Les trois boucles. Notes sur les modes d’existence des films d’artistes

En tant que matériau issu d’une production industrielle, le film est techniquement reproductible, et ne semble donc pas, à première vue, poser de problèmes particuliers quant à son existence « multiple ». Cependant, lorsque l’on observe dans le détail la culture matérielle et l’histoire de la circulation des films d’artistes, le scénario apparaît d’une toute autre complexité. Cet article vise à reconsidérer, sous l’angle de la conservation-restauration, et à partir de l’œuvre de Nam June Paik Zen for Film (1962-1964), exemplaire à cet égard, le statut particulier (multiple) du film d’artiste, considéré à la fois en tant qu’objet et événement (une copie et une projection) – deux modes d’existence qui s’excluent mutuellement dans leur présentation. Les conséquences théoriques de cette observation nous signalent une fausse opposition entre « unique » et « multiple » dans le domaine du film.As material resulting from industrial production, film is technically reproducible and thus does not seem, at first sight, to pose particular problems in terms of its “multiple” existence. However, when one observes in detail the material culture and the circulation history of artists’ films, the scenario appears to have a different complexity. From the perspective of conservation-restoration, and starting with Nam June Paik’s Zen for Film (1962-1964) – exemplary in this respect – this article aims to reconsider the special (multiple) status of artists’ film, considered simultaneously as object and event (a copy and a projection) – two modes of existence that mutually exclude each other in their presentation. The theoretical consequences of this observation point to a false opposition between “unique” and “multiple” in the field of film.Als Material aus der industriellen Produktion ist der Film technisch reproduzierbar und stellt daher auf den ersten Blick kein besonderes Problem für seine „multiple“ Existenz dar. Betrachtet man jedoch die materielle Kultur und die Geschichte der Verbreitung von Künstlerfilmen im Detail, so erscheint das Szenario von ganz anderer Komplexität. Dieser Artikel zielt darauf ab, aus der Sicht der konservatorischen Restaurierung und basierend auf dem in dieser Hinsicht exemplarischen Werk von Nam June Paik Zen for Film (1962-1964) den besonderen (Vielfach-)Status des Künstlerfilms zu überdenken, der sowohl als Objekt als auch als Ereignis (Kopie und Projektion) betrachtet wird. Dabei handelt es sich um zwei Existenzmodi, die sich in ihrer Präsentation gegenseitig ausschließen. Die theoretischen Konsequenzen dieser Beobachtung deuten auf einen falschen Gegensatz zwischen „einzigartig“ und „vielfach“ im Bereich des Films hin.In quanto materiale di produzione industriale, il film è tecnicamente riproducibile, e non sembra, a prima vista, porre dei problemi particolari per quanto riguarda la sua esistenza “multipla”. Tuttavia, quando si osserva nel dettaglio la cultura materiale e la storia della circolazione dei film d’artista, lo scenario sembra più complesso. Il presente articolo mira a riconsiderare, dal punto di vista della conservazione e del restauro, e a partire dall’opera di Nam June Paik Zen for Film (1962-1964), esemplare a questo proposito, lo statuto particolare (multiplo) del film d’artista, considerato allo stesso tempo come oggetto e avvenimento (una copia e una proiezione) – due modi di esistere che si escludono vicendevolmente nella loro presentazione. Le conseguenze teoriche di questa osservazione ci segnalano la falsa opposizione tra “unico” e “multiplo” nell’ambito dei film.En tanto que material surgido de la reproducción industrial, el filme es técnicamente reproducible, y no parece entonces, a primera vista, tener algún problema en particular en cuanto a su existencia “múltiple”. Sin embargo, cuando se observa en detalle la cultura material y la historia de la circulación de los filmes de artistas, el escenario ofrece una complejidad especial. Este artículo busca reconsiderar, bajo el ángulo de la conservación-restauración, y a partir de la obra de Nam June Paik Zen for Film (1962-1964), ejemplar en este sentido, el estatuto particular (múltiple) del filme de artista, considerado a la vez objeto y acontecimiento (una copia y una proyección) – dos modos de existencia que se excluyen mutuamente en su presentación. Las consecuencias teóricas de esta observación nos señalan una falsa oposición entre “único” y “múltiple” en el dominio del filme

Ricostruzione, performance, trasmissione. Una proposta metodologica per il restauro del film sperimentale e del film d'artista

