Art works: organizar el trabajo creativo en la moda y en el arte

El debate entre el arte y la moda se agota en la eterna aporía “si las prendas de vestirson obras de arte” o no. Si, en cambio, el arte y la moda se analizan como comunes actividadesproductivas, los puntos de contacto son muchos. En el ámbito de las dinámicas “macro”, la producción del arte, como la de la moda, tiene lugar al interior de “mundos del arte”, estructurasde acción colectiva y organizada, que permiten la producción de productos característicos deese campo. Desde el punto de vista de las dinámicas “micro”, de cómo se organiza y coordinael trabajo de artistas o personas que trabajan en la moda, es decir, de los llamados “creativos”,el arte y la moda ofrecen la oportunidad de proporcionar una nueva clave de interpretaciónpara la organización de la creatividad y las profesiones creativas. El concepto de “administración por oficio”, ya propuesto para las industrias culturales, ofrece una lectura alternativa paracomprender la organización del trabajo creativo.The debate between art and fashion runs in the eternal dilemma about if clothes arewhether works of art or not. If, however, art and fashion are analyzed as productive activities,many points of contact can be found. Art production, like fashion, takes place within organized collective action structures, enabling the production of characteristic products. From thepoint of view of how to organize and coordinate the production of artists who work in fashion,fashion and art offer the opportunity to provide a new interpretation key for the organizationof creativity and the creative professions. The concept of office administration, as proposedfor cultural industries, offers an alternative view to understand the creative work.organization.O debate entre a arte e a moda se esgota no eterno dilema “se as prendas de vestir sãoobras de arte” ou não. Se, em cambio, a arte e a moda se analisam como comuns atividadesprodutivas, os pontos de contato são muitos. No âmbito das dinâmicas “macro”, a produçãoda arte, como a da moda, tem lugar ao interior de “mundos da arte”, estruturas de ação coletiva e organizada, que permitem a produção de produtos característicos desse campo. Desde oponto de vista das dinâmicas “micro”, de como se organiza e coordena o trabalho de artistas oupessoas que trabalham na moda, é dizer, dos chamados criativos, a arte e a moda oferecem aoportunidade de propor uma nova clave de interpretação para a organização da criatividade eas profissões criativas. O conceito de “administração por oficio” já proposto para as indústria

Trafficking of the glutamate transporter is impaired in LRRK2-related Parkinson's disease

The Excitatory Amino Acid Transporter 2 (EAAT2) accounts for 80% of brain glutamate clearance and is mainly expressed in astrocytic perisynaptic processes. EAAT2 function is finely regulated by endocytic events, recycling to the plasma membrane and degradation. Noteworthy, deficits in EAAT2 have been associated with neuronal excitotoxicity and neurodegeneration. In this study, we show that EAAT2 trafficking is impaired by the leucine-rich repeat kinase 2 (LRRK2) pathogenic variant G2019S, a common cause of late-onset familial Parkinson’s disease (PD). In LRRK2 G2019S human brains and experimental animal models, EAAT2 protein levels are significantly decreased, which is associated with elevated gliosis. The decreased expression of the transporter correlates with its reduced functionality in mouse LRRK2 G2019S purified astrocytic terminals and in Xenopus laevis oocytes expressing human LRRK2 G2019S. In LRRK2 G2019S knock-in mouse brain, the correct surface localization of the endogenous transporter is impaired, resulting in its interaction with a plethora of endo-vesicular proteins. Mechanistically, we report that pathogenic LRRK2 kinase activity delays the recycling of the transporter to the plasma membrane via Rabs inactivation, causing its intracellular re-localization and degradation. Taken together, our results demonstrate that pathogenic LRRK2 interferes with the physiology of EAAT2, pointing to extracellular glutamate overload as a possible contributor to neurodegeneration in PD

Insight in cognitive impairment assessed with the Cognitive Assessment Interview in a large sample of patients with schizophrenia

