Music therapy, in tuning at the end of life

In this article music therapy is presented as a helpful tool to support the persons (and their relatives) living at the end of their life and, also, as a non pharmacological and complementary therapy in an integral and holistic medicine. What we report here comes from the direct experience, nourished after many years of interventions and reflections in oncology and palliative care units. We’re talking about silence, music, therapy, models and techniques. We will read and feel therapeutic sessions… but above all, we’re talking about life, conscience and love.

Una experiencia de Arteterapia con mujeres con sobrepeso y obesidad

El presente artículo trata del proceso y desarrollo de una experiencia de aplicación de arteterapia con mujeres adultas en el contexto de un programa interdisciplinario de cambio de hábitos para el tratamiento de personas con sobrepeso y obesidad. Son además presentados brevemente, desde distintos autores, algunos antecedentes y puntos de relación entre el enfoque gestáltico y el arte-terapia, sirviendo como discusión que contextualiza la experiencia.

The Essay as Art Form

Beginning with Montaigne’s essayistic dictum Que sais je? — ‘What do I know?’ — this PhD thesis examines the literary history, formal qualities, and theoretical underpinnings of the personal essay to both investigate and to practice its relevance as an approach to writing about art. The thesis proposes the essay as intrinsically linked to research, critical writing, and art making; it is a literary method that embodies the real experience of attempting to answer a question. The essay is a processual and reflexive mode of enquiry: a form that conveys not just the essayist’s thought, but the sense and texture of its movement as it attempts to understand its object. It is often invoked, across disciplines, in reference to the possibility of a more liberal sense of creative practice — one that conceptually and stylistically privileges collage, fragmentation, hybridity, chance, open-endedness, and the meander. Within this question of the essay as form, the thesis contains two distinct and parallel strands of analysis — subject matter and essay writing as research. At the core of the study lie two close-readings: Ana Mendieta’s Labyrinth of Venus (1982) and Le Couvent de la Tourette (1959) by Le Corbusier and Iannis Xenakis. In each case, the writing draws, in its tone and texture, on a range of literary influences, weaving together different voices, discussions, and approaches to enquiry. The practice of essay writing is presented alongside, part and party to, research: a method of interrogation that embraces risk and uncertainty, and simultaneously enacts its own findings as a critical-creative mode of study-via-form, and form-via-study. The thesis is presented as a book-length essay, in which the art in question is equal and intimately connected to the writing used to address it. Method and form are designed to respond to the oft-cited challenge of the essay as fundamentally unmethodical, ranging, and diverse. Research, critical study, writerly description, and storytelling are combined to elucidate and expose each other based not on surface continuity, but on a deep interconnection among ideas that, through language, cohere and become related — imbued with an affinity for one another. The consummate product is the argument, as it works across genres, disciplines, descriptive and critical models, to challenge the narrative structure and language used within contemporary writing about art.

Integrated science and art education for creative climate change communication

An interdisciplinary field trip to a remote marine lab joined graduate students from fine arts and natural resource science departments to think creatively about the topic of climate change and science communication. We followed a learning cycle framework to allow the students to explore marine ecosystems and participate in scientific lectures, group discussions, and an artist-led project making abstract collages representing climate change processes. Students subsequently worked in small groups to develop environmental communication material for public visitors. We assessed the learning activity and the communication product using pre- and post-field trip participant surveys, focus group discussions, and critiques by art and communication experts of the products. Significant changes in knowledge about climate change occurred in program participants. Incorporating artists and the arts into this activity helped engage multiple senses and emphasized social interaction, as well as providing support to participants to think creatively. The production of art helped to encourage peer learning and normalize the different views among participants in communicating about climate change impacts. Students created effective communication products based on external reviews. Disciplinary differences in cultures, language, and standards challenged participating faculty, yet unanticipated outcomes such as potentially transformative learning and improved teacher evaluations resulted.

Il vulcanismo esplosivo : l'isola Ferdinandea: eruzione del 1831 nel mar di Sicilia