Ce travail vise à questionner les outils méthodologiques et les fondations théoriques de l’activité de restauration afin de les appliquer sur un corpus d’œuvres souvent laissé aux marges des discours de ce champ disciplinaire : le film d’artiste et le film expérimental. On se focalisera sur les années 1960-1980 pour traiter, entre autres, du travail de Bruce Conner, Carolee Schneemann, Anthony McCall, Paul Sharits. Conçu et organisé comme un dialogue possible entre les exigences de systématisation théorique et les spécificités des œuvres, ce travail défend une méthodologie ouverte et dynamique, à l’instar des objets considérés. Dans le parcours esquissé, qui s’appuie sur des recherches en archives, on traitera de questions de reconstruction textuelle (à partir de la philologie d’auteur), de la performance et de l’installation, ou encore de l’intervention sur la matière des œuvres (en problématisant les positions du théoricien de la restauration Cesare Brandi) et de l’obsolescence technologique. En mobilisant des concepts issus de champs différents mais qu’on aimerait considérer ici comme complémentaires (histoire de l’art, esthétique, histoire technique du film), cette recherche dévoile l’activité herméneutique sous-jacente à toute entreprise de restauration. C’est à partir des cette hypothèse des liens entre théorie et pratique que l’on envisagera les enjeux spécifiques qui accompagnent la transmission des objets filmiques.This dissertation aims to question the methodological tools and theoretical foundations of the practice of restoration in order to apply them to a body of work often left at the margins of this disciplinary field: experimental and artists’ film. Focusing on the years 1960-1980, it will examine works by Bruce Conner, Carolee Schneemann, Anthony McCall, and Paul Sharits, among others. Conceived and organized as a possible dialogue between theoretical assessment and the practical necessities of specific works, this research defends an open and dynamic methodology of restoration much like the objects herein considered. Through archival research, this dissertation will confront issues of textual reconstruction (starting from literary philology), performance and installation, scholarly debates concerning the materiality of artworks (problematizing the positions of restoration theorist Cesare Brandi), and the question of technological obsolescence. Mobilizing concepts from different fields considered as complementary (art history, aesthetics, the technological history of film), this dissertation seeks to describe the hermeneutical activity underlying any restoration process. It is starting from this hypothesis, which links theory and practice, that it will consider the specific issues accompanying the life of filmic objects.Il lavoro si propone di mettere in discussione gli strumenti metodologici e le basi teoriche dell’attività di restauro, al fine di volgersi a un corpus spesso considerato come marginale nella letteratura scientifica inerente alla disciplina: il film d’artista e sperimentale. Ci si concentrerà in particolare sugli anni 1960-1980 per analizzare, tra gli altri, la produzione di Bruce Conner, Carolee Schneemann, Anthony McCall, Paul Sharits. La tesi, concepita e costruita come un possibile dialogo tra l’esigenza di sistematizzazione teorica e le caratteristiche specifiche delle opere, promuove una metodologia aperta e dinamica, adattandosi dunque agli oggetti considerati. In un percorso che si vuole teorico, ma ugualmente frutto di ricerche in archivio, si tratteranno problemi di ricostruzione testuale (basandosi sulla filologia d’autore), questioni riguardanti la performance e l’installazione, interventi sulla materia delle opere (sulla scorta di una rilettura critica della Teoria del restauro di Cesare Brandi), o ancora il problema dell’obsolescenza tecnologica. La ricerca tende a includere e adattare concetti provenienti da diverse discipline (storia dell’arte, estetica, storia tecnologica del film, qui considerate come complementari), per poter infine descrivere l’attività di restauro come operazione ermeneutica. Muovendo da un’ipotesi di lavoro che unisce teoria e pratica, la ricerca affronta i problemi specifici relativi alla “trasmissione al futuro” delle opere filmiche

Glimepiride-induced cholestasis in a man with diabetes mellitus: a case report

<p>Abstract</p> <p>Introduction</p> <p>There has been a progressive increase in the incidence of type II diabetes mellitus cases over the past decade. The availability of a wide variety of oral hypoglycemics has given rise to a number of adverse effects. In this case report, we describe the case of a patient recently diagnosed with type II diabetes. He was receiving treatment with glimepiride and experienced rapid onset of cholestatic liver injury as a side effect, which reversed upon cessation of therapy.</p> <p>Case presentation</p> <p>We present the case of a 58-year-old Egyptian man with a recent diagnosis of type II diabetes mellitus. He presented with a clinical picture of progressive jaundice three days before admission. Laboratory investigations revealed elevated bilirubin, alkaline phosphatase and gamma glutamyl transferase levels. Ultrasonography revealed intrahepatic biliary duct dilatation and two small lymph nodes in the porta hepatis; there was, however, no extrahepatic biliary duct dilatation or stones in the gall bladder. Abdominal computed tomography excluded pancreatic or hepatic focal lesions, but the tumor marker CA19-9 was elevated. The progressive improvement in the patient's symptomatology and laboratory investigations after admission argued against malignancy. A thorough and detailed history revealed that the patient had started on a new medication, glimepiride, five months earlier for the treatment of diabetes mellitus and an improvement was noted after discontinuation of this oral hypoglycemic and the introduction of insulin therapy to control his blood sugar.</p> <p>Conclusion</p> <p>Drugs are an important, often unrecognized, cause of acute cholestasis. Among the rare causes responsible for this complication is the sulfonylurea glimepiride. A thorough drug history is therefore helpful in any case of unexplained cholestasis.</p

