Caractérisation d'une entité neurologique émergente au sein du cheptel ovin québécois

Cette étude vise à caractériser le «crampage», une entité relativement nouvelle dans l’industrie ovine au Québec. Les signes cliniques se manifestent au pas, par une hyperflexion (hanche, grasset, jarret), d’un ou des deux membres pelviens. Cinq agneaux naturellement affectés et cinq agneaux appariés cliniquement normaux ont été soumis à des examens physique, neurologique et orthopédique, à des techniques d’imagerie avancée (tomodensitométrie, résonance magnétique), à des tests électrodiagnostiques (électromyogramme, vitesses de conduction nerveuse motrice et sensitive) puis à une nécropsie. Des hématologies, biochimies ainsi que des analyses du liquide céphalorachidien ont également été réalisées. Les résultats ont été comparés entre les groupes (affectés/cliniquement normaux). Il a été constaté à la tomodensitométrie que la surface du canal vertébral mesurée au niveau de la deuxième vertèbre lombaire était inférieure dans le groupe des agneaux affectés (p=0.045). Aucune répercussion n’a été constatée sur le segment de moelle épinière correspondant. La racine S2, quant à elle, était plus grêle dans le groupe des agneaux affectés (p=0.01). À l’issue de cette étude, une cause orthopédique, musculaire ou neurologique consécutive à une lésion structurale de la moelle épinière a été écartée. Il pourrait s‘agir d’une atteinte sensitive de la racine S2 altérant la sensation dans le membre affecté, toutefois, une anomalie fonctionnelle cérébrale ou de la moelle épinière dans le renflement lombaire, est également à considérer. Sans anomalie musculaire, l’appellation «crampage» est inexacte. Nous proposons de la remplacer par des termes plus descriptifs comme «syndrome d’hyperflexion» ou «high stepping gait».

Lecture by Arnold Lehman, given at Florida International University, October 13, 2000

Arnold Lehman discusses how the Brooklyn Museum influenced him and others though annecdotal stories and shares the new mission and the new direction for cultivating increased interest and visitation to the museum by exploring the museum's history. He also discusses the exhibit Sensation, a collection of contemporary art owned by Charles Saatchi, which generated controversy in New York when it was first exhibited at the museum in 1997. FIU President Modesto Maidique introduces Dahlia Morgan. Introduction by Dahlia Morgan.

Contrast and lustre:a model that accounts for eleven different forms of contrast discrimination in binocular vision

Our goal here is a more complete understanding of how information about luminance contrast is encoded and used by the binocular visual system. In two-interval forced-choice experiments we assessed observers' ability to discriminate changes in contrast that could be an increase or decrease of contrast in one or both eyes, or an increase in one eye coupled with a decrease in the other (termed IncDec). The base or pedestal contrasts were either in-phase or out-of-phase in the two eyes. The opposed changes in the IncDec condition did not cancel each other out, implying that along with binocular summation, information is also available from mechanisms that do not sum the two eyes' inputs. These might be monocular mechanisms. With a binocular pedestal, monocular increments of contrast were much easier to see than monocular decrements. These findings suggest that there are separate binocular (B) and monocular (L,R) channels, but only the largest of the three responses, max(L,B,R), is available to perception and decision. Results from contrast discrimination and contrast matching tasks were described very accurately by this model. Stimuli, data, and model responses can all be visualized in a common binocular contrast space, allowing a more direct comparison between models and data. Some results with out-of-phase pedestals were not accounted for by the max model of contrast coding, but were well explained by an extended model in which gratings of opposite polarity create the sensation of lustre. Observers can discriminate changes in lustre alongside changes in contrast.