Il contenuto di questo volume non vuole rappresentare un testo didattico per lo studio in generale della vulcanologia in quanto in esso si tratta unicamente quell’a-spetto della disciplina che riguarda il vulcanismo esplosivo. In tal senso l’autore ritiene che questo testo possa essere utile per gli studenti di Scienze Geologiche che, vivendo nelle aree vulcaniche italiane di età quaternaria ed anche attive, possano, da laureati, svolgere attività professionali mirate alla individuazione e definizione di Pericolosità, Vulnerabilità e Rischio Vulcanico. Trattare gli argomenti che seguono non è stato facile e forse si poteva, in alcuni casi, renderli più semplici, ma talvolta la semplicità non sempre è sinonimo di precisione; inoltre, per descrivere certi aspetti non quantitativi si è costretti ad utilizzare un linguaggio quanto più possibile “ad hoc”. L’autore ha svolto la propria attività di ricerca in aree vulcaniche, sia in Italia che all’estero. Le ricerche in Italia sono state da sempre concentrate nelle aree di vulcanismo attivo in cui l’attività del vulcanologo è finalizzata fondamentalmente alla definizione della Pericolosità Vulcanica supporto indispensabile per la definizione dell’aree a Rischio Vulcanico, intendendo per Rischio il prodotto della Pericolosità per il Danno in termini, questo, di numero di vite umane ovvero di valore monetario dei beni a rischio nell’area vulcanica attiva. Le ricerche svolte dall’autore in Africa Orientale (Etiopia e Somalia) e nello Yemen hanno contribuito ad assimilare i concetti di vulcanologia regionale, rappresentata dall’ampia diffusione del vulcanismo di plateau, variabile per spessore dai 1500 ai 3000 metri, fra i quali si inseriscono, nella depressione dell’Afar, catene vulcaniche inquadrabili, dal punto di vista geodinamico, come “oceaniche” alcune delle quali attive e che si sviluppano per decine/centinaia di chilometri. Nelle aree vulcaniche italiane le difficoltà che sorgono durante il rilevamento risiedono nella scarsa continuità di affioramenti, talvolta incompleti per la descrizione delle variazioni di facies piroclastiche, non disgiunta dalla fitta vegetazione ovvero ur banizzazione specialmente nelle aree di vulcanismo attivo. Il rilevamento vulcanologico richiede competenze e l’adozione di scale adatte a poter cartografare le variazioni di facies piroclastiche che, a differenza dalle assise sedimentarie, in un’area vulcanica possono essere diffuse arealmente soltanto per alcune centinaia di metri. I metodi di studio delle rocce piroclastiche sono del tutto simili a quelli che si usano per le rocce clastiche, cioè dall’analisi delle strutture e delle tessiture alla litologica fino a quella meccanica; su questi clasti inoltre le determinazioni della densità, della mineralogia e della geochimica (Elementi in tracce e Terre Rare), ottenute sulla frazione vetrosa, rappresentano parametri talvolta identificativi di un’area vulcanica sorgente. Non esistono testi nei quali venga descritto come si debba operare nelle aree vulcaniche per le quali l’unica certezza unificante è rappresentata dall’evidenza che, nelle sequenze stratigrafiche, il termine al top rappresenta quello più relativamente recente mentre quello alla base indica il termine relativo più vecchio. Quanto viene riportato in questo testo nasce dall’esperienza che è stata acquisita nel tempo attraverso una costante azione di rilevamento che rappresenta l’uni- ca sorgente di informazione che un vulcanologo deve ricavare attraverso un attento esame dei depositi vulcanici (dalla litologia alla mineralogia, alla tessitura, etc.) la cui distribuzione, talvolta, può assumere un carattere interegionale in Italia nell’ambito dell’Olocene. Soltanto l’esperienza acquisita con il rilevamento produce, in un’area di vulcanismo attivo, risultati positivi per la definizione della Pericolosità, sapendo però che le aree vulcaniche italiane presentano caratteristiche ampiamente differenti e di conseguenza il modo di operare non può essere sempre lo stesso. Un esempio? Immaginate di eseguire un rilevamento vulcanico prima al Somma-Vesuvio e poi nei Campi Flegrei: sono mondi completamente differenti. L’autore desidera ribadire che questo testo si basa sulla esperienza acquisita sia come geologo sia come docente di Vulcanologia; pertanto il libro potrà forse risultare più o meno bilanciato, in forza dell’argomento trattato, in quanto durante l’attività di ricerca l’autore, come tutti, ha affrontato alcuni argomenti più di altri. Questo approccio può essere considerato valido per chiunque voglia scrivere un libro in maniera autonoma e originale, non limitandosi, come molte volte avviene, a tradurre in italiano un libro su tematiche analoghe diffuso, ad esempio, nel mondo anglosassone.Diversamente, si sarebbe potuto concepire un libro come un collage di capitoli scritti da vari autori, che magari avevano esperienza più specifica nei singoli argomenti, ma in tal senso si sarebbe snaturato lo spirito con cui si è impostato il progetto. L’autore, infine, ha fatto ricorso al contributo di altri autorevoli colleghi solo per temi importantissimi, ma in qualche modo complementari rispetto al corpus costitutivo del Vulcanismo Esplosivo.

Malarstwo materii w Polsce - na marginesach odwilżowej "nowoczesności"

Katalog Malarstwo materii w Polsce - na marginesach odwilżowej "nowoczesności" obejmuje prace z obszaru malarstwa materii zinwentaryzowane w wyniku kwerend przeprowadzonych w 13 muzeach w Polsce. Prace tworzone niemal bez udziału tradycyjnego medium (farby), a oparte na użyciu materii pozaobrazowych komponowanych w odniesieniu do płaszczyzny stanowiły istotny element rodzimej twórczości okresu odwilży oraz następujących dekad lat 60. i 70. XX wieku. Katalog obejmuje około 300 obiektów autorstwa artystów związanych z ważnymi grupami artystycznymi (Grupa Krakowska, Grupa Nowohucka, Grupa Zamek, krąg Galerii Krzywe Koło) oraz niezwiązanych z konkretnymi ugrupowaniami.

"Madre Monte"

"Madre Monte". Collage de Margarita Buitrago. La Cumbre, 1998.

