Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance

Thinking with the Body was an exhibition at London's Wellcome Collection, offering a glimpse into Wayne McGregor | Random Dance's interdisciplinary research and the impact it has in the rehearsal studio. Staged in the run-up to the first performances of Atomos at Sadler's Wells (Oct 2013), the exhibition featured the results of over a decade of interdisciplinary research into choreographic creativity which has been applied in the studio, in dance education, and to increase public understanding.

Wellcome Collection is a free visitor destination exploring the connections between medicine, life and art in the past, present and future. Wellcome Collection is part of the Wellcome Trust, a global charitable foundation dedicated to achieving improvements in human and animal health.

The exhibition finished on 27 October 2013, but the film exhibits are still available to view online.

Street art : Mirror reflections on and meshing with urban agriculture

Street Art: Mirror Reflections on urban AgricultureThis chapter will look at the way socio-political commentary exists in street art and how it has tended in recent times to be displayed overlooking community urban gardens. The urgency with which inner suburban councils in Melbourne Australia have dedicated themselves to carving out recreational spaces is a reflection on the expectations of multi-cultural groups whose culture incorporates the growth of vegetable and fruits close to their place of residence. Street art, famous for its commentary on urban ugliness, has integrated its philosophy and aesthetics, along side notable community gardens in Melbourne. The images incorporate the aims of urban agriculture whilst often simultaneously critiquing the alienation of the urban dweller cut so relentlessly from the means of growing food and from accessing land that might produce it. Community gardens in the twenty-first century go some way to reversing a state of being in which ‘workers’ were alienated from the source of their labor and their survival. This chapter will also probe the extent to which street art in the inner laneways of Melbourne incorporate in to their designs fauna and flora. This reference to all that is organic in environments devoid of vegetation draws attention not only to that absence but also for the need to address it. This work will therefore deal with two interrelating themes: 1. Street art that complements community gardens; 2. Street art that engages with agricultural imagery and images of fauna and flora with the aim of subverting the continual growth of unregulated concrete jungles. The chapter will be informed by interviews with well known Australian street artists and will also explore the work they have done in Paris, Jamaica, London and Miami on both themes stipulated above.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Technology as collaborator in somatic photographic practice

This article will address several areas of research. Firstly it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. Fly Rhythm, an exhibition of 13 photographs and one video projection was conceived through a performative somatic process. I have developed the term ‘somatic photography’ to articulate subjective experiences in the context of my process of imaging movement in stillness. My thinking has been informed by visual art practice exploring movement and meaning using video and an older history of performance as a dancer and choreographer. I am primarily interested in movement initiated by a bodily response to light through still rather than moving imagery although artists such as Maya Deren whose films explore themes of time and space have influenced me. In my practice the term ‘somatic photography’ helps articulate the act of taking photographs, which is how meaning is being created rather than purely in the finished art works. The term somatic photography puts emphasis on the action of taking the image. Through using a custom made camera I was able to negotiate time and space as a dancer and create a visual drawing that talked to both choreography and fine art practice. This article engages with the following ideas: somatic photography, photography as choreography, body memory, ageing body, technology as collaborator, gallery interface, screen interface and movement.

A arte do fazer: o artista Ruy Meira e as artes plásticas no Pará dos anos 1940 a 1980

Este trabalho busca estudar o panorama das artes plásticas no Estado do Pará entre as décadas de 1940 e 1980 a partir da figura de Ruy Meira (1921-1995), pintor e ceramista paraense. Meira, membro de uma destacada família de homens públicos e intelectuais nortistas, desempenhou papel central no amadurecimento das artes no Pará, seja por ter sido fundamental para o estabelecimento de importantes redes de sociabilidade artístico-intelectuais, seja por ter, em sua trajetória artística, sintetizado a história da absorção das principais vertentes da arte moderna no Pará. Para estudar a personalidade artístico-social de Meira, buscamos apoio no arquivo pessoal do artista, que contém importante material, em boa parte inédito, constituído de correspondência ativa e passiva, fotografias e catálogos de exposição.

