Imagem (de) Arquivo e Tempo Mnemotécnico: para um projecto de "Arquiviologia" na História da Arte

Este trabalho constrói uma proposta para pensar o arquivo na sua relação com a fotografia e o cinema. No seu confronto com estes meios, o arquivo descerra uma ontologia e uma pragmática, adquirindo o valor de um evento: o arquivo intima o passado, um real que se encontra já separado e distante, mas inclui igualmente a possibilidade de retorno do referente como impressão-afecção, arruinando o modelo da representação mimética e a cronologia do antes e do depois. Oferece-se assim uma saída para o impasse das teorias positivistas e pós-modernas, incapazes ambas de dar conta da complexidade histórica e temporal da imagem (de) arquivo, i.e. a sua propensão para captar o desejo e firmar os jogos de sobreposição entre aquilo que é registado, lembrado e ficcionado. Inspirado pelos influentes textos de Jacques Derrida sobre o arquivo, assim como pelo redimensionamento da noção de arquivo no campo da arte, este trabalho sustenta que o arquivo é um material activo sujeito a transformações, releituras e sobrevivências: o material de arquivo constitui um ponto de partida criativo e não um documento associado ao fechamento das taxonomias racionais e descritivas, possibilitando ao sujeito entrar numa relação subjectiva com o passado e a história. Mas para perceber esta transformação é necessário pensar um movimento que designa um para lá do arquivo, uma zona de exterioridade por relação com o arquivo. Argumenta-se que tal movimento concerne à passagem do arquivo ao atlas. É o atlas que fornece ao passado a configuração heterogénea, díspar e vertical associada ao modelo de tempo e de pensamento mnemotécnico, noção que interessa examinar na sua componente técnica, mas, sobretudo, imaginativa e inventiva. É também o atlas que permite colocar em prática a exigência derrideana de um projecto de arquiviologia - tantas vezes comentado, mas raramente concretizado - susceptível de mapear as possibilidades e os limites do arquivo na sua contaminação com as áreas do conhecimento que, sendo por vezes estranhas à Historia da Arte, colocam em comum problemas do tempo e da imagem: Freud e a cena da escritura em Derrida; Foucault e as taxonomias borgesianas; Walter Benjamin e a telescopagem histórica; Georges Didi-Huberman e a imagem-sobrevivente, rumo a uma sistematização do conhecimento por montagem em Aby Warburg. Aby Warburg acaba por adquirir uma relevância particular por via desse projecto incontornável da história da arte que é o atlas Mnemosyne, permitindo interrogar as possibilidades de intersecção do atlas (pensado enquanto nova arquitectura para o arquivo) e o cinema. No cinema de ficção documental de realizadores como J.-L.Godard, Chris Marker e Hans-Jürgen Syberberg, o atlas permite escrever a história de uma outra forma, numa exigência que decorre da necessidade em dar conta do impensável do acontecimento traumático do passado - nesse instante de bloqueio, algo se subtrai à capacidade em recordar… e se inarquiva.This study presents a way to think – or rethink – the archive in its relation with photography and cinema. In its confrontation with these media, the archive opens up to an ontological insight and a pragmatic claim, acquiring the status of an event: records intimate the past, a reality that is already absent and far from us, but they also comprise an opened condition of the referent, which acquires the sense of an imprint-affection that remains in a state of potential energy and return, thus undermining the principles of mimetic representation and linear time. The study therefore provides a way out for the deadlock created both by the positivist and postmodernism assumptions, ineffective to convey the historical and temporal complexity of the archive image, i.e. its ability to capture desire and to establish a system of permutations between what is recorded, remembered and imagined. Inspired by the influential essays of Jacques Derrida, as well as by the reformulation of the notion of the archive in art and art theory, this study endorses the idea that archive remnants are active and unstable, comprising repetitions, survivals and new forms of legibility: archival material is less a closed and accurate register than a creative starting point prone to offer multiple meanings and allowing the viewer to inventively address past and history. The comprehension of this reassessment requires to imagine a beyond the archive, a zone of exteriority in relation to the archive. It is argued that this concerns a movement that leads us from the archive to the atlas. It is the later that encompasses the heterogeneous and vertical features of a mnemotechnics of time and thought, a concept that shall be evaluated in its technical-imaginative aspect. It is also the atlas that allows to carry out the derridean claim concerning a project of archiviology – often commented but rarely practiced – able to map the limits and the possibilities of the archive through a broader relation with other fields that, although surpassing many times the discipline of art history, address the mutual problems of time and image: Freud and the scene of writing in Derrida’s deconstruction; Foucault and the metaphysical taxonomies of Jorge Luis Borges; Walter Benjamin and the historical constellations; Georges Didi-Huberman and the survival-image, towards the systematizing of montage as a form of thought in Aby Warburg’s historiography. Aby Warburg acquires a relevant position by means of his atlas Mnemosyne, one of the most striking devices of art history, allowing the possibility to think an intersection between the atlas (considered as a new architecture for the archive) and cinema. In the fictional documentary projects of filmmakers such as Jean-Luc Godard, Chris Marker, and Hans-Jürgen Syberberg, the atlas allows to write history through a network of original associations and affinities, fulfilling a demand that arises from the traumatic charge of the past event, signaling a powerlessness to invoke, a moment in which something is unarchived

