Will VEGF Trap-Eye reduce the treatment burden in neovascular age-related macular degeneration?

Evaluation of: Brown DM, Heier JS, Ciulla T et al. Primary end point results of a Phase II study of vascular endothelial growth factor trap-eye in wet age-related macular degeneration. Ophthalmology 118(6), 1089-1097 (2011); Heier JS, Boyer D, Nguyen QD et al. The 1-year results of CLEAR-IT 2, a Phase 2 study of vascular endothelial growth factor trap-eye dosed as-needed after 12-week fixed dosing. Ophthalmology 118(6), 1098-1106 (2011). Age-related macular degeneration is the most common cause of blindness in older adults in western countries, and is likely to become the largest cause of irreversible sight loss in the developing world. Treatments such as ranibizumab and bevacizumab that inhibit VEGF have improved visual outcomes markedly. Controlled trials and clinical experience have shown that the best outcomes are achieved when monthly treatment has been administered over 2 years. This poses a significant burden on health providers and patients. A novel inhibitor of VEGF, VEGF Trap-Eye, which allows less frequent dosing without loss of efficacy, has emerged as a potential treatment. CLEAR-IT 2 was a prospective randomized Phase II trial designed to assess the safety, tolerability and the anatomic and visual effects of repeated treatments with a range of doses of VEGF Trap-Eye. Impressive anatomic and visual improvements were noted with no safety concerns. © 2011 Expert Reviews Ltd.

Pour une esthétique du cinéma transludique : figures du jeu vidéo et de l'animation dans le cinéma d'effets visuels du tournant du XXIe siècle

Cette thèse propose une analyse croisée du cinéma et du jeu vidéo sous un angle interdisciplinaire afin de montrer la réappropriation et le remédiatisation des structures narratives et formelles du jeu vidéo dans le cinéma d’effets visuels du tournant du XXIe siècle. Plus spécifiquement, la thèse porte sur l’analyse de trois figures majeures du jeu vidéo et de l’animation dans la trilogie Matrix (Larry et Andy Wachowski, 1999-2003), dans Avalon (Mamoru Oshii, 2001) et dans Kung-Fu Hustle (Stephen Chow, 2004). La première section de la thèse consiste en une mise en place théorique par la présentation de certains paramètres esthétiques du cinéma d’effets visuels et du jeu vidéo. Quelques réflexions préliminaires sur l’esthétique du cinéma d’effets visuels sont d’abord esquissées avant de présenter les principales relations transmédiales entre le cinéma et le jeu vidéo. Ensuite, c’est le cinéma transludique qui est défini alors que le terme découle de la synergie singulière entre le cinéma et le jeu vidéo. Puisque le cinéma transludique concerne spécifiquement la récupération de l’esthétique du jeu vidéo dans le cinéma contemporain, les prémisses d’une esthétique du jeu vidéo sont alors établies. Dans la deuxième section, ce sont les figures et sous-figures au cœur de cette réflexion qui sont développées, pour ensuite les appliquer aux films du corpus. La première figure à l’étude est celle de l’exploration, alors que l’analyse de la signification de cette figure dans la conception de jeu vidéo et dans les récits cinématographiques de science-fiction montre l’importance de la navigation comme expérience spatio-temporelle dans les univers virtuels. Ensuite, c’est l’utilisation récurrente de la figure vidéoludique du niveau (level) dans le cinéma hybride contemporain qui est soulignée, figure qui structure autant le récit que la forme représentationnelle des films transludiques. Enfin, la figure de la métamorphose, indissociable du cinéma d’animation, est étudiée afin de souligner l’importance de cette figure dans la création numérique et d’expliquer la transformation de l’image qui affecte le cinéma transludique, image qualifiée d’image-frontière.