Caractérisation d'une entité neurologique émergente au sein du cheptel ovin québécois

Cette étude vise à caractériser le «crampage», une entité relativement nouvelle dans l’industrie ovine au Québec. Les signes cliniques se manifestent au pas, par une hyperflexion (hanche, grasset, jarret), d’un ou des deux membres pelviens. Cinq agneaux naturellement affectés et cinq agneaux appariés cliniquement normaux ont été soumis à des examens physique, neurologique et orthopédique, à des techniques d’imagerie avancée (tomodensitométrie, résonance magnétique), à des tests électrodiagnostiques (électromyogramme, vitesses de conduction nerveuse motrice et sensitive) puis à une nécropsie. Des hématologies, biochimies ainsi que des analyses du liquide céphalorachidien ont également été réalisées. Les résultats ont été comparés entre les groupes (affectés/cliniquement normaux). Il a été constaté à la tomodensitométrie que la surface du canal vertébral mesurée au niveau de la deuxième vertèbre lombaire était inférieure dans le groupe des agneaux affectés (p=0.045). Aucune répercussion n’a été constatée sur le segment de moelle épinière correspondant. La racine S2, quant à elle, était plus grêle dans le groupe des agneaux affectés (p=0.01). À l’issue de cette étude, une cause orthopédique, musculaire ou neurologique consécutive à une lésion structurale de la moelle épinière a été écartée. Il pourrait s‘agir d’une atteinte sensitive de la racine S2 altérant la sensation dans le membre affecté, toutefois, une anomalie fonctionnelle cérébrale ou de la moelle épinière dans le renflement lombaire, est également à considérer. Sans anomalie musculaire, l’appellation «crampage» est inexacte. Nous proposons de la remplacer par des termes plus descriptifs comme «syndrome d’hyperflexion» ou «high stepping gait».

Wine phenolics: looking for a smooth mouthfeel

Each grape variety has its own phenolic profile. However, the concentration of the phenolic compounds present in wine mainly dependson winemaking processes. Phenolic compounds influence wine sensorial characteristics namely taste or mouthfeel, bitterness, astringency and color. Humans can perceive six basic tastes: sweet, salty; sour; umami; fat-taste and bitter taste. This last basic taste is considered as a defense mechanism against the ingestion of potential poisons. Some of the genes,encoding G-protein-coupled receptors - TAS2Rs, which translate for these distinct bitter compounds detectors have been identified. Different phenolic compounds activate distinguished combination of TAS2Rs. Astringency in wine is primarily driven by proanthocyanidins, soluble protein-proanthocyanidins complexes which diminish the protective salivary film and bind to the salivary pellicle; insoluble protein-proanthocyanidins complex and proanthocyanidins are rejected against salivary film and trigger astringency sensation via increasing friction. Thus, the aim of this review is to expand the knowledge about the role of wine phenolic compounds in wine sensorial properties, namely in bitterness and astringency phenomenon’s.

Sobre magia, sensualidad y belleza: procesos de subjetividad femenina, sororidad y empoderamiento a través de la danza del vientre en la Academia Anasi de Bogotá

Esta investigación se centra en analizar la danza del vientre como una práctica sociocultural que transforma las subjetividades de sus practicantes, en el caso particular de las mujeres integrantes de la academia Anasi de Bogotá. Basada en la autoetnografía y a partir de experiencias individuales y colectivas de las mujeres integrantes del lugar, la danza es presentada como un proceso que conduce al empoderamiento femenino individual y colectivo. Esto sucede en el marco de una sociedad patriarcal, donde los cuerpos femeninos están cargados de connotaciones y limitaciones. Además de que el estilo dancístico ha sido dotado histórica y socialmente de prejuicios y nociones sexistas y machistas en torno a él y a sus bailarinas.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.

FROM DREAM TO NIGHTMARE: DEATH WITH INTERRUPTIONS

The speech of romance, Death With Interruptions, play with the serious and the comic describing life, replete of conventions, of ten million habitants at an unnamed country. The characters are destituted of personal identity and assume collective identities. The artistic text shows itself fulfilled by a stubborn critic that denounces revolt, forged by the sensation of disaggregation and loss of values and the verification of a picture of misery, injustice and inconsequence, that results from a greedy run of interests. The narrator uses irony to personal and collective attitudes, the unused situations and the very idea of death and god. The text shows itself full of denounces, related to the general state of disaggregation. Split in two cores (the momentary interruption of death activities and the return to hers works), the narrative speech establish a reality, pervade by fantastic, that forces us to a metaphysics reflection about the insoluble enigmas that surrounds the human existence. Death suffers a humanization process, as a tentative to bring her closer to the human kind, to her exact place. Keywords: romance; death; identities.