Avant-propos

Le premier atout de l’œuvre, c’est le temps, c’est l’odeur, c’est la musique de l’atelier... Le trait qui s’anime, l’air qui circule, le papier qui noircit, le long des chaînes d’inventions que forgent les apprentis à l’orée d’une vénération qui les conduira peu à peu à la maîtrise du faire créateur. L’Atelier, c’est le lieu de toutes les peines, celui du bonheur éphémère d’un fragment réussi, d’une page bouclée, d’un phrasé qui s’anime jusqu’au retour de la conscience critique, rupture de t..

« - Veo… - ¿Qué ves ? » : Une brèche vers l’Autre scène

Le film La Morte rouge commandé à Victor Erice par les commissaires de l’exposition Victor Erice / Abbas Kiarostami : Correspondances (Barcelone 2006 / Paris 2007), plonge ainsi dans la mémoire du premier combat de l’enfant spectateur avec les violences du monde dévoilées par le cinéma. Comment le goût du cinéma vient à l’enfance ? Tout particulièrement dans les temps d’avant l’irruption des images animées dans l’univers domestique, avec la télévision, et dans les contextes de crises, comme en 1946 au Pays Basque, où la répression franquiste, la Terror blanco, n’aura, finalement, connu qu’un mince répit. Le trouble ressenti par l’enfant devant la projection du film américain La Griffe sanglante se constitue ainsi comme expérience de l’ailleurs dans une Espagne ordonnée au repli et à la clôture, marquant ainsi l’insubordination des constructions de l’imaginaire. La Morte rouge retient notre attention à plusieurs titres. Il se propose comme la mise en œuvre audiovisuelle d’un imaginaire des représentations des territoires de l’enfance. Mais il se constitue aussi comme une proposition pour intégrer l’expérience individuelle d’un enfant à l’aube de son individuation dans une histoire conjointe à l’éveil au monde et à l’autre. Et se propose enfin comme « manufacture de style » pour cet enfant promis à devenir l’auteur d’une des œuvres les plus foisonnante du cinéma espagnol de la fin du franquisme.The film La Morte rouge commissioned to Victor Erice by curators of the exhibition: Victor Erice / Abbas Kiarostami: Correspondances (Barcelona 2006 / Paris 2007), plunges into the memory of the first fight of the child spectator with the violence of the world unveiled by cinema. How does the taste of cinema come to childhood? Especially in the time before the irruption of animated images in the domestic universe with television, and in the context of crises like in 1946 in Basque Country, where the Francoist repression, Terror Blanco, will not finally known only a slight respite. The disturbance felt by the child face to the projection of the American film The Scarlet Claw formes an experience of the elsewhere in a Spain ordered to the fold back and fence, thus marking the insubordination of constructions of the imaginary. La Morte rouge holds our attention for several reasons. It proposes itself as the audiovisual implementation of an imaginary representation of the territories of childhood. But it is also constituted as a proposal to integrate the individual experience of a child at the dawn of his individuation in a history of awakening to the World and to the Other. Finally, to propose himself as a "style factory" for this child, who is destined to become the author of one of the most fecund works of Spanish cinema at the end of Francoism

Avant-propos

Le premier atout de l’œuvre, c’est le temps, c’est l’odeur, c’est la musique de l’atelier... Le trait qui s’anime, l’air qui circule, le papier qui noircit, le long des chaînes d’inventions que forgent les apprentis à l’orée d’une vénération qui les conduira peu à peu à la maîtrise du faire créateur. L’Atelier, c’est le lieu de toutes les peines, celui du bonheur éphémère d’un fragment réussi, d’une page bouclée, d’un phrasé qui s’anime jusqu’au retour de la conscience critique, rupture de t..

Is this photograph taken? - The active (act of) collaboration with photography

Over more than thirty years of commercial and fine art photographic practice, I have often noticed remarkable disparities between the scenes, objects, events or moments ‘out there’ I had attempted to record – and the images within the resulting photographs. These (sometimes subtle, sometimes profound, but rarely anticipatable) disparities between what I had seen and what the photograph shows me offer the tantalising suggestion that there may be something else going on here – but something which the popular conception of photography may hinder our ability to recognise. This article explores the implications of four central assumptions implicit within the popular conception of photography which may impede new ways of thinking about photographic practice. Supported by a number of photographs that depict scenes, events and ‘moments’ which were not ‘taken’ but were created by the act of photographing them, I will suggest that new opportunities for practice may be available by ‘re-imagining’ the practice of photography as an active – or, as an act of – collaboration between medium and practitioner

Relationship between childhood physical abuse and clinical severity of treatment-resistant depression in a geriatric population

Introduction: We assessed the correlation between childhood maltreatment (CM) and severity of depression in an elderly unipolar Treatment-Resistant Depression (TRD) sample. Methods: Patients were enrolled from a longitudinal cohort (FACE-DR) of the French Network of Expert TRD Centres. Results: Our sample included 96 patients (33% of the overall cohort) aged 60 years or above, with a mean age of 67.2 (SD = 5.7). The majority of the patients were female (62.5%). The Montgomery and Asberg Depression Rating Scale (MADRS) and Quick Inventory Depression Scale-Self Report (QIDS-SR) mean scores were high, 28.2 (SD = 7.49) [MADRS score range: 0–60; moderate severity≥20, high severity≥35] and 16.5 (SD = 4.94) [IDS-SR score range: 0–27; moderate severity≥11, high severity≥16], respectively. Mean self-esteem scores were 22.47 (SD = 6.26) [range 0–30]. In an age- and sex-adjusted model, we found a positive correlation between childhood trauma (CTQ scores) and depressive symptom severity [MADRS (β = 0.274; p = 0.07) and QIDS-SR (β = 0.302; p = 0.005) scores]. We detected a statistically significant correlation between physical abuse and depressive symptom severity [MADRS (β = 0.304; p = 0.03) and QIDS-SR (β = 0.362; p = 0.005) scores]. We did not observe any significant correlation between other types of trauma and depressive symptom severity. We showed that self-esteem (Rosenberg scale) mediated the effect of physical abuse (PA) on the intensity of depressive symptoms [MADRS: b = 0.318, 95% BCa C.I. [0.07, 0.62]; QIDS-SR: b = 0.177, 95% BCa C.I. [0.04, 0.37]]. Preacher & Kelly’s Kappa Squared values of 19.1% (k2 = 0.191) and 16% (k2 = 0.16), respectively for the two scales, indicate a moderate effect. Conclusion: To our knowledge, this is the first study conducted in a geriatric TRD population documenting an association between childhood trauma (mainly relating to PA) and the intensity of depressive symptoms