Expression et localisation du système endocannabinoïde dans la rétine du singe

Les effets de la marijuana, un médicament utilisé par l’homme depuis des millénaires, sur le système visuel sont peu connus. Une meilleure connaissance de la distribution du système endocannabinoïde (eCB) de la rétine pourrait expliquer comment cette drogue affecte la vision. Cette étude vise à caractériser la distribution du récepteur cannabinoïde CB1 (CB1R) et de l’enzyme de dégradation FAAH (“fatty acid amide hydrolase”) des ligands du CB1R dans la rétine du singe Vert (Chlorocebus sabaeus). De plus, elle vise à déterminer quelles sous-populations cellulaires de la rétine expriment ces composantes. La plupart des études à ce jour ont été conduites surtout sur les rongeurs et peu de travaux ont été réalisés chez le singe. Notre étude vient donc combler cette carence. Par le biais de méthodes immunohistochimiques, nous avons investigué la localisation du CB1R et de l’enzyme FAAH à différentes excentricités rétiniennes, de la fovéa centralis vers la périphérie. Nos résultats, en accord avec notre hypothèse de travail, démontrent que CB1R et FAAH sont exprimés à travers toute la rétine mais avec, cependant, des différences notoires. Au niveau de la couche des photorécepteurs, CB1R est exprimé préférentiellement dans les cônes et ce patron d’expression suit la distribution des photorécepteurs centre-périphérie. De plus, CB1R se retrouve surtout dans les pédicules des cônes de la couche plexiforme externe. CB1R et FAAH sont abondants dans les cellules bipolaires tant au centre qu’en périphérie. Le soma et l’axone des cellules ganglionnaires expriment aussi CB1R et FAAH. Ces données suggèrent que le système eCB est présent à travers toute la rétine du primate et pourrait expliquer les perturbations visuelles entrainées par la marijuana, telles la photosensibilité et la vision des couleurs.

Display, disclosure and concealment: the organization of raw materials in the chambered tombs of Bohuslän

The Neolithic chambered tombs of Bohuslan on the west coast of Sweden were built out of locally occurring raw materials. These exhibit a wide variety of colours, textures and mineral inclusions, and all were used to contrive a series of striking visual effects. Certain of these would have been apparent to the casual observer but others would only have been apparent to someone inside the passage or the burial chamber. There is no evidence that the materials were organized according to a single scheme. Rather, they permitted a series of improvisations, so that no two monuments were exactly alike. The effects that they created are compared with those found in megalithic art where the design elements were painted or carved, but in Bohuslan all the designs were created using the natural properties of the rock.

The causal surface and its effect on distribution transparency in a distributed virtual environment

One goal in the development of distributed virtual environments (DVEs) is to create a system such that users are unaware of the distribution-the distribution should be transparent. The paper begins by discussing the general issues in DVEs that might make this possible, and a system that allows some level of distribution transparency is described. The system described suffers from effects of inconsistency, which in turn cause undesirable visual effects. The causal surface is introduced as a solution that removes these visual effects. The paper then introduces two determining factors of distribution transparency relating to user perception and performance. With regard to these factors, two hypotheses are stated relating to the causal surface. A user-trial on forty-five subjects is used to validate the hypotheses. A discussion of the results of the trial concludes that the causal surface solution does significantly improve the distribution transparency in a DVE.

Low glyphosate rates do not affect Citrus limonia (L.) Osbeck seedlings

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O fator de crescimento neuronal na infecção por Schistosoma mansoni: estudo molecular, imunoenzimático e morfométrico em modelo permissível e não permissível à infecção