The Cognitive Assessment Interview (CAI) is an interview-based scale measuring cognitive impairment and its impact on functioning in subjects with schizophrenia (SCZ). The present study aimed at assessing, in a large sample of SCZ (n = 601), the agreement between patients and their informants on CAI ratings, to explore patients' insight in their cognitive deficits and its relationships with clinical and functional indices. Agreement between patient- and informant-based ratings was assessed by the Gwet's agreement coefficient. Predictors of insight in cognitive deficits were explored by stepwise multiple regression analyses. Patients reported lower severity of cognitive impairment vs. informants. A substantial to almost perfect agreement was observed between patients' and informants' ratings. Lower insight in cognitive deficits was associated to greater severity of neurocognitive impairment and positive symptoms, lower severity of depressive symptoms, and older age. Worse real-life functioning was associated to lower insight in cognitive deficit, worse neurocognitive performance, and worse functional capacity. Our findings indicate that the CAI is a valid co-primary measure with the interview to patients providing a reliable assessment of their cognitive deficits. In the absence of informants with good knowledge of the subject, the interview to the patient may represent a valid alternative

Accuracy of self-assessment of real-life functioning in schizophrenia

A consensus has not yet been reached regarding the accuracy of people with schizophrenia in self-reporting their real-life functioning. In a large (n=618) cohort of stable, community-dwelling schizophrenia patients we sought to: (1) examine the concordance of patients' reports of their real-life functioning with the reports of their key caregiver; (2) identify which patient characteristics are associated to the differences between patients and informants. Patient-caregiver concordance of the ratings in three Specific Level of Functioning Scale (SLOF) domains (interpersonal relationships, everyday life skills, work skills) was evaluated with matched-pair t tests, the Lin's concordance correlation, Somers' D, and Bland-Altman plots with limits of agreement (LOA). Predictors of the patient-caregiver differences in SLOF ratings were assessed with a linear regression with multivariable fractional polynomials. Patients' self-evaluation of functioning was higher than caregivers' in all the evaluated domains of the SLOF and 17.6% of the patients exceeded the LOA, thus providing a self-evaluation discordant from their key caregivers. The strongest predictors of patient-caregiver discrepancies were caregivers' ratings in each SLOF domain. In clinically stable outpatients with a moderate degree of functional impairment, self-evaluation with the SLOF scale can become a useful, informative and reliable clinical tool to design a tailored rehabilitation program

The interplay among psychopathology, personal resources, context-related factors and real-life functioning in schizophrenia: stability in relationships after 4 years and differences in network structure between recovered and non-recovered patients

Improving real-life functioning is the main goal of the most advanced integrated treatment programs in people with schizophrenia. The Italian Network for Research on Psychoses previously explored, by using network analysis, the interplay among illness-related variables, personal resources, context-related factors and real-life functioning in a large sample of patients with schizophrenia. The same research network has now completed a 4-year follow-up of the original sample. In the present study, we used network analysis to test whether the pattern of relationships among all variables investigated at baseline was similar at follow-up. In addition, we compared the network structure of patients who were classified as recovered at follow-up versus those who did not recover. Six hundred eighteen subjects recruited at baseline could be assessed in the follow-up study. The network structure did not change significantly from baseline to follow-up, and the overall strength of the connections among variables increased slightly, but not significantly. Functional capacity and everyday life skills had a high betweenness and closeness in the network at follow-up, as they had at baseline, while psychopathological variables remained more peripheral. The network structure and connectivity of non-recovered patients were similar to those observed in the whole sample, but very different from those in recovered subjects, in which we found few connections only. These data strongly suggest that tightly coupled symptoms/dysfunctions tend to maintain each other's activation, contributing to poor outcome in schizophrenia. Early and integrated treatment plans, targeting variables with high centrality, might prevent the emergence of self-reinforcing networks of symptoms and dysfunctions in people with schizophrenia

The interplay among psychopathology, personal resources, context-related factors and real-life functioning in schizophrenia: stability in relationships after 4 years and differences in network structure between recovered and non-recovered patients

