-term captive contracts, considering the theory of substantive due performance, concluding with an analysis of the social contract in code of Consumer Protection