A esquistossomose é uma doença tropical causada, principalmente, pelo trematódeo Schistosoma mansoni, sendo que sua ocorrência afeta, mundialmente, 110 milhões de pessoas. A deposição dos ovos do parasita pode ocorrer, de forma ectópica, no sistema nervoso central (SNC) o qual leva à formação de granulomas com consequente produção do Fator de Crescimento Neuronal (NGF). Uma vez que muitos estudos demonstram a importância do NGF no desenvolvimento das vias corticais visuais, nosso estudo visou avaliar a possível alteração dos níveis de NGF no sistema visual assim como o impacto deste sobre a morfologia de células piramidais em dois modelos animais. A alteração na concentração do fator de crescimento assim como a morfometria neuronal foram avaliadas em animais permissíveis (camundongos) e não permissíveis (ratos) à infecção. Foram utilizados 174 ratos (Hooded Lister) e 135 camundongos albinos criados e mantidos em gaiolas e alimentados ad libitum. Esses animais foram inoculados, logo após o nascimento, com 50 cercárias. Setenta e sete ratos e 73 camundongos foram inoculados com solução salina e constituíram o grupo controle do estudo. Os períodos de infecção abrangeram uma a 48 semanas. Amostras do fígado e córtex visual foram retiradas, extraídas e quantificadas com kit de imunoensaio (ChemiKineTM Nerve Growth Factor (NGF) Sandwich ELISA Kit – Chemicon International). Para a análise morfométrica utilizamos células piramidais da camada IV do córtex visual marcadas através de injeção extracelular com Dextrana-Biotinilada (10.000 kDa). Os resultados foram expressos como média ± desvio padrão. Utilizamos teste t de Student para determinar diferenças estatísticas entre os grupos estudados. O valor médio de NGF encontrado no córtex visual de ratos infectados foi 39,2% maior do que no grupo controle (infectados: 400,9 ± 143,1 pg/mL; controle: 288 ± 31,9 pg/mL; p < 0,0001). Nas amostras de fígado, o aumento foi 28,9% maior no grupo infectado (infectados: 340,9 ± 103,9 pg/mL; p < 0,01; controle: 264,4 ± 38,6 pg/mL). Nenhum aumento significativo foi detectado antes de uma semana de infecção. Entre os camundongos, o aumento de NGF na área visual foi de 94,1% (infectados: 478,4 ± 284 pg/mL; p < 0,01; controle: 246,5 ± 76,8 pg/mL). No fígado destes animais o aumento foi de 138,7% (infectados: 561,8 ± 260,7 pg/mL; p < 0,01; controle: 301,3 ± 134,6 pg/mL). Em camundongos encontramos diferenças significativas quanto aos parâmetros dendríticos avaliados. A quantidade de dendritos foi 11,41% maior no grupo infectado do que no controle (controle: 25,28 ± 5,19; infectados: 28,16 ± 7,45; p < 0,05). O comprimento total dos dendritos também foi afetado (controle: 4.916,52 ± 1.492,65 μm; infectados: 5.460,40 ± 1.214,07 μm; p < 0,05) correspondendo a um aumento de 11,06%. A área total do campo receptor dendrítico sofreu um aumento de 12,99% (controle: 29.346,69 ± 11.298,62 μm2; infectados: 33.158,20 ± 7.758,31; p < 0,05) enquanto que a área somática teve uma redução de 13,61% (controle: 119,38 ± 19,68 μm2; infectados: 103,13 ± 24,69 μm2; p < 0,001). Quando foram avaliados os efeitos do aumento de NGF em ratos infectados não observamos diferenças significativas quanto aos parâmetros dendríticos analisados, em comparação ao grupo controle, com exceção de um aumento na área do corpo neuronal da ordem de 21,18% (controle: 132,20 ± 28,46 μm2; infectados: 160,20 ± 31,63 μm2; p < 0,00001). Este trabalho mostrou que a reação de produção de NGF no SNC durante a infecção por Schistosoma mansoni ocorre em maior magnitude no modelo permissível do que no modelo não permissível. Também demonstramos que, em camundongos, os efeitos sobre a morfologia neuronal é drasticamente afetada quando o organismo é submetido a um aumento na concentração de NGF em decorrência da infecção por Schistosoma mansoni. Diante destes dados, estudos avaliando as possíveis repercussões visuais e também dos efeitos na fisiologia celular causados pela infecção mansônica torna-se necessário para avaliar o real dano causado por este aumento patológico do fator de crescimento neuronal nas vias visuais de mamíferos.