Improving real-life functioning is the main goal of the most advanced integrated treatment programs in people with schizophrenia. The Italian Network for Research on Psychoses previously explored, by using network analysis, the interplay among illness-related variables, personal resources, context-related factors and real-life functioning in a large sample of patients with schizophrenia. The same research network has now completed a 4-year follow-up of the original sample. In the present study, we used network analysis to test whether the pattern of relationships among all variables investigated at baseline was similar at follow-up. In addition, we compared the network structure of patients who were classified as recovered at follow-up versus those who did not recover. Six hundred eighteen subjects recruited at baseline could be assessed in the follow-up study. The network structure did not change significantly from baseline to follow-up, and the overall strength of the connections among variables increased slightly, but not significantly. Functional capacity and everyday life skills had a high betweenness and closeness in the network at follow-up, as they had at baseline, while psychopathological variables remained more peripheral. The network structure and connectivity of non-recovered patients were similar to those observed in the whole sample, but very different from those in recovered subjects, in which we found few connections only. These data strongly suggest that tightly coupled symptoms/dysfunctions tend to maintain each other's activation, contributing to poor outcome in schizophrenia. Early and integrated treatment plans, targeting variables with high centrality, might prevent the emergence of self-reinforcing networks of symptoms and dysfunctions in people with schizophrenia

Zebrafish Thyroid as a Model to Study Physiological Function and Pathological Implications of the H2O2-Generating System

Since its identification, numerous studies have been carried out with the aim of characterizing the physiological role of the thyroidal H2O2-generating complex. Found expressed also in other tissues, DUOXs together with their maturation factors DUOXAs are key components to ensure the normal functionality of the thyroid gland through the production of hydrogen peroxide. However, efforts are still needed to fully understand the complexity of the scenario encountered in patients harboring mutations in these proteins, as well as the possible role of unregulated production of H2O2 in the development of thyroid cancer.Given mechanisms involved in zebrafish thyroid development are comparable to mammals, to complement and expand the current knowledge in the pathophysiology of DUOX NADPH oxidase, we used zebrafish as an animal model. Preliminary studies have suggested a similar role of the zebrafish Duox/Duoxa system to that identified in mammals, but a clear characterization was still lacking at beginning of the present work. We combined the use of our transgenic line, expressing the EGFP specifically in thyroid cells, with different methods to chemically inhibit or invalidate the Duox/Duoxa system. We were able to demonstrate that the knockout of either duox or duoxa in zebrafish, induced hypothyroidism able to stimulate a TSH-mediated pituitary response, through negative feedback within the Hypothalamus-Pituitary-Thyroid axis, in a similar fashion to what was already known after exposure to Thyroperoxidase inhibitor Phenylthiourea, and to the knowledge we have for higher vertebrates. The treatment with the NOX-inhibitor VAS2870 resulted in a similar effect, suggesting that it could be considered a new goitrogenic compound capable of altering thyroid homeostasis.In addition, we generated a new transgenic model to follow the thyroidal H2O2 production during the different stages of zebrafish development, a model that would allow us to highlight the relationship between folliculogenesis and the onset of functional thyroid activity in live fish. This system could also be used in conjunction with models overexpressing the Duox-Duoxa complex in the thyroid, to study the consequences of a sustained production of H2O2 that would result in continuous oxidative stress leading to potential carcinogenic effects.Doctorat en Sciences biomédicales et pharmaceutiques (Médecine)info:eu-repo/semantics/nonPublishe

Le travail en atelier comme forme d’organisation du processus de création dans la Mode