"Berlim : Bric-à-Brac : projeto de criação/investigação

Berlim e a sua paisagem sonora suscitam emoções diversas capazes de desencadear um processo criativo. As palavras que se seguem são a expressão de um projeto que se quis catalisador de um olhar muito pessoal sobre esta cidade. Tendo como base, na criação, a estética da colagem, este projeto materializa-se numa performance final onde uma atriz, uma bailarina e um trombonista dão corpo a diversas emoções. Ainda na criação, é importante salientar o papel das técnicas de síntese na busca de novas sonoridades e o uso de tecnologias da música na composição e edição musical. Está patente, neste projeto, um clin-d’oeil ao serialismo e a corrente espectral francesa. As anotações dramatúrgicas foram também essenciais ao longo da composição musical e da encenação de toda a performance.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Sisters

Melinda Capp and her sister Meredith are identical twin. The Sisters installation presented at the Castlemaine state festival is an exploration of the experience and memories of having grown up as a twin and the complexity for both the self as single and self as other/double which underpins and confronts both the physical and psychological sense being a twin. Nature / Nurture: The work is explored as a dichotomy of Nature / Nurture by referencing the domestic context of childhood (which can be interpreted as an exposition of the influence of nurture) and reference to the physical, genetic aspect of being a twin (a reference to Nature). The Installation was located in a bedroom of a 1960’s brick house, now empty, and invites the viewer to enter into a world which pulls between these two forces of nature/nurture, which shape the sense of identity and realization of self for each twin. The bond between twins emerges at the cellular level and continues for the rest of their lives. Despite all emergence of individuality and bloodline thread binds them together forever no matter the distance between them and changes through time In dark wooden wardrobe two dresses, made from fine white tissues paper, hang quietly on each side of the robe with backlighting which floods the room with an ethereal luminance. Placed in the center of a large bare wall, a small image of Melinda and Meredith as young children (a photo transfer also on the ephemeral tissue paper) hangs in isolation. This placement and the surrounding space unites these two young twins together, bound in symmetry like a mirror image in the vast open space of the empty wall, a symbol of the potential for growth and individual identity in a world which surrounds them. On the opposite wall a series of object and artifacts are pressed between sheets of acrylic and backlit as if they were some sorts of scientific samples for detailed inspection. Feathers/hair, handmade paper with embroided (reference to the traditionally feminine arts) text and the words Blood Ties traced out. Each object is placed for analysis and hovers in space at the viewers approximate eye level like a series of clues for the revelation of some deeper insight. Hidden speakers were embedded within the walls of the room and played looped recordings at low level inviting the viewer to listen as a voyeur. A series of whispered schoolyard chants by Melinda and Meredith (identical wording were individually recorded by each sister and then superimposed) and a collage of spoken word, memories and anecdotes from the period of their childhood. Most notably recollections of the Apollo Moon landing. A symbol of the ability of science to transcend and reveal that which lies beyond and within, while at the same time counterpointed by the poetics of childhood songs emerging in unison as two twins reveal their innate unification.

La adaptación teatral de textos narrativos en España, 1972-2012

Novel or story adaptations and also dramatic texts versions, that need to be translated and updated to modern audiences are quite frequent in today`s theatre. This study aims to show the state of contemporary stage adaptation of narrative texts and, specifically, its evolution in Spain in the last forty years (1972-2012). To do this, I have tried to gather, first, all the terminology associated with the concept of stage adaptation: version, dramaturgy, rewriting, translation, interpretation, updating and consolidation. The theoretical part of the work begins with the various definitions of the concept of dramatization. All the positions reflected by theorists and specialists in the field come together when explaining the term adaptation or theatre version: the intervention on the original text is based on the transformation or change, radical or superficial, for its effective representation in the theatre. In contemporary times, the concept of adaptation applies to any kind of intervention, from the translation of the original (and rewriting) to the dramaturgical work involved in creating a new sense. In turn, any theatre adaptation requires a dramaturgical operation and supports all possible moves: reorganization of the story, breakage, reduced characters, dramatic concentration, incorporation of foreign texts, installation and collage, changes to the plot, etc. Although there is no definitive model for the theatre adaptation of works, several authors and theatrical theorists propose guidelines and types of adaptation to the transformation of a work into another or one genre into a different one; and regarding narrative texts, provide criteria for interpreting the original text. The issue for many authors is the danger of modifying or betraying the sense or the form of the original text, considering it as simple material for the play. Finally, it follows that there is affinity of thought among authors finding that there is no differentiation between adaptation and version: both terms refer to the same in the theatrical event and are also terms used equally for the countless film adaptations of novels and plays...

Curva de aprendizaje para ecografía cardiaca en residentes de primer y segundo año de medicina crítica de la universidad del rosario en el año 2016

La ecografía básica cardiaca (ECB) es una herramienta útil en la Unidad de Cuidados intensivos al facilitar la realización de ciertas intervenciones. No se ha definido el número de repeticiones necesarias para obtener un nivel de competencia adecuado. La evidencia encontrada indica un número mínimo de cincuenta repeticiones, para alcanzar cierto grado de habilidad.