Effect of plant regulators on growth and flowering of 'Meyer' zoysiagrass

This trial aimed to evaluate the effect of sequential applications of different plant regulators over growth and flower rachis emission of 'Meyer' zoysiagrass (Zoysia japonica). The study was conducted on 15-month old green turfgrass under a randomized complete block design with four replications. The following plant regulator and doses were tested: trinexapac-ethyl (113+113, 226+113, 226+226, 452+113, 452+226, 452+452, 678+339 e 904+452 g a.i./ha-1), prohexadione-calcium (100+100 e 200+200 g a.i. ha-1) and bispyribac-sodium (40+40 e 60+60 g a.i. ha-1), as well as an untreated control. The turfgrass was mowed again at 3.0 cm aboveground and the second plant regulator was applied when 'Meyer' zoysiagrass was between 5.0 and 6.0 cm high. The effect of the treatments was visually rated for visual injury, plant height, height and number of flower rachis, and total dry mass production of clippings. Only bispyribac-sodium had visual symptoms of injury on 'Meyer' zoysiagrass, and no intoxication was observed at 28 days after the second application (DAAB). The sequential applications of trinexapac-ethyl, prohexadione-calcium and bispyribac-sodium reduced by more than 80% the total clipping dry mass produced by 'Meyer' zoysiagrass. All the plant regulators tested also showed promising results in reducing the height and emission of rachis, especially when trinexapac-ethyl was applied at the doses 452+452, 678+339 and 904+452 g a.i. ha-1. 'Meyer' zoysiagrass turfgrass can be handled with the sequential application of a plant regulator, which reduces the need for mowing over a period up to 110 days after the application of the second plant regulator, and it also avoids deleterious visual effects over turfgrass.

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Interconexión monolítica de módulos fotovoltaicos de silicio amorfo en lámina delgada sobre vidrio mediante ablación láser en régimen de nanosegundos