L’activité d’innovation prend, dans la Mode, la forme d’une répétition obligée et offre l’occasion aux chercheurs d’observer, en détail et en pratique, la génération de l’innovation. La littérature existante, tant dans les cultural studies qu’en sociologie des organisations, se concentre le plus souvent sur le niveau interorganisationnel, selon une hypothèse qui relie la production de l’innovation aux conditions du marché ; la « production » devient alors essentiellement « circulation d’une innovation donnée comme acquise ». Le concept de « créativité diffuse », développé dans les fashion studies, met l’accent sur les dynamiques à la fois intra- et infra-organisationnelles, offrant ainsi une bonne perspective pour l’analyse empirique des activités liées à la génération de l’innovation dans la Mode. Le « travail en atelier » est le cadre idéal-typique que l’auteure propose ici pour comprendre l’organisation du travail d’innovation, avec ses caractéristiques d’activité de création réitérée, collective et négociée. Ce cadre permet de transformer un « voyage d’innovation » complexe, et donc difficile à saisir par des catégories discrètes, en une routine compliquée. Le travail en atelier est fondé sur une coordination obtenue à travers la réalisation d’objets intermédiaires de la conception et l’imposition d’échéances, sur une technologie à lien faible et une autorité de nature personnelle, sur un système planifié d’ouvertures et de fermetures du noyau technique et sur l’administration par corps de métiers.In fashion, innovation takes the form of a necessary repetition and provides researchers the opportunity to observe in detail and in practice the creation of innovation. The existing literature, both in cultural studies and in the sociology of organizations, is often focussed at the inter-organizational level, based on a hypothesis linking the production of innovation to market conditions, where “production” becomes essentially the “circulation of a particular innovation as given.” The concept of “diffuse creativity” developed in the fashion studies, has stressed both intra- and infra-organizational dynamics, offering a useful perspective for empirical analysis of activities linked to the development of fashion innovation. “Studio work” is the ideal-typical framework that the author here proposes to help understand the organization of the work of innovation, with its characteristics of reiterated, collective and negotiated activities of creation. This framework allows us to transform a complex (and thus difficult to categorize into discreet categories) “innovation journey” into a complicated routine. The studio work is based on coordination obtained through the creation of mediating conception objects and the imposition of deadlines, using loosely coupled technology and personal authority, on a planned system of openings and closings of a technical core and on craft administration.En la moda, la actividad de la innovación toma la forma de una repetición obligada que presenta a los investigadores la oportunidad de observar, en forma detallada y en la práctica, la generación de la innovación. La literatura existente, tanto en los Cultural Studies como en la sociología de las organizaciones, se enfoca con frecuencia en el nivel interorganizativo, según una hipótesis que relaciona la producción de la innovación con las condiciones del mercado, donde la “producción” deviene esencialmente “circulación de una innovación dada por hecho”. El concepto de “creatividad difusa”, desarrollada en los fashion studies, hace énfasis en las dinámicas a la vez intra e infraorganizativas, ofreciendo una buena perspectiva para el análisis empírico de las actividades relacionadas con la generación de la innovación en la Moda. El “trabajo en taller” es el contexto ideal típico que la autora propone aquí para comprender la organización del trabajo de innovación, con sus características de actividad de creación reiterada, colectiva y negociada. Ese contexto permite transformar un “viaje de innovación” complejo, y por ello mismo difícil de comprender a través de categorías discretas, en una rutina complicada. El trabajo en taller está basado en una coordinación lograda a través de la realización de objetos intermediarios de la concepción y la imposición de plazos a una tecnología de relaciones débiles y una autoridad de naturaleza personal, a un sistema planificado de aperturas y cierres de un núcleo técnico y a una administración basada en gremios

