Hide and seek with rebels: tracing contemporary queer art in cracks and rips

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Art as an educative and social tool

Since remote times, certain sectors of society have been exposed to inequality and vulnerability, where adequate intervention processes have become conspicuous because of their absence. Nowadays, current societies have the responsibility of contributing, based on their experience and knowledge, with more efficient policies and programs that improve the life quality of the most disadvantaged. It is here where art and its different tools play a very important role, not only on a physical level, but also as an education tool that allows the development of emotional, mental and communicative skills. The aim of this paper is to make clear the potential of art as an instrument of social and educational intervention. It starts by showing worldwide-collected experience related to education and arts, and then, it acquaints the reader with two parallel intervention projects that worked with youths under social vulnerability conditions. These interventions were developed based on a qualitative research (Grounded theory), using as methodology “The Artistic Mediation” with emphasis on body language. This methodology helped researchers to get close to the participants and to know their experiences and emotions. At the same time, it was possible to evidence the positive effects of educative interventions through art. These workshops were based on an artistic methodology especially focused on body language. Data in this work is qualitative, and as such, it permits a special approach to the personal and emotional experiences of the participants; clearly showing the positive effects of the referenced practice on them.

The machinist landscape:Land Art Generator Initiative (Competition)

THE MACHINIST LANDSCAPE: AN ENTROPIC GRID OF VARIANCE
‘By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a “logical two dimensional picture”. A “logical picture” differs from a natural or realistic picture in that it rarely looks like the thing it stands for.’
A Provisional Theory of Non-Sites, Robert Smithson (1968)

Between design and ground there are variances, deviations and gaps. These exist as physical interstices between what is conceptualised and what is realised; and they reveal moments in the design process that resist the reconciliation of people and their environment (McHarg 1963). The Machinist Landscape interrogates the significance of these variances through the contrasting processes of coppice and photovoltaic energy. It builds on the potential of these gaps, and in doing so proposes that these spaces of variance can reveal the complexity of relationships between consumption and remediation, design and nature.
Fresh Kills Park, and in particular the draft master plan (2006), offers a framework to explore this artificial construct. Central to the Machinist Landscape is the analysis of the landfill gas collection system, planned on a notional 200ft grid. Variations are revealed between this diagrammatic grid measure and that which has been constructed on the site. These variances between the abstract and the real offer the Machinist Landscape a powerful space of enquiry. Are these gaps a result of unexpected conditions below ground, topographic nuances or natural phenomena? Does this space of difference, between what is planned and what is constructed, have the potential to redefine the dynamic processes and relations with the land?
The Machinist Landscape is structured through this space of variance with an ‘entropic grid’, the under-storey of which hosts a carefully managed system of short-rotation coppice (SRC). The coppice, a medieval practice related to energy, product, and space, operates on theoretical and programmatic levels. It is planted along a structure of linear bunds, stabilized through coppice pole retaining structures and enriched with nutrients from coppice produced bio-char. Above the coppice is built an upper-storey of photovoltaic (PV); its structures fabricated from the coppiced timber and the PV produced with graphene from coppice charcoal processes.

Digital Debris of Internet Art: An Allegorical and Entropic Resistance to the Epistemology of Search