Pompidou & Pompeia: a parallel between the management strategies of two cultural institutions in the French and Brazilian contexts

A presente pesquisa foi conduzida na forma de um estudo de caso de duas instituições culturais no contexto francês e brasileiro. O Centro Pompidou é um projeto presidencial de museu financiado pelo Estado, com a missão de tornar a arte moderna em todas as suas expressões acessíveis ao público em geral. O Sesc Pompeia é um centro multidisciplinar de cultura e esporte - financiado pelo dinheiro dos impostos e administrado pela Federação do Comércio . O Sesc Pompéia é dedicado à oferta de educação informal através do cultivo da mente e do corpo. O estudo examina se as teorias de dependência de recursos e de poder podem ser utilizadas para conceituar a relação que o Centro Pompidou e do Sesc Pompéia tem com seus stakeholders financeiros. Mais especificamente, será discutido em que medida o grau de dependência influencia a estratégia de gestão das instituições. O objetivo é de responder a pergunta seguinte: quais são as estratégias que as instituições adotam para reduzir sua dependência com relação a seus principais stakeholders financeiros? Finalmente algumas implicações práticas de gestão serão elaboradas a partir do paralelo entre as estratégias das duas instituições.

Variações da marcha em equinos da raça Mangalarga Marchador

O andamento marcha característico de equinos da raça Mangalarga Marchador foi analisado em 104 animais, por meio de filmes de vídeo cassete (sistema VHS / PAL SECAM a 50 quadros por segundo). Cada animal foi observado no filme em velocidade normal por dez segundos, seguindo-se a análise quadro a quadro, estes apresentando vista lateral em movimento. Nesta fase foram registrados os momentos de apoio (mono, bi ou tripedais) bem como os momentos de suspensão, compreendendo duas sequências de oito momentos de apoio para cada animal. Dos 104 animais analisados, 98 mostraram oito variações de andamento, agrupados portanto de A a H. Os seis cavalos restantes mostraram variar em dois andamentos distintos, pertencendo assim a dois destes grupos. No primeiro conjunto com 98 animais, 32 apresentaram marcha ideal com sequência de apoios semelhante ao passo (grupo A), 34 animais mostraram andamento marchado com apoios monopedais posteriores, bipedais diagonais e laterais e tripedais anteriores (grupo B), 18 animais (grupo C) apresentaram andamento com apoios monopedais posteriores, bipedais diagonais e tripedais anteriores. O único andamento assimétrico pertenceu a cinco animais (grupo D). Três equinos apresentaram andamento saltado, com momento de suspensão na sequência de apoios (grupo E). Outros três animais apresentaram andamento baseado em apoios monopedais anteriores e posteriores e bipedais diagonais e laterais (grupo F). Andamento com apoios bipedais diagonais e laterais além de tripedais anteriores foi apresentado por dois equinos (grupo G). Um equino mostrou andamento com apoios bipedais diagonais e tripedais anteriores e posteriores (grupo H). Os outros seis animais com dois andamentos diferentes foram: um animal com andamento dos grupos A e C, um dos grupos A e D, dois dos grupos B e D, um dos grupos B e G e um dos grupos C e F. Os equinos da raça Mangalarga Marchador analisados neste trabalho mostraram-se possuidores de muitas variações de andamento em relação a marcha ideal, com alterações variando entre o trote e a andadura.

Synthetic and natural polycations for gene therapy: State of the art and new perspectives

Currently, the major drawback of gene therapy is the gene transfection rate. The two main types of vectors that. are used in gene therapy are based on viral or non-viral gene delivery systems. There are several non-viral systems that can be used to transfer foreign genetic material into the human body. In order to do so, the DNA to be transferred must escape the processes that affect the disposition of macromolecules. These processes include the interaction with blood components, vascular endothelial cells and uptake by the reticuloendothelial system. Furthermore, the degradation of therapeutic DNA by serum nucleases is also a potential obstacle for functional delivery to the target cell. Cationic polymers have a great potential for DNA complexation and may be useful as non-viral vectors for gene therapy applications. The objective of this review was to address the state of the art in gene therapy using synthetic and natural polycations and the latest strategies to improve the efficiency of gene transfer into the cell.