Art works: organizar el trabajo creativo en la moda y en el arte

The debate between art and fashion runs in the eternal dilemma about if clothes are whether works of art or not. If, however, art and fashion are analyzed as productive activities, many points of contact can be found. Art production, like fashion, takes place within organized collective action structures, enabling the production of characteristic products. From the point of view of how to organize and coordinate the production of artists who work in fashion, fashion and art offer the opportunity to provide a new interpretation key for the organization of creativity and the creative professions. The concept of office administration, as proposed for cultural industries, offers an alternative view to understand the creative work.organization.Il dibattito arte e moda si esaurisce nell'eterna aporia del "se i vestiti siano opere d'arte" o meno. Se, invece arte e moda si analizzano come normali attivita produttive, i punti di contatto sono molti. A livello delle dinamiche "macro", la produzione dell'arte, come quella della moda avviene all'interno di "mondi dell'arte", strutture di azione collettiva e organizzata, che consentono la produzione dei prodotti caratteristici di quel campo. Dal punto di vista delle dinamiche "micro", di come viene controllato e coordinato il lavoro degli artisti o di chi lavora nella moda, ovvero , dei cosiddetti "creativi", arte e moda offrono l'opportunita di fornire una nuova chiave di interpretazione per l'organizzazione della creativita e delle professioni creative. Il concetto di "amministrazione per mestiere", gia proposto per le industrie culturali, offre una lettura alternativa per comprendere l'organizzazione del lavoro creativo.O debate entre a arte e a moda se esgota no eterno dilema "se as prendas de vestir sao obras de arte" ou nao. Se, em cambio, a arte e a moda se analisam como comuns atividades produtivas, os pontos de contato sao muitos. No ambito das dinamicas "macro", a producao da arte, como a da moda, tem lugar ao interior de "mundos da arte", estruturas de acao coletiva e organizada, que permitem a producao de produtos caracteristicos desse campo. Desde o ponto de vista das dinamicas "micro", de como se organiza e coordena o trabalho de artistas ou pessoas que trabalham na moda, e dizer, dos chamados criativos, a arte e a moda oferecem a oportunidade de propor uma nova clave de interpretacao para a organizacao da criatividade e as profissoes criativas. O conceito de "administracao por oficio" ja proposto para as industrias culturais, oferece uma leitura alternativa para compreender a organizacao do trabalho criativo.El debate entre el arte y la moda se agota en la eterna aporia "si las prendas de vestir son obras de arte" o no. Si, en cambio, el arte y la moda se analizan como comunes actividades productivas, los puntos de contacto son muchos. En el ambito de las dinamicas "macro", la produccion del arte, como la de la moda, tiene lugar al interior de "mundos del arte", estructuras de accion colectiva y organizada, que permiten la produccion de productos caracteristicos de ese campo. Desde el punto de vista de las dinamicas "micro", de como se organiza y coordina el trabajo de artistas o personas que trabajan en la moda, es decir, de los llamados "creativos", el arte y la moda ofrecen la oportunidad de proporcionar una nueva clave de interpretacion para la organizacion de la creatividad y las profesiones creativas. El concepto de "administracion por oficio", ya propuesto para las industrias culturales, ofrece una lectura alternativa para comprender la organizacion del trabajo creativo

Le croquis et la toile (un regard organisationnel sur la création de la mode dans le monde)

La thèse s attache au système de la mode comme monde dont les acteurs coopèrent de façon stable et délibérée à la production de biens à forte valeur ajoutée symbolique. La façon d organiser le travail de création participe aux stratégies de reconnaissance des créateurs comme membres du système de la mode, en sorte que les pratiques quotidiennes de travail sont inséparables de leur représentation. On teste cette hypothèse en étudiant le processus de collection en Haute couture. On construit un type idéal du mode de travail en atelier comme technologie de création dont on montre qu elle vaut également en prêt-à-porter. Le processus de création est donc collectif et négocié. Les objets intermédiaires de la conception y ont un rôle important. La Maison de couture est un ensemble de sous organisations faiblement liées. Le système de la mode repose sur l interdépendance systémique entre organisations exploitant la même technologie, dont la stabilité est maintenue par des récits qui décrivent le passé et inventent l avenir , où l innovation est assurée par des entreprises d abord déviantes dont le succès assure l intégrationThe work explores Fashion system as an art world, in which collective and deliberate activity produces goods with an highly symbolic value. Analyzing the collection process in the Haute couture, I sketch an ideal-type of working method: the travail en atelier . I show that ready to wear production does not exhibit major differences with Haute couture. I hypothesize that the way of organizing the creative process is a strategy to construct the identity of the creator in the Fashion system. Everyday practices are deeply connected with their own representation. Creative process is seen as form of collective bargaining in which mediating objects have an important role. The Fashion House appears as a collection of loosely coupled subsystems while tight links exist with external licensees. The final image is of a system of organizations exploiting the same technology. The exploration activity is ensured by the entrance of deviant organizations and its stability is obtained through stories describing the past and inventing the futurePARIS-EST Marne-la-Vallee-BU (774682101) / SudocSudocFranceF