The role of objects in creative collaborations

Objects matter when professionals collaborate to create new products. Chapter 1 explains the intention of this work, to apply theories on objects in the empirical context of fashion design. Chapter 2 addresses the question of how creative professionals learn about and use strategy tools to turn their artistic fame into a commercial success. For Chapter 3 I collected ethnographic data on the development of a seasonal collection from the idea to the presentation at Fashion Week. The result is a deep insight into the collaborative processes and material objects used when a stable team of designers works with several outside experts. Chapter 4 applies the knowledge of the role of objects in fashion design gained during the ethnography in the context of online co-creation and crowd sourced fashion items. The synthesis of the empirical studies allows me to present the conceptual leap in Chapter 5. In the theoretical essay I review the findings on the role of objects in collaborations in relation to practice theory, present the new concept of the comprehensive object and conclude by stating the possibilities for future research.

Objects that move: Japanese Namban screens in the realm of the senses

This paper identifies and critiques the value of stillness as a necessary condition for the display and appreciation of art objects like the 16th century Japanese Namban screens, whose history and function is characterised by forms of movement. Drawing on multi-sited fieldwork in museum galleries that display these screens in Japan, Portugal and North America I will detail how the art-historical interpretation of the physical passage of these objects and their value as cultural heritage is based upon the fixed point perspectivism of networks and a visualist paradigm. Museum focused processes of conservation and display can be understood as extending this paradigm. By means of environmental controls, directed towards the location of perceptible meaning in what is available to vision and the necessary attenuation of the other senses the material movements of the object and movements of constituent materials in the object are stilled. The argument is for a sensory approach to museums and the objects within them, which in this case takes account of the material movements of the screens by engaging the senses through the ‘touch of sound’ as well as vision.

Os estereótipos de gênero na publicidade televisiva. Uma comparação entre spots publicitários brasileiros e portugueses

Tese de Doutoramento em Ciências da Comunicação (área de especialização em Comunicação Estratégica e Organizacional).

Identification and characterization of deforestation hot spots in Venezuela using MODIS satellite images

Land cover changes over time as a result of human activity. Nowadays deforestation may be considered one of the main environmental problems. The objective of this study was to identify and characterize changes to forest cover in Venezuela between 2005-2010. Two maps of deforestation hot spots were generated on the basis of MODIS data, one using digital techniques and the other by means of direct visual interpretation by experts. These maps were validated against Landsat ETM+ images. The accuracy of the map obtained digitally was estimated by means of a confusion matrix. The overall accuracy of the maps obtained digitally was 92.5%. Expert opinions regarding the hot spots permitted the causes of deforestation to be identified. The main processes of deforestation were concentrated to the north of the Orinoco River, where 8.63% of the country's forests are located. In this region, some places registered an average annual forest change rate of between 0.72% and 2.95%, above the forest change rate for the country as a whole (0.61%). The main causes of deforestation for the period evaluated were agricultural and livestock activities (47.9%), particularly family subsistence farming and extensive farming which were carried out in 94% of the identified areas.

Biomimetic superhydrophobic surfaces patterned with wettable spots as implantable chips for in vivo high-content 3D biomaterials response assessment

"Tissue engineering: part A", vol. 21, suppl. 1 (2015)

Concepts and objects of awareness in Alzheimer’s disease: an updated systematic review

ABSTRACT Objectives To compare and discuss the objects of awareness in Alzheimer’s disease (AD): awareness of cognitive deficits, of functional activities, of social-emotional functioning and behavioral impairment. Methods A search in the PsycINFo, Pilots, PubMed/Medline and ISI electronic databases according to Prisma methodology was performed. We included studies about awareness in people with AD published between 2010 and 2015, with the combination of keywords: “Alzheimer AND awareness of deficits”, “Alzheimer AND anosognosia”, “Alzheimer AND insight”, “dementia AND awareness of deficits”, “dementia AND anosognosia”, “dementia AND insight”. The articles were categorized according to the specific object of awareness. Results Seven hundred and ten records were identified and, after application of the exclusion criteria, 191 studies were retrieved for potential use. After excluding the duplicates, 46 studies were included. Most studies assessed the cognitive domain of awareness, followed by the functional, social-emotional, and behavioral impairment domains. Memory deficits were not sufficient to explain impaired awareness in AD. Longitudinal studies did not find discrepancies between patients and caregivers’ reports, indicating that awareness is not related to cognition. Conflicting findings were observed, including the relation between awareness, mood, severity of disease, and personal characteristics. Conclusions The studies show lack of conceptual consensus and significant methodological differences. The inclusion of samples without differentiation of dementia etiology is associated to symptomatic differences, which affect awareness domains. Awareness in AD is a complex and multidimensional construct. Different objects elicit different levels of awareness.