This Ph.D., by thesis, proposes a speculative lens to read Internet Art via the concept of digital debris. In order to do so, the research explores the idea of digital debris in Internet Art from 1993 to 2011 in a series of nine case studies. Here, digital debris are understood as words typed in search engines and which then disappear; bits of obsolete codes which are lingering on the Internet, abandoned website, broken links or pieces of ephemeral information circulating on the Internet and which are used as a material by practitioners. In this context, the thesis asks what are digital debris? The thesis argues that the digital debris of Internet Art represent an allegorical and entropic resistance to the what Art Historian David Joselit calls the Epistemology of Search. The ambition of the research is to develop a language in-between the agency of the artist and the autonomy of the algorithm, as a way of introducing Internet Art to a pluridisciplinary audience, hence the presence of the comparative studies unfolding throughout the thesis, between Internet Art and pionners in the recycling of waste in art, the use of instructions as a medium and the programming of poetry. While many anthropological and ethnographical studies are concerned with the material object of the computer as debris once it becomes obsolete, very few studies have analysed waste as discarded data. The research shifts the focus from an industrial production of digital debris (such as pieces of hardware) to obsolete pieces of information in art practice. The research demonstrates that illustrations of such considerations can be found, for instance, in Cory Arcangel’s work Data Diaries (2001) where QuickTime files are stolen, disassembled, and then re-used in new displays. The thesis also looks at Jodi’s approach in Jodi.org (1993) and Asdfg (1998), where websites and hyperlinks are detourned, deconstructed, and presented in abstract collages that reveals the architecture of the Internet. The research starts in a typological manner and classifies the pieces of Internet Art according to the structure at play in the work. Indeed if some online works dealing with discarded documents offer a self-contained and closed system, others nurture the idea of openness and unpredictability. The thesis foregrounds the ideas generated through the artworks and interprets how those latter are visually constructed and displayed. Not only does the research questions the status of digital debris once they are incorporated into art practice but it also examine the method according to which they are retrieved, manipulated and displayed to submit that digital debris of Internet Art are the result of both semantic and automated processes, rendering them both an object of discourse and a technical reality. Finally, in order to frame the serendipity and process-based nature of the digital debris, the Ph.D. concludes that digital debris are entropic . In other words that they are items of language to-be, paradoxically locked in a constant state of realisation.

The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study.

Neuroimaging studies of aesthetic appreciation have shown that activity in the lateral occipital area (LO)—a key node in the object recognition pathway—is modulated by the extent to which visual artworks are liked or found beautiful. However, the available evidence is only correlational. Here we used transcranial magnetic stimulation (TMS) to investigate the putative causal role of LO in the aesthetic appreciation of paintings. In our first experiment, we found that interfering with LO activity during aesthetic appreciation selectively reduced evaluation of representational paintings, leaving appreciation of abstract paintings unaffected. A second experiment demonstrated that, although the perceived clearness of the images overall positively correlated with liking, the detrimental effect of LO TMS on aesthetic appreciation does not owe to TMS reducing perceived clearness. Taken together, our findings suggest that object-recognition mechanisms mediated by LO play a causal role in aesthetic appreciation of representational art.

Le recyclage du déchet dans l'art du XXIe siècle : trois études de cas

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

Titanium in Dentistry: Historical development, state of the art and future perspectives

Titanium is a metallic element known by several attractive characteristics, such as biocompatibility, excellent corrosion resistance and high mechanical resistance. It is widely used in Dentistry, with high success rates, providing a favorable biological response when in contact with live tissues. Therefore, the objective of this study was to describe the different uses of titanium in Dentistry, reviewing its historical development and discoursing about its state of art and future perspective of its utilization. A search in the MEDLINE/PubMed database was performed using the terms 'titanium', 'dentistry' and 'implants'. The title and abstract of articles were read, and after this first screening 20 articles were selected and their full-texts were downloaded. Additional text books and manual search of reference lists within selected articles were included. Correlated literature showed that titanium is the most used metal in Implantology for manufacturing osseointegrated implants and their systems, with a totally consolidated utilization. Moreover, titanium can be also employed in prosthodontics to obtain frameworks. However, problems related to its machining, casting, welding and ceramic application for dental prosthesis are still limiting its use. In Endodontics, titanium has been used in association to nickel for manufacturing rotatory instruments, providing a higher resistance to deformation. However, although the different possibilities of using titanium in modern Dentistry, its use for prostheses frameworks still needs technological improvements in order to surpass its limitations. © 2012 Indian Prosthodontic Society.

