Lofoten international art festival 2015: disappearing acts

Group exhibition, 3 commissioned back-lit prints, curated by Matt Packer and Arne Skaug Olsen.

The isatin-Schiff base copper(II) complex Cu(isaepy)(2) acts as delocalized lipophilic cation, yields widespread mitochondrial oxidative damage and induces AMP-activated protein kinase-dependent apoptosis

We previously demonstrated that Bis[(2-oxindol-3-ylimino)-2-(2-aminoethyl) pyridine-N, N`] copper(II) [Cu(isaepy)(2)] was an efficient inducer of the apoptotic mitochondrial pathway. Here, we deeply dissect the mechanisms underlying the ability of Cu(isaepy)(2) to cause mitochondriotoxicity. In particular, we demonstrate that Cu(isaepy)(2) increases NADH-dependent oxygen consumption of isolated mitochondria and that this phenomenon is associated with oxy-radical production and insensitive to adenosine diphosphate. These data indicate that Cu(isaepy)(2) behaves as an uncoupler and this property is also confirmed in cell systems. Particularly, SH-SY5Y cells show: (i) an early loss of mitochondrial transmembrane potential; (ii) a decrease in the expression levels of respiratory complex components and (iii) a significant adenosine triphosphate (ATP) decrement. The causative energetic impairment mediated by Cu(isaepy)(2) in apoptosis is confirmed by experiments carried out with rho(0) cells, or by glucose supplementation, where cell death is significantly inhibited. Moreover, gastric and cervix carcinoma AGS and HeLa cells, which rely most of their ATP production on oxidative phosphorylation, show a marked sensitivity toward Cu(isaepy)(2). Adenosine monophosphate-activated protein kinase (AMPK), which is activated by events increasing the adenosine monophosphate: ATP ratio, is deeply involved in the apoptotic process because the overexpression of its dominant/negative form completely abolishes cell death. Upon glucose supplementation, AMPK is not activated, confirming its role as fuel-sensing enzyme that positively responds to Cu(isaepy)(2)-mediated energetic impairment by committing cells to apoptosis. Overall, data obtained indicate that Cu(isaepy)(2) behaves as delocalized lipophilic cation and induces mitochondrial-sited reactive oxygen species production. This event results in mitochondrial dysfunction and ATP decrease, which in turn triggers AMPK-dependent apoptosis.

Communicating the 'unspeakability' of violent acts in cinema

This paper explores the forensic testimony employed in James Benning‟s experimental narrative film Landscape Suicide (1986, 16mm, 95min USA). As a belated example of Judith Walker‟s „Trauma Cinema‟, this film in part re-enacts the court transcripts of two perpetrators of physical violence: Ed Gein and Michelle Protti. Teenager Protti killed another student with a kitchen knife after having been subjected to bullying by a group of girls and Wisconsin farmer Gein shot a storekeeper‟s wife, took the body home to then skin and dissect it. Gein‟s case is said to have provided the model for the cinematic serial killers portrayed in Psycho (1959), The Silence of the Lambs (1991) and Texas Chainsaw Massacre (1974). In its strategy of communicating or representing the overwhelming and traumatic impact of violence cinematically Landscape Suicide is contrasted to the melodrama and shock of mainstream violence in Psycho, Texas Chainsaw Massacre and Silence of the Lambs for its ability to identify „unspeakable‟ aspects of overwhelming experience. This paper will concentrate on the representation of Ed Gein‟s violent acts, rather than Protti‟s and enlists recent neurological research that suggests a model for forgetting that is identifiable in the film‟s structure and content.

Subjects and expressive worlds in the work of Merleau-Ponty

Examines Merleau-Ponty's claim that the relationship between subjects, world and others is one of interdependence. Questions traditional accounts of subjectivity based on dichotomous schemas and expands into the expressive domains of art, language and sexuality. Gives some forward-looking reflections as regards ethics arising out of Merleau-Ponty's new ontology.

Gender differences in the performance of individuating acts

Although several studies in social psychology suggest that male participants are more likely than female ones to engage in individuating behaviors, other studies have found no gender differences in willingness to perform individuating acts. This study posits that differences in findings across past investigations may be attributed to the chosen domain of individuating behavior. The content of the Individuation Scale (Maslach, Stapp, & Santee, 1985) is examined in terms of Bakan's (1966) agency‐communion theory to identify two types of individuating behaviors that are consistent with men's gender role orientations (i.e., eliciting conflict, leadership), one type of individuating behavior that is consistent with women's gender role orientations (i.e., personal disclosures), and a gender‐neutral type of individuation (i.e., performance). Responses to the scale are obtained from a sample of business school students (N = 273) and a more heterogeneous mail survey sample (N = 621). A sequence of measurement invariance tests of a 4‐factor correlated model of the individuation measure indicates a high degree of equivalence in the meaning of the measure across gender groups. Subsequent latent‐means structure analysis examines gender differences in willingness to perform the 4 types of individuation behaviors captured in the scale. In the student sample, there were no mean differences in willingness to perform any of the 4 types of individuating acts. However, in the mail survey sample, findings of mean differences supported hypotheses derived from agency‐communion theory: For men as compared with women, the latent means for leadership and eliciting conflict were higher and the latent mean for personal disclosure was lower.

Toward automatic extraction of expressive elements from motion pictures : tempo

This paper addresses the challenge of bridging the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval. It proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high-level semantics of stories portrayed, thus enabling rich video annotation and interpretation. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step toward demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for a number of full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film. In addition to the development of this computable tempo measure, a study is conducted as to the usefulness of biasing it toward either of its constituents, namely, motion or shot length. Finally, a refinement is made to the shot length normalizing mechanism, driven by the peculiar characteristics of shot length distribution exhibited by movies. Results of these additional studies, and possible applications and limitations are discussed.

Towards automatic extraction of expressive elements from motion pictures : tempo

This paper proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high level semantics of stories portrayed, thus enabling better video annotation and interpretation systems. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step towards demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for four full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful attribute in its own right and a promising component of semantic constructs such as tone or mood of a film.