C 234 INST-D 2013. 396 Productos en totumo y calabazo del Casanare decorados con figuras labradas, pirograbadas y pintadas

26 fotografías a color (los archivos digitales de algunas fotografías presentan bajo nivel de pixelaje).

Artesanos modelando, torneando y pintando piezas de cerámica.

9 hojas : ilustraciones, fotografías a color

Muestras de productos funcionales y decorativos elaborados en cerámica tradicional y contemporánea.

31 hojas : ilustraciones, fotografías a color

Ilustaciones de maquinaria, espacios de trabajo y procesos de producción cerámica del Carmen de Viboral.

19 hojas : ilustraciones, fotografías

Muestras de productos funcionales y decorativos elaboraos en cerámica esmaltada a color.

27 hojas : ilustraciones, fotografías

Vasijas y piezas de diseño precolombino de tipo funcional y ritual elaboradas en arcillas en el Huila.

22 hojas : ilustraciones, fotografías a color

A Tissue-Engineered Microvascular System to Evaluate Vascular Progenitor Cells for Angiogenic Therapies

The ability of tissue engineered constructs to replace diseased or damaged organs is limited without the incorporation of a functional vascular system. To design microvasculature that recapitulates the vascular niche functions for each tissue in the body, we investigated the following hypotheses: (1) cocultures of human umbilical cord blood-derived endothelial progenitor cells (hCB-EPCs) with mural cells can produce the microenvironmental cues necessary to support physiological microvessel formation in vitro; (2) poly(ethylene glycol) (PEG) hydrogel systems can support 3D microvessel formation by hCB-EPCs in coculture with mural cells; (3) mesenchymal cells, derived from either umbilical cord blood (MPCs) or bone marrow (MSCs), can serve as mural cells upon coculture with hCB-EPCs. Coculture ratios between 0.2 (16,000 cells/cm2) and 0.6 (48,000 cells/cm2) of hCB-EPCs plated upon 3.3 µg/ml of fibronectin-coated tissue culture plastic with (80,000 cells/cm2) of human aortic smooth muscle cells (SMCs), results in robust microvessel structures observable for several weeks in vitro. Endothelial basal media (EBM-2, Lonza) with 9% v/v fetal bovine serum (FBS) could support viability of both hCB-EPCs and SMCs. Coculture spatial arrangement of hCB-EPCs and SMCs significantly affected network formation with mixed systems showing greater connectivity and increased solution levels of angiogenic cytokines than lamellar systems. We extended this model into a 3D system by encapsulation of a 1 to 1 ratio of hCB-EPC and SMCs (30,000 cells/µl) within hydrogels of PEG-conjugated RGDS adhesive peptide (3.5 mM) and PEG-conjugated protease sensitive peptide (6 mM). Robust hCB-EPC microvessels formed within the gel with invasion up to 150 µm depths and parameters of total tubule length (12 mm/mm2), branch points (127/mm2), and average tubule thickness (27 µm). 3D hCB-EPC microvessels showed quiescence of hCB-EPCs (<1% proliferating cells), lumen formation, expression of EC proteins connexin 32 and VE-cadherin, eNOS, basement membrane formation by collagen IV and laminin, and perivascular investment of PDGFR-β+/α-SMA+ cells. MPCs present in <15% of isolations displayed >98% expression for mural markers PDGFR-β, α-SMA, NG2 and supported hCB-EPC by day 14 of coculture with total tubule lengths near 12 mm/mm2. hCB-EPCs cocultured with MSCs underwent cell loss by day 10 with a 4-fold reduction in CD31/PECAM+ cells, in comparison to controls of hCB-EPCs in SMC coculture. Changing the coculture media to endothelial growth media (EBM-2 + 2% v/v FBS + EGM-2 supplement containing VEGF, FGF-2, EGF, hydrocortisone, IGF-1, ascorbic acid, and heparin), promoted stable hCB-EPC network formation in MSC cocultures over 2 weeks in vitro, with total segment length per image area of 9 mm/mm2. Taken together, these findings demonstrate a tissue engineered system that can be utilized to evaluate vascular progenitor cells for angiogenic therapies.

Mirando con la cabeza

Las matemáticas y la pintura trabajan con ideas. La palabra idea viene del griego ειδω, que significa ver, mirar u observar, y de ειδοζ, que significa figura, forma, aspecto o visión. Detrás de una montaña concreta está la idea de montaña, un dibujo abstracto, unas líneas que permiten reconocer la montaña detrás de las rocas, los pinos o la nieve. La diferencia entre este árbol y árbol, entre un círculo que dibujamos en la pizarra y círculo: la diferencia entre la cosa y la idea de la cosa. En matemáticas y en pintura se buscan las ideas de las cosas.

