Changing patterns of first injection across key periods of the French Harm Reduction Policy: PrimInject, a cross sectional analysis

Background: Monitoring of emerging modes of drug consumption in France has identified new patterns of injection among youths with diverse social backgrounds, which may explain the persistence of high rates of hepatitis C virus infection. The circumstances surrounding the first injection have been poorly documented in the group of heavy drug users and in the context of the French opioid substitution treatment (OST) policy that provides expanded access to high-dosage buprenorphine (BHD). Methods: An Internet survey (Priminject) was conducted from October 2010 to March 2011 with French drug users. Four time periods were compared based on critical dates throughout the implementation of the Harm Reduction Policy in France. Results: Compared with drug users who injected for the first time prior to 1995, the aspects of drug use for users who recently injected for the first time were as follows: (1) experimentation with miscellaneous drugs before the first injection; (2) an older age at the time of first injection; (3) heroin as the drug of choice for an individual’s first injection, notwithstanding the increased usage of stimulant drugs; (4) BHD did not appear to be a pathway to injection; and (5) an increased number of users who injected their first time alone, without the help or presence of another individual. Conclusion: The PrimInject study showed that there is a group of injection drug users that is larger than the group of injection drug users observed in previous studies; therefore, it is necessary to diversify programs to reach the entire spectrum of high-risk users.

Like branches in a river : viagens estrada afora e cidade adentro no cinema americano

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos Americanos), Universidade de Lisboa, Faculdade de Letras

Animism in Rainforest and Tundra: Personhood, Animals, Plants and Things in Contemporary Amazonia and Siberia (Book Review)

Animism is a form of traditional spiritual belief that receives welcome treatment here. The observations of Victorian ethnologist travellers on the local peoples they regarded as primitive was analysed by Sir Edward (E. B.) Tylor, in Primitive Culture (1871) which established the working definition of animism followed by later generations of scholars. This came from the observation that non-scientific people did not always draw sharp distinctions between human persons and other entities such as animals, trees and even rocks but imbued these with soul. The latin anima, ‘soul, spirit’ provided the title of what was assumed to be a primitive religion, animism. The study being reviewed recognizes apparent connections within deep history between Siberia and the Amazon, and uses contemporary social anthropology to clarify assumptions about animism. This book on animism in two shamanic cultures explores personhood and the relations in pre-scientific human thought between humans and non-humans, in contexts where non-humans can be regarded as social persons (p.2).

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951

Concert program for The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951

The Contemporary Group, April 21, 1968

Concert program for The Contemporary Group, April 21, 1968

The Contemporary Group, May 28, 1969

Concert program for The Contemporary Group, May 28, 1969

The Contemporary Group, November 29, 1967

Concert program for The Contemporary Group, November 29, 1967

The Contemporary Group, October 18, 1972

Concert program for The Contemporary Group, October 18, 1972

The Contemporary Group, February 14, 1973

Concert program for The Contemporary Group, February 14, 1973