Esta tesis se centra en el estudio de una secuencia de procesos basados en la tecnología láser y ejecutados en dispositivos fotovoltaicos, que son imprescindibles para el desarrollo en general de las tecnologías fotovoltaicas basadas en lámina delgada y, en particular, de aquellas que utilizan silicio amorfo como absorbente, así como en aplicaciones posteriores de estas tecnologías de alto valor añadido como es la integración arquitectónica de este tipo de dispositivos. En gran parte de las tecnologías FV de lámina delgada, y muy particularmente en la de silicio amorfo, el material se deposita sobre un substrato en un área lo suficientemente grande para que se requiera de un proceso de subdivisión del dispositivo en células de tamaño adecuado, y su posterior conexión en serie para garantizar las figuras eléctricas nominales del dispositivo. Este proceso se ha desarrollado industrialmente hace años, pero no ha habido un esfuerzo científico asociado que permitiera conocer en profundidad los efectos que los procesos en si mismos tiene de forma individualizada sobre los materiales que componen el dispositivo y sus características finales. Este trabajo, desarrollado durante años en el Centro Láser de la UPM, en estrecha colaboración con Centro de Investigaciones Energéticas y Medioambientales (CIEMAT), la Universidad de Barcelona (UB), y la Universidad Politécnica de Cataluña (UPC), se centra justamente en un estudio detallado de dichos procesos, denominados habitualmente P1, P2, P3 y P4 atendiendo al orden en el que se realizan en el dispositivo. Este estudio incluye tanto la parametrización de los procesos, el análisis del efecto que los mismos producen sobre los materiales que componen el dispositivo y su comportamiento fotoeléctrico final, así como la evaluación del potencial uso de fuentes láser de última generación (ultrarrápidas) frente al estándar industrial en la actualidad que es el empleo de fuentes láser convencionales de ancho temporal en el rango de los nanosegundos. En concreto se ha estudiado en detalle las ventajas y limitaciones del uso de sistemas con diferentes rangos espectrales (IR, VIS y UV) y temporales (nanosegundos y picosegundos) para diferentes tipos de configuraciones y disposiciones tecnológicas (entendiendo por estas las habituales configuraciones en substrato y superestrato de este tipo de dispositivos). La caracterización individual de los procesos fue realizada primeramente en células de laboratorio específicamente diseñadas, abriendo nuevos planteamientos y conceptos originales para la mejora de los procesos láser de interconexión y posibilitando el empleo y desarrollo de técnicas y métodos avanzados de caracterización para el estudio de los procesos de ablación en las distintas láminas que conforman la estructura de los dispositivos fotovoltaicos, por lo que se considera que este trabajo ha propuesto una metodología completamente original, y que se ha demostrado efectiva, en este ámbito. Por último el trabajo aborda un tema de particular interés, como es el posible uso de los procesos desarrollados, no para construir los módulos fotovoltaicos en sí, sino para personalizarlos en forma y efectos visuales para potenciar su uso mediante elementos integrables arquitectónicamente, lo que es un ámbito de gran potencial de desarrollo futuro de las tecnologías fotovoltaicas de lámina delgada. En concreto se presentan estudios de fabricación de dispositivos integrables arquitectónicamente y plenamente funcionales no solo en dispositivos de silicio amorfo con efectos de transparencias y generación de formas libres, si no que también se incluye la posibilidad de hacer tales dispositivos con células de silicio cristalino estándar que es la tecnología fotovoltaica de mayor presencia en mercado. Es importante, además, resaltar que la realización de este trabajo ha sido posible gracias a la financiación obtenida con dos proyectos de investigación aplicada, MICROSIL (PSE-120000-2008-1) e INNDISOL (IPT-420000-2019-6), y los correspondientes al Plan Nacional de I+D+I financiados por el ministerio de Ciencia e Innovación y el Ministerio de Economía y Competitividad: CLÁSICO (ENE 2007- 67742-C04-04) y AMIC ENE2010-21384-C04-02. De hecho, y en el marco de estos proyectos, los resultados de este trabajo han ayudado a conseguir algunos de los hitos más importantes de la tecnología fotovoltaica en nuestro país en los últimos años, como fue en el marco de MICROSIL la fabricación del primer módulo de silicio amorfo con tecnología íntegramente española (hecho en colaboración con el CIEMAT), o la fabricación de los dispositivos para integración arquitectónica con geometrías libres que se describen en esta Tesis y que fueron parte de los desarrollos del proyecto INNDISOL. ABSTRACT This thesis focuses on the study of a sequence of laser-based technology and processes executed in photovoltaic devices, which are essential for the overall development of photovoltaic technologies based on thin film and, in particular, those using amorphous silicon as absorbent and subsequent applications of these technologies with high added value such as the architectural integration of such devices. In much of the PV thin film technologies, and particularly in the amorphous silicon material is deposited on a substrate in an area large enough so that it requires a process of subdivision of the device in cells of appropriate size, and subsequent serial connection to ensure nominal device power figures. This process has been industrially developed years ago, but there has been an associate scientific effort that would learn more about the effects that the processes themselves have either individually on the materials that make up the device and its final characteristics. This work, developed over years in the Laser Center of the UPM, in close collaboration with Centre for Energy and Environmental Research (CIEMAT), the University of Barcelona (UB) and the Polytechnic University of Catalonia (UPC)., Focuses precisely in a detailed study of these processes, usually they called P1, P2, P3 and P4 according to the order in which they perform on the device. This study includes both the parameters of the processes, the analysis of the effect they produce on the materials making up the device and its final photoelectric behavior as well as the potential use of EVALUATION of next-generation laser sources (ultrafast) versus standard industry today is the use of conventional laser sources temporal width in the range of nanoseconds. In particular we have studied in detail the advantages and limitations of using systems with different spectral ranges (IR, UV and VIS) and time (nanosecond and picosecond) for different configurations and technological provisions (meaning these typical configurations in substrate and superstrate such devices). Individual characterization of the processes was conducted primarily in laboratory cells specifically designed, opening new approaches and original concepts for improving laser interconnection processes and enabling the use and development of advanced techniques and characterization methods for studying the processes ablation in the different sheets making up the structure of the photovoltaic devices, so it is considered that this work has proposed a completely original methodology, which has proven effective in this area. Finally, the paper addresses a topic of particular interest, as is the possible use of lso developed processes, not to build the photovoltaic modules themselves but to customize fit and visual effects to enhance their use by integrated architectural elements, which is an area of great potential for future development of thin film photovoltaic technologies. Specifically studies manufacture of integrated architecturally and fully functional not only in amorphous silicon devices with transparency effects and generating freeform devices occur, if not also include the ability to make such devices with cells of standard crystalline silicon photovoltaic technology is more visible in the market. It is also important to note that the completion of this work has been possible thanks to the financing obtained with two applied research projects, Microsil (PSE-120000- 2008-1) and INNDISOL (IPT-420000-2019-6), and those for the National R & D funded by the Ministry of Science and Innovation and the Ministry of Economy and Competitiveness: CLASSIC (ENE 2007-67742-C04-04) and AMIC ENE2010-21384-C04- 02. In fact, within the framework of these projects, the results of this work have helped get some of the most important milestones of photovoltaic technology in our country in recent years, as it was under Microsil making the first module Amorphous silicon technology with entirely Spanish (made in collaboration with CIEMAT), or the manufacture of devices for architectural integration with free geometries that are described in this thesis and that were part of the project Inndisol developments.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Supporting the development of inclusive products : the effects of everyday ambient illumination levels and contrast on older adults' near visual acuity