Imagen y pliegue: en torno a una teoría de la cultura en "Paradiso" de José Lezama Lima

Estudio de la teoría de la cultura en la novela Paradiso (1966) del escritor José Lezama Lima en relación a las menciones a obras de pintura, escultura, arte-objeto, arquitectura y música, así como a los aspectos claves que la constituyen. La metodología utilizada se basa en la teoría del pliegue desarrollada en los postulados culturales y estético-filosóficos de Gilles Deleuze. La tesis consta de los siguientes capítulos: Introducción: El peso de lo irreal: Imagen, cultura, poética. I, Paradiso: La maison baroque. II, Galería de coral: Estudio libre de pintura y escultura. III, Arquitectura de la Imagen. IV, Sinfonía de la Imagen: con la música por dentro. El último capítulo realiza la interpretación y conclusión general, centrándose en las tres nociones que sustentan la teoría cultural del escritor: lo barroco como expresión cultural del ser americano, la imagen como clave cultural y el mito como espacio de la cultura.

Altered pericyte-endothelial relations in the rat retina during aging: Implications for vessel stability

Mural cells (smooth muscle cells and pericytes) regulate blood flow and contribute to vessel stability. We examined whether mural cell changes accompany age-related alterations in the microvasculature of the central nervous system. The retinas of young adult and aged Wistar rats were subjected to immunohistofluorescence analysis of a-smooth muscle actin (SMA), caldesmon, calponin, desmin, and NG2 to identify mural cells. The vasculature was visualized by lectin histochemistry or perfusion of horse-radish peroxidase, and vessel walls were examined by electron microscopy. The early stage of aging was characterized by changes in peripheral retinal capillaries, including vessel broadening, thickening of the basement membrane, an altered length and orientation of desmin filaments in pericytes, a more widespread SMA distribution and changes in a subset of pre-arteriolar sphincters. In the later stages of aging, loss of capillary patency, aneurysms, distorted vessels, and foci of angiogenesis were apparent, especially in the peripheral deep vascular plexus. The capillary changes are consistent with impaired vascular autoregulation and may result in reduced pericyte-endothelial cell contact, destabilizing the capillaries and rendering them susceptible to angiogenic stimuli and endothelial cell loss as well as impairing the exchange of metabolites required for optimal neuronal function. This metabolic uncoupling leads to reactivation of

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

The discursive capacity of graphic design

The relationship between rhetoric and graphic design is presented in this article. The comparison between a classical orator and a graphic designer, between a discourse and a piece of design comes from the connections between with the communication and creativity. We will see how an application of the fundamentals of rhetoric can open new doors to the professional practice, the education of graphic design and the same theory of the rhetoric of the image.By the analysis of a design is exemplified the points of union that show how the arguments, operations, figures of discourse and rhetorical phases are present in the creative process of graphic design and how designers, perhaps unconsciously, use techniques that were traditional. In other words, graphic design is a rhetorical construction.There is then a transposition of a discourse model created by linguistic signs to a discourse model consists of visual and typographic signs, causing design is seen as a discursivediscipline that goes beyond the aesthetic component.

Relation of the work of the artist Antonio Lopez with the photography. Methods of a teacher rejected as a professor

In 1966 the artist Antonio Lopez was rejected for the chair in “Preparatorio de colorido” (Preparatory Colouring) by the San Fernando School of Fine Arts where he himself presented his work Nevera de hielo (Ice Box). After 5 years as a “stand in” for this post he left the Institution. This article analyzes the circumstances and proof of a decade where there appears to be evidence of a definite change in his work, more toward Realism, uncomfortable in a system that maintained with difficulty the traditional academic model copy, and incompatible with, in those years was imposed by Spain. At the same time his relation with photography conditioned by the theoretical thoughts of the artist, and his work methods also are analyzed in this article.

Light-color and body-mass. The subjectivity of the Argentinean nation, according to the painting of Pío Collivadino

Pío Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.

"Cómo pintar el aire". Fundamentos científicos de la perspectiva atmosférica

La perspectiva aérea o atmosférica es juzgada por los pintores como parte esencial de la pintura, una vez establecidos los presupuestos geométricos de la representación naturalista mediante la perspectiva lineal. Leonardo da Vinci fue el primer autor en definir la perspectiva aérea o atmosférica, conocidos ya a través de L. B. Alberti los fundamentos geométricos de la perspectiva lineal en el tratado De Pictura (1435). Doscientos años después, tras la influyente publicación del Optics de Newton, contextualizadas bajo el espíritu racionalista del siglo XVIII, el artículo estudia las recomendaciones que desde la ciencia y los científicos (específicamente a través de tres figuras relevantes: Brook Taylor, J. H. Lambert y Gaspard Monge) se dan a los pintores con la pretensión de arbitrar una medición exacta del color, en confrontación con el tradicional empirismo del mundo artístico. Este tema puede considerarse un capítulo de gran interés en la larga historia de la pintura y la representación de los fenómenos atmosféricos, cuyos antecedentes teóricos tienen su inicio en el Débat sur le Coloris de la Académie Française del siglo XVII y sus resultados, conducirán hacia el nacimiento de la moderna Teoría del color, en respuesta a una cuestión tan compleja sobre cómo pintar el aire.