Géricault, o Panorama e os Espaços de Realidade no início do Século XIX

Lançando mão de diferentes obras artísticas, Jonathan Crary discute a formação do espectador moderno no final do século XVIII. O participante multifacetado das feiras da Europa pré-moderna é substituído por um observador privatizado e individualizado, destinado ao consumo de mercador- ias em massa e produto de um processo de disciplinarização. A primazia da visão sobre os demais sentidos emerge acompanhada de imperativos de autocontrole visíveis em novos espaços como os dispositivos panorâmicos que o autor explora no artigo. Dialogando com Roland Barthes, Crary dis- corre sobre os “efeitos de realidade” em jogo nos panoramas e seus impactos na audiência moderna.

Daydream archive

Felicity Callard’s interest in the long history of research into daydreaming, fantasy and reverie, and the ways in which this subterranean tradition might productively complicate contemporary cognitive scientific investigations of mind wandering, has been a significant focus of her work for Hubbub. In this chapter, she conjures up an imaginary archive of the daydream, as yet dispersed across disciplinary fields and points in time and space, alludes to some of its heterogeneous contents, and asks what the power of such an archive-to-come might be

We Have Always Been Virtual: Gilles Deleuze and the Computer-Generated Image

The use of computer-generated imagery is becoming increasingly ubiquitous across many fields including media, advertising, architecture and art. This represents a fundamental shift within visual culture, as imagery can now be produced routinely by means of rendering algorithms based on spatial representations. We propose that the account of the image provided by Gilles Deleuze in his books on cinema provides a rich philosophical framework for understanding such contemporary imaging practices. By providing a Deleuzian reading of James Kajiya\u27s 1986 rendering equation we argue that there is a tacit ontology of the image underwriting both Deleuze’s work on cinema and current computer graphics technologies. This ontology frees the image from traditional transcendent categories of subject positions or vantage points and instead revolves around the concept of an immanent image. We argue that these considerations lead us to a reformulation of the notion of the virtual, one that challenges its rigid segregation from the real

Analysis of the role of predicted RNA secondary structures in Ebola virus replication

AbstractThermodynamic modeling of Ebola viral RNA predicts the formation of RNA stem-loop structures at the 3′ and 5′ termini and panhandle structures between the termini of the genomic (or antigenomic) RNAs. Sequence analysis showed a high degree of identity among Ebola Zaire, Sudan, Reston, and Cote d’Ivoire subtype viruses in their 3′ and 5′ termini (18 nucleotides in length) and within a second region (internal by approximately 20 nucleotides). While base pairing of the two conserved regions could lead to the formation of the base of the putative stem-loop or panhandle structures, the intervening sequence variation altered the predictions for the rest of the structures. Using an in vivo minigenome replication system, we engineered mutations designed to disrupt potential base pairing in the viral RNA termini. Analysis of these variants by screening for enhanced green fluorescent protein reporter expression and by quantitation of minigenomic RNA levels demonstrated that the upper portions of the putative panhandle and 3′ genomic structures can be destabilized without affecting virus replication

Space, time, desire, and the Atlantic in three Spanish films of the 1920s

This article looks at the relationship between Hollywood and Spanish cinema of the 1920s. The central issue is the impact on the representation of space and time, both of Hollywood film structures, and of the elision between 'Spanish' and 'North American' space. The problem of boundaries and elision between these two spaces hinges on the definition of sexual and gender roles

Creativity and commerce: Michael Klinger and new film history

The crisis in film studies and history concerning their legitimacy and objectives has provoked a reinvigoration of scholarly energy in historical enquiry. 'New film history' attempts to address the concerns of historians and film scholars by working self-reflexively with an expanded range of sources and a wider conception of 'film' as a dynamic set of processes rather than a series of texts. The practice of new film history is here exemplified through a detailed case study of the independent British producer Michael Klinger (active 1961-87) with a specific focus on his unsuccessful attempt to produce a war film, Green Beach, based on a memoir of the Dieppe raid (August 1942). This case study demonstrates the importance of analysing the producer's role in understanding the complexities of film-making, the continual struggle to balance the competing demands of creativity and commerce. In addition, its subject matter - an undercover raid and a Jewish hero - disturbed the dominant myths concerning the Second World War, creating what turned out to be intractable ideological as well as financial problems. The paper concludes that the concerns of film historians need to engage with broader cultural and social histories. © 2010 Taylor & Francis

Duchamp's Erotic Stereoscopic Exercises

This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.Este artigo busca explorar certos elos entre a medicina e a arte por meio da estereoscopia. Destaca-se uma obra do artista Marcel Duchamp (o ready-made Stéréoscopie a la Main) e cartões estereoscópicos usados na oftalmologia. As duas instâncias envolvem o desenho de marcas gráficas sobre cartões estereoscópicos pré-existentes. A similaridade entre Stéréoscopie a la Main e os ditos cartões ecoa também na forma dos exercícios estereoscópicos. O cartão estereoscópico foi amplamente difundido na segunda metade do séc. XIX, frequentemente na forma da "viagem sem sair de casa." Foi sobre esse tipo de material que tanto médicos quanto Marcel Duchamp desenharam suas marcas. Explora-se a obra Stéréoscopie a la Main como um sítio hipotético para uma espécie de exercício, propondo que tal ready-made retificado seja um lugar para exercícios estereoscópicos eróticos