Current older adult capability data-sets fail to account for the effects of everyday environmental conditions on capability. This article details a study that investigates the effects of everyday ambient illumination conditions (overcast, 6000 lx; in-house lighting, 150 lx and street lighting, 7.5 lx) and contrast (90%, 70%, 50% and 30%) on the near visual acuity (VA) of older adults (n= 38, 65-87 years). VA was measured at a 1-m viewing distance using logarithm of minimum angle of resolution (LogMAR) acuity charts. Results from the study showed that for all contrast levels tested, VA decreased by 0.2 log units between the overcast and street lighting conditions. On average, in overcast conditions, participants could detect detail around 1.6 times smaller on the LogMAR charts compared with street lighting. VA also significantly decreased when contrast was reduced from 70% to 50%, and from 50% to 30% in each of the ambient illumination conditions. Practitioner summary: This article presents an experimental study that investigates the impact of everyday ambient illumination levels and contrast on older adults' VA. Results show that both factors have a significant effect on their VA. Findings suggest that environmental conditions need to be accounted for in older adult capability data-sets/designs.

Sequential versus simultaneous viewing of an environment : effects of focal attention to individual object locations on visual spatial learning

We investigated memories of room-sized spatial layouts learned by sequentially or simultaneously viewing objects from a stationary position. In three experiments, sequential viewing (one or two objects at a time) yielded subsequent memory performance that was equivalent or superior to simultaneous viewing of all objects, even though sequential viewing lacked direct access to the entire layout. This finding was replicated by replacing sequential viewing with directed viewing in which all objects were presented simultaneously and participants’ attention was externally focused on each object sequentially, indicating that the advantage of sequential viewing over simultaneous viewing may have originated from focal attention to individual object locations. These results suggest that memory representation of object-to-object relations can be constructed efficiently by encoding each object location separately, when those locations are defined within a single spatial reference system. These findings highlight the importance of considering object presentation procedures when studying spatial learning mechanisms.

Path information effects in visual and proprioceptive spatial learning

Objects in an environment are often encountered sequentially during spatial learning, forming a path along which object locations are experienced. The present study investigated the effect of spatial information conveyed through the path in visual and proprioceptive learning of a room-sized spatial layout, exploring whether different modalities differentially depend on the integrity of the path. Learning object locations along a coherent path was compared with learning them in a spatially random manner. Path integrity had little effect on visual learning, whereas learning with the coherent path produced better memory performance than random order learning for proprioceptive learning. These results suggest that path information has differential effects in visual and proprioceptive spatial learning, perhaps due to a difference in the way one establishes a reference frame for representing relative locations of objects.