O Cinema e o Arquivo do Holocausto

UID/PAM/00417/2013publishersversionpublishe

Editorial

UIDB/00417/2020 UIDP/00417/2020Revista de História da Arte - Serie W, issue 11, brings together updated and expanded versions of selected papers presented at the Times and Movements of the Image international conference, held in Caldas da Rainha and Lisbon on 15 and 16 November 2018. Resulting from a call for papers and invitational participations of internationally recognized keynote speakers, the event intended to discuss the contemporary meanings, functions and temporalities of the image, probed in their limits and potentialities across different media and disciplines.publishersversionpublishe

Times and Movements of the Image

UIDB/00417/2020 UIDP/00417/2020publishersversionpublishe

Quem olha para quem no cinema experimental de Andy Warhol, Yoko Ono e Julião Sarmento?

UID/PAM/00417/2013How does experimental cinema disassemble voyeurism? And what are its political implications when viewed from different gender positions? Yoko Ono's Fly (1970) questions the role of women as passive objects by means of a 'masculine' intruder in the form of a fly. Andy Warhol's Blowjob (1964) explores the vulnerability of a sexually aroused man and holds the viewer accountable for watching him. In Copies (1975), by Julião Sarmento, the director/voyeur reveals himself at the end, thus abandoning his space-shadow and showing himself to be an exhibitionist. This paper argues that though the dismantling of voyeurism by the experimental cinema of the 1960 and 70s is often associated with a feminist perspective, there are significant male counter examples, from both queer and heterosexual viewpoints. Warhol and Sarmento question an orthodox feminist theory bound to a binary analysis (male/female, activity/passivity, watching/being watched, voyeur/exhibitionist, subject/object) and show that the subject of voyeurism is far more ambivalent, heterodox and complex.publishersversionpublishe

Volatile fatty acids (VFA) production from wastewaters with high salinity-influence of pH, salinity and reactor configuration

The hydrocarbon-based economy is moving at a large pace to a decarbonized sustainable bioeconomy based on biorefining all types of secondary carbohydrate-based raw materials. In this work, 50 g L1 in COD of a mixture of food waste, brine and wastewater derived from a biodiesel production facility were used to produce organic acids, important building-blocks for a biobased industry. High salinity (1218 g L1), different reactors configuration operated in batch mode, and different initial pH were tested. In experiment I, a batch stirred reactor (BSR) at atmospheric pressure and a granular sludge bed column (GSBC) were tested with an initial pH of 5. In the end of the experiment, the acidification yield (a) was similar in both reactors (2224%, w/w); nevertheless, lactic acid was in lower concentrations in BSR (6.3 g L1 in COD), when compared to GSBC (8.0 g L1 in COD), and valeric was the dominant acid, reaching 17.3% (w/w) in the BSR. In experiment II, the BSR and a pressurized batch stirred reactor (PBSR, operated at 6 bar) were tested with initial pH 7. The a and the VFA concentration were higher in the BSR (46%, 22.8 g L1 in COD) than in the PBSR (41%, 20.3 g/L in COD), and longer chain acids were more predominant in BSR (24.4% butyric, 6.7% valeric, and 6.2% caproic acids) than in PBSR (23.2%, 6.2%, and 4.2%, respectively). The results show that initial pH of 7 allows achieving higher a, and the BSR presents the most suitable reactor among tested configurations to produce VFA from wastes/wastewaters with high salinity.This study was supported by the Portuguese Foundation for Science and Technology (FCT) under the scope of the strategic funding of UIDB/04469/2020 unit, and BioTecNorte operation (NORTE-01-0145-FEDER-000004) funded by the European Regional Development Fund under the scope of Norte2020-Programa Operacional Regional do Norte. Research of M. Carvalho was supported by the SALTIPHA project (PTDC/BTA-BTA/30902/2017), under the funding program 02/SAICT/2017-Projetos de Investigação Científica e Desenvolvimento Tecnológico (IC&DT) with reference NORTE-01-0145-FEDER-030902. J.V. Oliveira acknowledges the financial support of the FCT through the grant attributed (SFRH/BD/111911/2015).info:eu-repo/semantics/publishedVersio