Gene expression in placentation of farm animals: An overview of gene function during development

Eutherian mammals share a common ancestor that evolved into two main placental types, i.e., hemotrophic (e.g., human and mouse) and histiotrophic (e.g., farm animals), which differ in invasiveness. Pregnancies initiated with assisted reproductive techniques (ART) in farm animals are at increased risk of failure; these losses were associated with placental defects, perhaps due to altered gene expression. Developmentally regulated genes in the placenta seem highly phylogenetically conserved, whereas those expressed later in pregnancy are more species-specific. To elucidate differences between hemotrophic and epitheliochorial placentae, gene expression data were compiled from microarray studies of bovine placental tissues at various stages of pregnancy. Moreover, an in silico subtractive library was constructed based on homology of bovine genes to the database of zebrafish - a nonplacental vertebrate. In addition, the list of placental preferentially expressed genes for the human and mouse were collected using bioinformatics tools (Tissue-specific Gene Expression and Regulation [TiGER] - for humans, and tissue-specific genes database (TiSGeD) - for mice and humans). Humans, mice, and cattle shared 93 genes expressed in their placentae. Most of these were related to immune function (based on analysis of gene ontology). Cattle and women shared expression of 23 genes, mostly related to hormonal activity, whereas mice and women shared 16 genes (primarily sexual differentiation and glycoprotein biology). Because the number of genes expressed by the placentae of both cattle and mice were similar (based on cluster analysis), we concluded that both cattle and mice were suitable models to study the biology of the human placenta. (C) 2011 Elsevier B.V. All rights reserved.

Ageing, solidarity and social protection in Latin America and the Caribbean: time for progress towards equality

Includes bibliography

Education and the labour market in Latin America: why measurement is important and what it tells us about policies, reforms and performance

Includes bibliography

Innovations in health care services: The CAALYX system

Purpose: This paper describes proposed health care services innovations, provided by a system called CAALYX (Complete Ambient Assisted Living eXperiment). CAALYX aimed to provide healthcare innovation by extending the state-of-the-art in tele-healthcare, by focusing on increasing the confidence of elderly people living autonomously, by building on the knowledge base of the most common disorders and respective characteristic vital sign changes for this age group. Methods: A review of the state-of-the-art on health care services was carried out. Then, extensive research was conducted on the particular needs of the elderly in relation to home health services that, if offered to them, could improve their day life by giving them greater confidence and autonomy. To achieve this, we addressed issues associated with the gathering of clinical data and interpretation of these data, as well as possibilities of automatically triggering appropriate clinical measures. Considering this initial work we started the identification of initiatives, ongoing works and technologies that could be used for the development of the system. After that, the implementation of CAALYX was done. Findings: The innovation in CAALYX system considers three main areas of contribution: (i) The Roaming Monitoring System that is used to collect information on the well-being of the elderly users; (ii) The Home Monitoring System that is aimed at helping the elders independently living at home being implemented by a device (a personal computer or a set top box) that supports the connection of sensors and video cameras that may be used for monitoring and for interaction with the elder; (iii) The Central Care Service and Monitoring System that is implemented by a Caretaker System where attention and care services are provided to elders, where actors as Caretakers, Doctors and Relatives are logically linked to elders. Innovations in each of these areas are presented here. Conclusions: The ageing European society is placing an added burden on future generations, as the 'elderly-to-working-age-people' ratio is set to steadily increase in the future. Nowadays, quality of life and fitness allows for most older persons to have an active life well into their eighties. Furthermore, many older persons prefer to live in their own house and choose their own lifestyle. The CAALYX system can have a clear impact in increasing older persons' autonomy, by ensuring that they do not need to leave their preferred environment in order to be properly monitored and taken care of. © 2011 Elsevier B.V. All rights reserved.

Bond markets for Latin American debt in the 1990s

Includes bibliography

Educational reform in Chile

Includes bibliography

História e cinema: encontro de conhecimento em sala de aula

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)