Da apropriação indébita previdenciária (Art. 168-A, parágrafo 1, Inciso I do Código Penal) e sua efetiva materialização no plano da tipicidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Previsão de carga multinodal usando a rede neural ART-ARTMAP fuzzy

Pós-graduação em Engenharia Elétrica - FEIS

Clinical evaluation of multisurface ART restorations

O objetivo deste estudo foi avaliar o comportamento de dois cimentos de ionômero de vidro: um de alta viscosidade (Ketac Molar - ESPE) e um modificado por resina (Fuji VIII – GC) em restaurações envolvendo duas ou mais superfícies dentárias, confeccionadas pela técnica do Tratamento Restaurador Atraumático. Sessenta restaurações (30 com cada material) foram inseridas em estudantes (9-16 anos) por dois operadores. Após 6 meses, dois examinadores independentes avaliaram as restaurações de acordo com os critérios utilizados em trabalhos prévios semelhantes. Os dados foram analisados pelos testes de McNemar e Fischer. A porcentagem de sucesso do tratamento foi de 98,3%. Uma restauração (Ketac Molar) foi substituída por outro material e classificada como falha. As porcentagens de sucesso das restaurações foram de 100% e 96,6% para o Fuji VIII e Ketac Molar, respectivamente. Não houve diferença estatisticamente significante no sucesso das restaurações entre o baseline e 6 meses (p>0,05). Da mesma forma, não houve diferença estatística entre os materiais, tipos de cavidade ou entre operadores.(p>0,05). A técnica ART foi altamente apropriada e efetiva em restaurações envolvendo duas ou mais superfícies, após 6 meses. Os resultados mostraram um comportamento promissor com ambos os materiais.

Stability of Art Preference in Frontotemporal Dementia

We examined aesthetic preference for reproductions of paintings among frontotemporal dementia (FTD) patients, in two sessions separated by 2 weeks. The artworks were in three different styles: representational, quasirepresentational, and abstract. Stability of preference for the paintings was equivalent to that shown by a matched group of Alzheimer's disease patients and a group of healthy controls drawn from an earlier study. We expected that preference for representational art would be affected by disruptions in language processes in the FTD group. However, this was not the case and the FTD patients, despite severe language processing deficits, performed similarly across all three art styles. These data show that FTD patients maintain a sense of aesthetic appraisal despite cognitive impairment and should be amenable to therapies and enrichment activities involving art.

Abstract interpretation with specialized definitions

The relationship between abstract interpretation and partial evaluation has received considerable attention and (partial) integrations have been proposed starting from both the partial evaluation and abstract interpretation perspectives. In this work we present what we argüe is the first generic algorithm for efñcient and precise integration of abstract interpretation and partial evaluation from an abstract interpretation perspective. Taking as starting point state-of-the-art algorithms for context-sensitive, polyvariant abstract interpretation and (abstract) partial evaluation of logic programs, we present an algorithm which combines the best of both worlds. Key ingredients include the accurate success propagation inherent to abstract interpretation and the powerful program transformations achievable by partial deduction. In our algorithm, the calis which appear in the analysis graph are not analyzed w.r.t. the original definition of the procedure but w.r.t. specialized definitions of these procedures. Such specialized definitions are obtained by applying both unfolding and abstract executability. Also, our framework is parametric w.r.t. different control strategies and abstract domains. Different combinations of these parameters correspond to existing algorithms for program analysis and specialization. Our approach efficiently computes strictly more precise results than those achievable by each of the individual techniques. The algorithm is one of the key components of CiaoPP, the analysis and specialization system of the Ciao compiler.

What Makes an Effective Abstract in Sport Science?

Writing an efficient abstract is always a difficult and significant work in academic writing. What kinds of abstracts are well reputed in sport science? To answer this question, 20 abstracts from top journals of sport science were analyzed in the current research. The number of words and rhetorical moves were studied to assess the structures of the abstracts. Meanwhile, the key clauses, citations, the use of first person pronoun, the adoption of abbreviations and acronyms, hedging and the main tense were included in the analysis of the writing skills. Results have show: (1) Almost all of the abstracts were non-structured, and the length varied a lot, but the average word count was about 210-220; (2) the use of writing skills, such as key clauses, citations and hedging differed depending on the preference of the journal where the abstract appeared, and the main tense was selected based on the context of the abstract. In most cases, abbreviations and acronyms were allowed to be used, while the first person pronoun was always avoided