Elevated Amygdala Activity to Sad Facial Expressions: A State Marker of Bipolar but Not Unipolar Depression

Background: Difficulties in emotion processing and poor social function are common to bipolar disorder (BD) and major depressive disorder (MDD) depression, resulting in many BID depressed individuals being misdiagnosed with MDD. The amygdala is a key region implicated in processing emotionally salient stimuli, including emotional facial expressions. It is unclear, however, whether abnormal amygdala activity during positive and negative emotion processing represents a persistent marker of BD regardless of illness phase or a state marker of depression common or specific to BID and MDD depression. Methods: Sixty adults were recruited: 15 depressed with BID type 1 (BDd), 15 depressed with recurrent MDD, 15 with BID in remission (BDr), diagnosed with DSM-IV and Structured Clinical Interview for DSM-IV Research Version criteria; and 15 healthy control subjects (HC). Groups were age- and gender ratio-matched; patient groups were matched for age of illness onset and illness duration; depressed groups were matched for depression severity. The BDd were taking more psychotropic medication than other patient groups. All individuals participated in three separate 3T neuroimaging event-related experiments, where they viewed mild and intense emotional and neutral faces of fear, happiness, or sadness from a standardized series. Results: The BDd-relative to HC, BDr, and MDD-showed elevated left amygdala activity to mild and neutral facial expressions in the sad (p < .009) but not other emotion experiments that was not associated with medication. There were no other significant between-group differences in amygdala activity. Conclusions: Abnormally elevated left amygdala activity to mild sad and neutral faces might be a depression-specific marker in BID but not MDD, suggesting different pathophysiologic processes for BD versus MDD depression.

Social anxiety disorder women easily recognize fearfull, sad and happy faces: The influence of gender

Background: It has been suggested that individuals with social anxiety disorder (SAD) are exaggeratedly concerned about approval and disapproval by others. Therefore, we assessed the recognition of facial expressions by individuals with SAD, in an attempt to overcome the limitations of previous studies. Methods: The sample was formed by 231 individuals (78 SAD patients and 153 healthy controls). All individuals were treatment naive, aged 18-30 years and with similar socioeconomic level. Participants judged which emotion (happiness, sadness, disgust, anger, fear, and surprise) was presented in the facial expression of stimuli displayed on a computer screen. The stimuli were manipulated in order to depict different emotional intensities, with the initial image being a neutral face (0%) and, as the individual moved on across images, the expressions increased their emotional intensity until reaching the total emotion (100%). The time, accuracy, and intensity necessary to perform judgments were evaluated. Results: The groups did not show statistically significant differences in respect to the number of correct judgments or to the time necessary to respond. However, women with SAD required less emotional intensity to recognize faces displaying fear (p = 0.002), sadness (p = 0.033) and happiness (p = 0.002), with no significant differences for the other emotions or men with SAD. Conclusions: The findings suggest that women with SAD are hypersensitive to threat-related and approval-related social cues. Future studies investigating the neural basis of the impaired processing of facial emotion in SAD using functional neuroimaging would be desirable and opportune. (C) 2009 Elsevier Ltd. All rights reserved.

Estudo do impacte da aplicação do SNC nos clubes/SAD do futebol português licenciados pela UEFA

Mestrado em Contabilidade

Un Camí del SAD al SED

L’objectiu principal del treball és exposar una alternativa a la institucionalització que fomenti l’autonomia, el desenvolupament i el benestar de les persones que es troben en situació de dependència, partint d’un recurs ja existent: el Servei d’Atenció Domiciliària (SAD). Va dirigit en especial al col•lectiu de persones amb problemàtiques de salut mental. Proposa la nomenclatura SED (Suport Educatiu Domiciliari) què no existeix com a tal, per anomenar una branca o una part del SAD que sí existeix

Blanc sota negre. Treballs des de l'imperceptible / 3. Freya Powell: I'll smile and I'm not sad. I altres passats presents

Les instal·lacions de vídeo de la primera exposició de Freya Powell a Barcelona conviden a una meditació dels vincles entre la memòria i l'arxiu, l'enregistrament, el repertori i les traces de la Història. En aquesta exposició es tensa un fil entre la memòria dels condemnats a mort nordamericans, la memòria de la Segona Guerra Mundial, la de l'artista pròpia i els diferents mapes del món sota la història colonial. És un fil que pregunta pel nostre vincle no només amb les veus i les paraules arxivades, sinó amb aquelles que volem recollir i rebre.

Blanco bajo negro. Trabajos desde lo imperceptible / 3. Freya Powell: I’ll smile and I’m not sad. Y otros pasados presentes

Las instalaciones de vídeo de la primera exposición de Freya Powell en Barcelona invitan a una meditación sobre los vínculos entre la memoria y el archivo, el registro, el repertorio y las huellas de la Historia. En esta exposición se tensa un hilo entre la memoria de los condenados a muerte norteamericanos, la memoria de la Segunda Guerra Mundial, la de la propia artista y los diferentes mapas del mundo creados por la historia colonial. Es un hilo que pregunta por nuestro vínculo no solo con las voces y las palabras archivadas, sino con ésas que queremos recoger y recibir.

Cycle: White under Black. Works from the imperceptible / 3. Freya Powell: I’ll smile and I’m not sad, and other past presents

The video installations of Freya Powell's first exhibition in Barcelona call for an analysis of the links between memory and the archive, between compilation, registration, and the traces of History. Powell's work establishes a fine link between the memory of those sentenced to death in the United States, the memory of the Second World War, the artist's own memory, and the different world maps produced by colonial history. This link forces us to take into account our own connection not only with the voices and words that have been archived, but also with those voices that we want to hear and register.

« Roolle de la despence extraordinaire de l'Escurye du Roy, que monseigneur le duc de Bellegarde, pair et grand écuier de France, a commandé et ordonné estre faicte et paiée par maistre Pierre Maugis, conseiller, notaire et secrétaire du Roy,... tant à cause du mariage de madame la princesse de Galle, soeur de Sad. Majesté, à présent royne de la Grande-Bretagne, que pour l'entretenement de tout le train et équipage dont l'Escurie de lad. dame a esté composé, depuis son étatblissement, jusqu'au 22e jour de juing de ladicte année [1625], que lad. dame Royne s'est embarquée à Boullongne... ».

Le dernier feuillet du volume (fol. 39) est formé par l'« Eseroux de la despence de bouche de l'Escurie du Roy,... durant le mois de janvier 1639. »

Tintype of Sad Young Black Girl Perched on Bench [n.d.]

This unhappy looking young girl is featured in an early black and white tintype photograph. The date, location and name of the photographer are unknown. This small tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have descendants who are former slaves from the United States."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Análisis de la influencia de la pobreza en el cambio de las dinámicas de cooperación entre Brasil y Angola, Nigeria y Súad-África (2003-2011)

La política exterior brasilera de la última década se ha basado en la cooperación internacional, con la llegada de Luiz Inácio Lula Da Silva al poder en el año 2003, la política de cooperación internacional empieza a girar en torno a proyectos para erradicar la pobreza, esto le ha servido a Brasil para llegar a permear países alejados de su zona de influencia como los son los países de África.