Histoire des plantes de la Guiane Françoise : rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objects intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ... /

v.1

Histoire des plantes de la Guiane Françoise : rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objects intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ... /

v.2

Histoire des plantes de la Guiane Françoise : rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objects intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ... /

v.3

Histoire des plantes de la Guiane Françoise : rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objects intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ... /

v.4

Los objetos técnicos y los organismos tecnificados. Reflexiones filosóficas, estéticas y políticas sobre la técnica. Technical objects and technified organisms. Philosophical, aesthetical and political approaches on technique

El presente proyecto se propone como parte inicial de una investigación sobre la relación entre naturaleza/cultura/técnica. Tradicionalmente la naturaleza y la cultura se han considerado como ámbitos diferenciados y opuestos. Y es en esta distinción donde la técnica adquiere un lugar central. El pensamiento occidental sobre la técnica ha recibido diversas interpretaciones: desde una subordinación con respecto al conocimiento verdadero (episteme) en la filosofía clásica, un optimismo sobre la técnica como posibilidad de dominación de la naturaleza en el Renacimiento y la Ilustración, y la ambigüedad y desasosiego romántico (Mitcham, 1979). Durante el siglo XX se distinguen dos posiciones antagónicas sobre la técnica. Por un lado, una actitud “crítica” donde pueden identificarse los trabajos de filósofs de diferentes tradiciones como Ortega y Gasset (1939), Heidegger (1954), Mumford (1971) Ellul (1960) y la Escuela de Frankfurt. Por otro lado, una filosofía de la técnica “ingenieril” que consiste en el análisis de la tecnología como un paradigma de pensamiento y acción humana. Esta dicotomía ha sido interpretada por Eco como “apocalípticos e integrados”. Más allá de las mencionadas diferencias, lo que tienen en común ambas posiciones es que parten de una dicotomía entre cultura y naturaleza. Nuestra perspectiva rechaza esta dicotomía, por el contrario, evidenciamos una creciente imbricación entre ambas donde las fronteras entre una y otra se hacen difusas. La noción de “objeto técnico” propuesta por Simondon (2007) hace referencia a la inserción del objeto técnico en la cultura, donde debe reconocerse la “realidad humana” presente en el mismo. Ahora bien, esto no significa “humanizar el objeto técnico”, sino más bien indagar sobre el lugar que este ocupa en la cultura como también establecer su relación con la naturaleza. En el siglo XVII el hombre mismo es reinterpretado como máquina (La Mettrie, 2000). En la actualidad pueden identificarse dos tendencias en la concepción de la técnica: los «humanos-máquinas» y las «máquinas-humanas», en otras palabras, la disposición del humano hacia la máquina y la tendencia de la máquina hacia lo humano. No obstante, ambas posiciones siguen manteniendo una distinción taxonómica entre el cuerpo –o lo orgánico- y lo maquínico, lo que implica una consideración de esta relación de manera extrínseca. Frente a esta tensión Haraway propone el concepto de cyborg: «un organismo cibernético» (1995). Los desarrollos tecnológicos han producido una modificación tal en la vida de los seres orgánicos en los cuales ya no puede concebirse su cuerpo independientemente de la tecnología. Esto conduce a replantear la distinción entre “animales/hombres/máquinas”, entendiendo a los mismos como expresiones de naturaleza, cultura y tecnología respectivamente. Nuestra investigación parte de la hipótesis que la técnica diluye diferencias de orden natural y cultural a través de los objetos técnicos que son productos culturales. La estética se ocupa de la percepción sensible del mundo no puede eludir su dimensión técnica. Al margen de la crítica a la “Industria cultural” consideramos relevante la aproximación de Benjamin al problema de la técnica porque aborda la imbricación antes mencionada en el campo de la percepción. Según Benjamin la irrupción de la técnica al mismo tiempo que posibilita una estetización de la política que confluye en el fascismo como punto extremo también abre la posibilidad de desmontar la ideología del progreso infinito (1967). Una integración entre aproximaciones estéticas y políticas a la técnica Flusser (1983) propone la “caja negra” como metáfora de la técnica contemporánea. Su propuesta es la “apertura de la caja negra” que consiste en tomar conocimiento del funcionamiento del dispositivo. Nuestra propuesta de investigación aborda la técnica desde una consideración filosófica/estética/política, donde redefiniremos la técnica partiendo de la imbricación entre cultura y naturaleza. This project will set the basis for a sustained research on the relation nature/culture/technique. They have been traditionally considered as separate and even opposite fields. And it is on the brink of this distinction where technique plays a central role. In Western thought technique has received many interpretations since the beginnings of philosophy: from a subordination to true knowledge (episteme) in classic philosophy, or the optimism which sees in technique the possibility of dominating nature in the Renaissance and in the Enlightenment, to the Romantic ambiguity and uneasiness towards technological change (Mitcham, 1979). During the twentieth century two opposed approach on technique prevail. On one hand, a “critical” attitude such defines the work of philosophers of different traditions such as Ortega y Gasset (1939), Heidegger (1954), Mumford (1971) Ellul (1960) and the Frankfurt School. On the other hand there is an “engineering” philosophy of technique that consists in the analisis of technology as a paradigm to understand human action and thought. Besides their differences, both positions have in common a dichotomy between nature and culture. We reject such dichotomy. On the contrary we consider there is a growing intertwinement between both which blurs the borders of the concepts. Simondon’s notion of “technical object” refers to the insertion of the technique in culture where the “human reality” in it must be recognised. This does not imply “humanising the technical object”, but investigate on the role it plays on culture and establishing its relation to nature. To articulate this relation we will work with unorthodox approaches on technique such as Benjamin (1967), Flusser (1983) and others. The hypothesis of our project is that the traditional distinction of “animal/man/machine” must be re-thought, therefore raising the question on the blurring line between nature, culture and technique and its effects in philosophy, politics and aesthetics.

The naturalist's guide in collecting and preserving objects of natural history, with a complete catalogue of the birds of the eastern Massachusetts.

[1873 printing]

Neural mechanisms of attentional selection in vision : locations, features, and objects

Magdeburg, Univ., Fak. für Naturwiss., Diss., 2012

Microwave imaging of high-contrast objects

Imaging microwave reconstruction dielectric contrast regularization iterative multiport cavity measurement