ME and Julie:a study in narrative of illness experience and therapy in a Myalgic Encephalomyelitis sufferer

This article uses what Atkinson and Walmsley (1997) refer to as an ‘autobiographical account’ to explore the themes and relationships between narrative, illness experience and therapy in a Myalgic Encephalomyelitis (ME) sufferer. Julie is a chronic ME sufferer, having lived with ME for the past 12 years. Her life-story over those years, as she presents it, casts our attention to the intrinsically personal nature of her ‘illness experience’ and to her distinctively artistic therapeutic responses to her condition. Julie’s autobiographical narrative reveals how ME has penetrated both her body and her sense of self, her limbs as well as her dreams; as though it were a parasite feeding off her fight to regain health. In terms of narrative, Julie’s ME illness progresses from past to present, but never to the future which lies beyond contemplation. Despite this denial of the future, Julie does think of ME as a liminal phase which is to be coped through. As both spatial object and temporal event, Julie conceptualises her ME variously, dealing with it on a day-to-day basis, increasingly turning to landscape painting as a form of escapism which parallels her former physical outward bound activities. This personal therapy, so this article concludes, constitutes both narrative performance and narrative text (as canvas), both of which can only cautiously be independently interpreted by the (inter)viewer.

Cinematic and Architectonic Space in Tarkovsky's Solaris

Architecture plays an important role in Andrei Tarkovsky’s films in defining the atmosphere of a space and memory of a place. This paper is a study of how the settings in Tarkovsky’s Solaris (1972) are used to provoke and convey feelings to the audience through architectonic space depicting the city, library, home and aspects of the home such as paintings and mirrors. The rooms depicted in Solaris (Fig. 1) are filled with symbolism and detail. They are imbued with a poetic quality rarely seen in cinema. The everyday places of city, library and home in Solaris are given an emotional depth not usually found in these spaces in reality. Solaris is an anomaly among Tarkovsky’s films in that the majority of the narrative takes place in an enclosed built set. Rarely do Tarkovsky spaces exert so much control over the actors’ movements within a meticulously designed and detailed set. This paper analyses how the director uses constructed sets in Solaris to confront our perception of memories, dreams and reality.
The intent of this study is to gain better understanding of the link between architecture and other art forms such as painting and cinema through spatial analysis. This study also relates to our imagination and how we perceive architectonic space portrayed through cinematic images. The architectural theory of Juhani Pallasmaa forms the basis of this paper.

A cultural practice of drinking realgar wine leading to elevated urinary arsenic and its potential health risk

Toasting friends and family with realgar wines and painting children's foreheads and limbs with the leftover realgar/alcohol slurries is an important customary ritual during the Dragon Boat Festival (DBF); a Chinese national holiday and ancient feast day celebrated throughout Asia. Realgar is an arsenic sulfide mineral, and source of highly toxic inorganic arsenic. Despite the long history of realgar use during the DBF, associated risk to human health by arsenic ingestion or percutaneous adsorption is unknown. To address this urine samples were collected from a cohort of volunteers who were partaking in the DBF festivities. The total concentration of arsenic in the wine consumed was 70 mg L(-1) with all the arsenic found to be inorganic. Total arsenic concentrations in adult urine reached a maximum of ca. 550 mu g L(-1) (mean 220.2 mu g L(-1)) after 16 h post-ingestion of realgar wine, while face painting caused arsenic levels in children's urine to soar to 100 mu g L(-1) (mean 85.3 mu g L(-1)) 40 h after the initial paint application. The average concentration of inorganic arsenic in the urine of realgar wine drinkers on average doubled 16 h after drinking, although this was not permanent and levels subsided after 28 h. As would be expected in young children, the proportions of organic arsenic in the urine remained high throughout the 88-h monitoring period. However, even when arsenic concentrations in the urine peaked at 40 h after paint application, concentrations in the urine only declined slightly thereafter, suggesting pronounced longer term dermal accumulation and penetration of arsenic. Drinking wines blended with realgar or using realgar based paints on children does result in the significant absorption of arsenic and therefore presents a potentially serious and currently unquantified health risk. (C) 2011 Elsevier Ltd. All rights reserved.

Two Trilogies:On Stewart Parker and Tom Murphy

This chapter discusses the relations between Irish cinema and the other arts- chiefly, literature, theatre, painting, and photography. It provides a critical overview of the main scholarly approaches to those forms of adaptation and citation that have tended to dominate Irish film production. It argues that factors such as the historic marginalization of non-literary modernist art in Ireland, a deep cultural resistance to intellectual and politically-engaged filmmaking, and a commercially-driven attachment to formulaic narrative structures, are among the reasons why Ireland has generally failed to produce a distinctive and successful cinema. The chapter concludes by discussing some films that have resisted this trend by offering their audiences a more creative approach to -- or poetics of -- adaptation that has more in common with the visual -- rather than literary -- arts in Ireland.

Portraying Human Dignity

I consider whether Diego Velázquez (1599-1660) in his painting Las Meninas has conveyed several aspects of the idea of human dignity in ways that not only echo some aspects of contemporary philosophical and legal analysis, but transcend them, bringing into our understanding aspects of dignity, and the controversy surrounding it, that otherwise might be underestimated.

Mixed Messages: American Correspondences in Visual and Verbal Practices

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms.

Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

Voir Hitler en peinture

Voir Hitler en peinture / On Seeing a painting of Hitler
The article “Voir Hitler en peinture” (literally “On Seeing a painting of Hitler”) focuses on a painting by Oliver Jeffers entitled “Ginger Hitler”. This article suggests that, whatever Jeffers’ intent and inspiration were, his painting “defamiliarizes” Hitler (V. Shklovsky) and forces us to look at him afresh. For decades, Hitler has been demonised and dehumanised; yet, however unsettling this may be, he was human. As Professor Richard Evans, a leading expert in the history of Nazism, put it recently: “Viewing Hitler as a human being, which he undoubtedly was, is more challenging to our understanding, surely, than simply writing him off as a cartoon villain” (The Guardian, 30/04/2015).

Werner Büttner and the Melodic Tactics of Subversive Affirmation: an Introduction

An introduction to the work and practice of Werner Büttner included in Werner Büttner: Coincidence in Splendour, a retrospective monograph on the artist's painting practice from the late 1970s to present. In this shorter text, Slyce contextualises Büttner's practice amongst his contemporary German painters with which he worked and operated alongside.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Painterly rendering using human vision

Painterly rendering has been linked to computer vision, but we propose to link it to human vision because perception and painting are two processes that are interwoven. Recent progress in developing computational models allows to establish this link. We show that completely automatic rendering can be obtained by applying four image representations in the visual system: (1) colour constancy can be used to correct colours, (2) coarse background brightness in combination with colour coding in cytochrome-oxidase blobs can be used to create a background with a big brush, (3) the multi-scale line and edge representation provides a very natural way to render fi ner brush strokes, and (4) the multi-scale keypoint representation serves to create saliency maps for Focus-of-Attention, and FoA can be used to render important structures. Basic processes are described, renderings are shown, and important ideas for future research are discussed.

Fine arts edutainment: the amateur painter

A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general.

Integrated multi-scale architecture of the cortex with application to computer vision

Tese de dout., Engenharia Electrónica e de Computadores, Faculdade de Ciência e Tecnologia, Universidade do Algarve, 2007

Encontros com a pintura : modos de criar, modos de conhecer

Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, 2011

A interacção entre a sala de aula e o museu como estratégia de envolvimento na aprendizagem

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, 2011

Vox Dei:metáfora(s) da espiritualidade

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014