La place de la victime : deuil et paysage

Cet article se propose d’explorer certains usages du paysage en tant que figure de la mémoire dans l’architecture et le cinéma des post-dictatures du Cône Sud. Le paysage ouvre à travers l’approche architectonique et cinématographique de la dimension spatiale un seuil où l’absence de place pour le deuil peut être soulignée et comblée. Certaines de ces propositions tendent à la construction de lieux au caractère monumental afin de réinscrire les victimes en leur absence – en tant que noms situés – la géographie sociale ; d’autres, en revanche, à l’ouverture d’espaces de l’errance où le deuil devient une pratique esthétique et politique radicale de transformation du présent.This article proposes to explore some of the ways in which landscape is engaged with in postdictatorial architecture and cinema from the Southern Cone. Landscape, in being enlisted and worked through in the architectonic and cinematographic register, opens within space a threshold where the absence of places for mourning the disappeared can be both marked and counteracted. Some of these proposals adopt the form of the monument so as to reinscribe the victims in their absence – as emplaced names – into the social geography. Others, on the contrary, open up spaces of itinerance where mourning becomes a radical aesthetic and political practice of transforming the present.De auteur onderzoekt de rol van het landschap als plek van herinnering in de post-dictatoriale Zuidkegel. In architectuur en film symboliseert het landschap het gebrek aan een plaats om te rouwen. Sommige projecten zijn monumentaal opgevat en willen de slachtoffers – bij naam – in de maatschappelijke ruimte inschrijven. Op andere plaatsen worden dan weer open, doelloze ruimtes gecreëerd waar de bezoeker kan ronddwalen. Het rouwproces wordt zo een radicale esthetische en politieke praktijk, een ruimte voor experiment

A Expedição do Planalto

A história de Brasília, como se sabe, inverte a narrativa da torre de Babel: em lugar de empregar a ciência do arquiteto para elevar a visão humana às alturas divinas do conhecimento omnividente, os criadores da capital desenvolvimentista do Brasil diretamente pressuponhiam a plataforma de visão que, segundo o mito bíblico, havia materialisado a ambição pecaminosa do homem. A cruz axial em forma de aeroplano sobre a qual Lúcio Costa havia mapeado a paisagem urbana modernista, parece condensar..

De plaats van het slachtoffer: landschap en rouwproces

De auteur onderzoekt de rol van het landschap als plek van herinnering in de post-dictatoriale Zuidkegel. In architectuur en film symboliseert het landschap het gebrek aan een plaats om te rouwen. Sommige projecten zijn monumentaal opgevat en willen de slachtoffers – bij naam – in de maatschappelijke ruimte inschrijven. Op andere plaatsen worden dan weer open, doelloze ruimtes gecreëerd waar de bezoeker kan ronddwalen. Het rouwproces wordt zo een radicale esthetische en politieke praktijk, een ruimte voor experiment.Cet article se propose d’explorer certains usages du paysage en tant que figure de la mémoire dans l’architecture et le cinéma des post-dictatures du Cône Sud. Le paysage ouvre à travers l’approche architectonique et cinématographique de la dimension spatiale un seuil où l’absence de place pour le deuil peut être soulignée et comblée. Certaines de ces propositions tendent à la construction de lieux au caractère monumental afin de réinscrire les victimes en leur absence – en tant que noms situés – la géographie sociale ; d’autres, en revanche, à l’ouverture d’espaces de l’errance où le deuil devient une pratique esthétique et politique radicale de transformation du présent.This article proposes to explore some of the ways in which landscape is engaged with in postdictatorial architecture and cinema from the Southern Cone. Landscape, in being enlisted and worked through in the architectonic and cinematographic register, opens within space a threshold where the absence of places for mourning the disappeared can be both marked and counteracted. Some of these proposals adopt the form of the monument so as to reinscribe the victims in their absence – as emplaced names – into the social geography. Others, on the contrary, open up spaces of itinerance where mourning becomes a radical aesthetic and political practice of transforming the present

Watching the city: the politics of space in Pizza, birra, faso

In this article I discuss the representation of Buenos Aires in Pizza, birra, faso. Paying attention to some of the film’s salient aspects vis-a-vis its portrayal of urban space, my analysis has as ultimate goal to reveal the ways in which the film engages in a political critique that might seem absent if studied solely from a narrative point of view. In this sense Pizza, birra, faso is a paradigmatic example of the ways in which many of the films of New Argentine Cinema engaged with their political context differently to films of the post-dictatorship generation. To unearth this political content, I will argue, it is necessary to study these films as films, and not merely texts

Clinical and virological characteristics of hospitalised COVID-19 patients in a German tertiary care centre during the first wave of the SARS-CoV-2 pandemic: a prospective observational study

Purpose: Adequate patient allocation is pivotal for optimal resource management in strained healthcare systems, and requires detailed knowledge of clinical and virological disease trajectories. The purpose of this work was to identify risk factors associated with need for invasive mechanical ventilation (IMV), to analyse viral kinetics in patients with and without IMV and to provide a comprehensive description of clinical course. Methods: A cohort of 168 hospitalised adult COVID-19 patients enrolled in a prospective observational study at a large European tertiary care centre was analysed. Results: Forty-four per cent (71/161) of patients required invasive mechanical ventilation (IMV). Shorter duration of symptoms before admission (aOR 1.22 per day less, 95% CI 1.10-1.37, p < 0.01) and history of hypertension (aOR 5.55, 95% CI 2.00-16.82, p < 0.01) were associated with need for IMV. Patients on IMV had higher maximal concentrations, slower decline rates, and longer shedding of SARS-CoV-2 than non-IMV patients (33 days, IQR 26-46.75, vs 18 days, IQR 16-46.75, respectively, p < 0.01). Median duration of hospitalisation was 9 days (IQR 6-15.5) for non-IMV and 49.5 days (IQR 36.8-82.5) for IMV patients. Conclusions: Our results indicate a short duration of symptoms before admission as a risk factor for severe disease that merits further investigation and different viral load kinetics in severely affected patients. Median duration of hospitalisation of IMV patients was longer than described for acute respiratory distress syndrome unrelated to COVID-19