Missing the guidewire: an avoidable complication

Central venous catheterization is an imperative tool in the critically ill patient to administer fluids, medications and for monitoring the central venous pressure. This procedure is associated with a variety of complications, some of which can be life threatening. In this brief report, we are addressing one of the rare complications of central venous catheterization which is missing the guidewire. We also described several precautions to avoid this complication as well as modifications in the guidewire to prevent its escape

Autour de « Duchamp du Film »

Présentée au Centre Pompidou du 24 septembre 2014 au 29 octobre 2015, la programmation « Duchamp du Film » proposait une lecture renouvelée de l’influence de Marcel Duchamp sur la création filmique en invitant à reconsidérer certaines pratiques expérimentales au regard des propositions esthétiques et conceptuelles formulées par l’artiste tout au long de sa carrière. Si l’influence de Duchamp sur les avant-gardes cinématographiques et les arts constitue un fait avéré, la prégnance de l’artiste..

Therapeutic Mechanisms of Action for Hyperbaric Oxygen on Femoral Head Necrosis

Femoral head necrosis (FHN) is a disease process resulting from inadequate blood perfusion of subchondral bone. While the etiology of this disease is still not fully understood, there are multiple traumatic and atraumatic factors that are associated with the disease. Pathophysiology of the disease is characterized by the death of bone marrow and osteocytes. If left untreated, the disease may progress to joint collapse. While initial stages of the disease are asymptomatic, painful limitation of active and passive motion of the hip is eventually present. The current body of literature cannot identify an optimal treatment protocol for FHN. Postcollapse cases require surgical intervention, core decompression, or total hip arthroplasty. However, current strides in conservative management are being made. One of the possible conservative modalities that may effectively delay hip arthroplasty or even prevent the need for a surgical approach is hyperbaric oxygen (HBO2) therapy. HBO2 increases extracellular oxygen concentration and reduces cellular ischemia and edema by inducing vasoconstriction. Studies have reported radiographic improvement, reduction in pain, and increases in range of motion for early stages of the disease. Hyperbaric oxygen therapy has also been shown to stimulate angiogenesis and enhance osteoclast and osteoblast function for remodeling and repair

Negative pressure pulmonary edema in the prone position: a case report

Acute airway obstruction can result in life - threatening pulmonary edema. It can develop rapidly, without warning, in otherwise healthy patients. Negative pressure pulmonary edema has been described after acute airway obstruction in situations when a patient is breathing against an obstructed airway such as croup, epiglottitis or laryngospasm. In the following case, we observed a rare occurrence of pulmonary edema in a female following sedation in the prone position

Toxic epidermal necrolysis following treatment of pseudotumour cerebri: a case report

Toxic Epidermal Necrolysis and Steven-Johnson syndrome are entities on a spectrum of cutaneous reactions that usually occur as an idiosyncratic reaction to certain drugs. The distinction between TEN and SJS is based on the percentage of skin involved with SJS being less than 10% and TEN being more than 30%. They exhibit severe skin blistering and sloughing with mucosal involvement and can be fatal in many cases. Discontinuation of the offending agent is mandatory together with reduction of skin manipulation and avoiding infection. Plasmapharesis, intravenous immunoglobulins and immunosuppressants have been used with conflicting results. In this manuscript we are describing a 22 year old female patient from Egypt who presented with severe skin sloughing with mucosal involvement following carbamazepine therapy. The incriminated drug was discontinued and urgent life saving therapy in the form of broad spectrum antibiotic, immunosuppression with cyclophosphamide, Intensive Care Unit admission and nursing care was started followed by dramatic response. The clinical presentation, pathogenesis and modalities of treatment will be described in details

Occult pneumothorax, revisited

Pneumothorax is a recognized cause of preventable death following chest wall trauma where a simple intervention can be life saving. In cases of trauma patients where cervical spine immobilization is mandatory, supine AP chest radiograph is the most practical initial study. It is however not as sensitive as CT chest for early detection of a pneumothorax. "Occult" pneumothorax is an accepted definition of an existing but usually a clinically and radiologically silent disturbance that in most patients can be tolerated while other more urgent trauma needs are attended to. However, in certain patients, especially those on mechanical ventilation (with subsequent increase of intrapleural air with positive pressure ventilation), missing the diagnosis of pneumothorax can be deleterious with fatal consequences. This review will discuss the occult pneumothorax in the context of 3 radiological examples, which will further emphasize the entity. Because a negative AP chest radiograph can dangerously delay its recognition, we recommend that any trauma victim presenting to the emergency department with symptoms of respiratory distress should be screened with either thoracic ultrasonography or chest CT scan to avoid missing a pneumothorax