Phagosomal removal of fungal melanin reprograms macrophage metabolism to promote antifungal immunity

Acknowledgements This work was supported by the Northern Portugal Regional Operational Programme (NORTE 2020), under the Portugal 2020 Partnership Agreement, through the European Regional Development Fund (FEDER) (NORTE-01- 0145-FEDER-000013), the Fundação para a Ciência e Tecnologia (FCT) (SFRH/BD/136814/2018 to S.M.G., SFRH/BD/141127/2018 to C.D.O., PD/BD/137680/2018 to D.A., IF/00474/2014 to N.S.O., IF/01390/2014 to E.T., IF/00959/2014 to S.C., IF/00021/2014 to R.S., PTDC/SAU-SER/29635/2017 and CEECIND/04601/2017 to C.C., and CEECIND/03628/2017 to A.C.), the Institut Mérieux (Mérieux Research Grant 2017 to C.C.), and the European Society of Clinical Microbiology and Infectious Diseases (ESCMID Research Grant 2017 to A.C.). M.G.N. was supported by a Spinoza grant of the Netherlands Organization for Scientific Research. A.A.B. was supported by the Deutsche Forschungsgemeinschaft Collaborative Research Center/Transregio TR124 FungiNet (project A1). G.D.B. was funded by the Wellcome Trust (102705), the MRC Centre for Medical Mycology and the University of Aberdeen (MR/N006364/1).Peer reviewedPublisher PD

COVID-19 symptoms at hospital admission vary with age and sex: results from the ISARIC prospective multinational observational study

Background: The ISARIC prospective multinational observational study is the largest cohort of hospitalized patients with COVID-19. We present relationships of age, sex, and nationality to presenting symptoms. Methods: International, prospective observational study of 60 109 hospitalized symptomatic patients with laboratory-confirmed COVID-19 recruited from 43 countries between 30 January and 3 August 2020. Logistic regression was performed to evaluate relationships of age and sex to published COVID-19 case definitions and the most commonly reported symptoms. Results: ‘Typical’ symptoms of fever (69%), cough (68%) and shortness of breath (66%) were the most commonly reported. 92% of patients experienced at least one of these. Prevalence of typical symptoms was greatest in 30- to 60-year-olds (respectively 80, 79, 69%; at least one 95%). They were reported less frequently in children (≤ 18 years: 69, 48, 23; 85%), older adults (≥ 70 years: 61, 62, 65; 90%), and women (66, 66, 64; 90%; vs. men 71, 70, 67; 93%, each P < 0.001). The most common atypical presentations under 60 years of age were nausea and vomiting and abdominal pain, and over 60 years was confusion. Regression models showed significant differences in symptoms with sex, age and country. Interpretation: This international collaboration has allowed us to report reliable symptom data from the largest cohort of patients admitted to hospital with COVID-19. Adults over 60 and children admitted to hospital with COVID-19 are less likely to present with typical symptoms. Nausea and vomiting are common atypical presentations under 30 years. Confusion is a frequent atypical presentation of COVID-19 in adults over 60 years. Women are less likely to experience typical symptoms than men