Assessment of Translocator Protein Density, as Marker of Neuroinflammation, in Major Depressive Disorder: A Pilot, Multicenter, Comparative, Controlled, Brain PET Study (INFLADEP Study)

Background: Major depressive disorder (MDD) is a serious public health problem with high lifetime prevalence (4.4–20%) in the general population. The monoamine hypothesis is the most widespread etiological theory of MDD. Also, recent scientific data has emphasized the importance of immuno-inflammatory pathways in the pathophysiology of MDD. The lack of data on the magnitude of brain neuroinflammation in MDD is the main limitation of this inflammatory hypothesis. Our team has previously demonstrated the relevance of [18F] DPA-714 as a neuroinflammation biomarker in humans. We formulated the following hypotheses for the current study: (i) Neuroinflammation in MDD can be measured by [18F] DPA-714; (ii) its levels are associated with clinical severity; (iii) it is accompanied by anatomical and functional alterations within the frontal-subcortical circuits; (iv) it is a marker of treatment resistance.Methods: Depressed patients will be recruited throughout 4 centers (Bordeaux, Montpellier, Tours, and Toulouse) of the French network from 13 expert centers for resistant depression. The patient population will be divided into 3 groups: (i) experimental group—patients with current MDD (n = 20), (ii) remitted depressed group—patients in remission but still being treated (n = 20); and, (iii) control group without any history of MDD (n = 20). The primary objective will be to compare PET data (i.e., distribution pattern of neuroinflammation) between the currently depressed group and the control group. Secondary objectives will be to: (i) compare neuroinflammation across groups (currently depressed group vs. remitted depressed group vs. control group); (ii) correlate neuroinflammation with clinical severity across groups; (iii) correlate neuroinflammation with MRI parameters for structural and functional integrity across groups; (iv) correlate neuroinflammation and peripheral markers of inflammation across groups.Discussion: This study will assess the effects of antidepressants on neuroinflammation as well as its role in the treatment response. It will contribute to clarify the putative relationships between neuroinflammation quantified by brain neuroimaging techniques and peripheral markers of inflammation. Lastly, it is expected to open innovative and promising therapeutic perspectives based on anti-inflammatory strategies for the management of treatment-resistant forms of MDD commonly seen in clinical practice.Clinical trial registration (reference: NCT03314155): https://www.clinicaltrials.gov/ct2/show/NCT03314155?term=neuroinflammation&cond=depression&cntry=FR&rank=

Levels of depression in transgender people and its predictors: results of a large matched control study with transgender people accessing clinical services

Background: Depression is a serious disorder which significantly impacts wellbeing and quality of life. Studies exploring mental wellbeing in the transgender population are mostly limited by small, non-homogenous samples and lack of matched controls. This study aimed to address these limitations and explore depression rates in a large sample of transgender people, compared with matched controls from the general population, as well as factors predicting depression in those taking cross-sex hormone treatment (CHT) compared to those not. Methods: Transgender individuals (n=913) completed a measure of depression, measures which predict psychopathology (self-esteem, victimization, social support, interpersonal problems), and information regarding CHT use. Participants were matched by age and experienced gender with adults from the general population who had completed the measure of depression. Results: Individuals were categorized as having no, possible or probable depressive disorder. Transgender individuals not on CHT had a nearly four-fold increased risk of probable depressive disorder, compared to controls. Older age, lower self-esteem, poorer interpersonal function and less social support predicted depressive disorder. Use of CHT was associated with less depression. Limitations: Participants were attending a national gender identity service and therefore represent only a sub-group of transgender people. Due to the cross-sectional design, longitudinal research is required to fully confirm the finding that CHT use reduces depression. Conclusion: This study confirms that non-treated transgender individuals have an increased risk of a depressive disorder. Interventions offered alongside gender affirming treatment to develop interpersonal skills, increase self-esteem and improve social support may reduce depression and prepare individuals for a more successful transition

The Spirit of Saint-Louis — Billy Wilder, 1957 — Rêverie en suspens, ou la trajectoire de l’éveil

International audienc

Filmer l’attente, La Station, film de Sergueï Loznitsa, 2000

International audienc

Confluent de mémoires

International audienceLes Carnets de topoïétique proposent de nouvelles expériences de cheminement sur les territoires de la frontière pyrénéenne, à travers différents regards qui nous offrent leurs lectures poétiques du lieu.Les visions minérales de cet opus échappent au cliché panoramique, en substituant au modèle cartographique celui de la coupe géologique. Elles investissent la verticalité du monde minéral, au plus proche de la matière et de ses transformations.Cet ouvrage adopte la forme de carnets d’artistes. Il propose une alternative au guide touristique en invitant chacun à emboîter le pas et à prolonger le trait esquissé par les artistes ici réunis