Hacia un nuevo Laocoonte

El modernismo es una teoría de la relación del arte con su medio, y en ningún lugar se ve esto más claro que en el pensamiento de Clement Greenberg (1909-1994). Greenberg fue probablemente el crítico de arte más influyente del siglo xx, uno de los responsables del reconocimiento del impresionismo abstracto y de la pintura de campos de color, así como del desplazamiento del centro del mundo del arte desde París a Nueva York. Su práctica como crítico de arte estaba, además, fundada en una ambiciosa teoría del modernismo artístico y, en particular, pictórico. “Towards a Newer Laocoön”, aparecido originalmente en 1940 y que se publica aquí por primera vez en español, forma parte del puñado de ensayos imprescindibles para comprender su pensamiento estético (la lista incluye “Vanguardia y kitsch” [1939], “Pintura modernista” [1962] y, quizá, el “Seminario 1” [1973] y el “Seminario 6” [1976])

Surfaces, depths and hypercubes: Meyerholdian scenography and the fourth dimension

An appreciation of Meyerhold’s engagement with theatrical space is fundamental to understanding his directorial and pedagogic practice. This article begins by establishing Meyerhold’s theoretical and practical engagement with theatre as a fundamentally scenographic process, arguing for a reconceptualisation of the director as ‘director-scenographer’. Focusing on the construction of depth and surface in Meyerholdian theatre, the article goes on to identify trends in the director’s approach to space, with an emphasis on the de-naturalisation of depth on stage. This denaturalisation is seen as taking three forms: the rejection of depth as a prerequisite in theatrical space, the acknowledgement of the two-dimensional surface as surface, and the restructuring of depth space into a series of restricted planes. The combination of these trends indicates a consistent and systematic process of experimentation in Meyerhold’s work. In addition, this emphasis on depth and surface, and the interaction between the two, also highlights the contextualisation of Meyerhold’s practice within the visual, philosophical and scientific culture of the early twentieth century, echoing the innovations in n-dimensional geometry and particularly, the model of the fourth spatial dimension seen in the work of Russian philosopher P. D. Ouspensky

Ted Joans' surrealist history lesson

This article argues for the importance of Ted Joans within histories of surrealism, which seldom acknowledge the existence of the movement post-World War II or its participants outside of interwar Paris. Since the early 1960s, Joans contributed to both the Paris and Chicago groups of surrealists, who continued to proclaim the relevance of mad love, the marvellous, and dreams to a radical politics long after the movement was alleged to have deceased. The majority of the article, however, addresses Joans' work composed prior to his formal involvement with surrealism, exploring how his invocation of surrealist influence was framed by a narrative of surrealism's legacy of radical anti-colonialism and anti-racism to diasporic writers, artists and intellectuals such as Etienne Lro and Aim Csaire. Joans' work self-consciously embeds his engagement with surrealism within a matrix of transatlantic cultural dialogues which dislodge it from its supposed headquarters in Paris in the interwar years, undermines its profile as white, Francophone and bourgeois, and problematizes unilateral models of influence. Drawing on Surrealist aesthetics, his early work deploys modernist formal innovation as a means to reflect on the historiography of modernism, and performatively protests the unequal access to the political and cultural ideals of modernity

Prematurity and respiratory outcomes program (PROP): Study protocol of a prospective multicenter study of respiratory outcomes of preterm infants in the United States

Background With improved survival rates, short- and long-term respiratory complications of premature birth are increasing, adding significantly to financial and health burdens in the United States. In response, in May 2010, the National Institutes of Health (NIH) and the National Heart, Lung, and Blood Institute (NHLBI) funded a 5-year $18.5 million research initiative to ultimately improve strategies for managing the respiratory complications of preterm and low birth weight infants. Using a collaborative, multi-disciplinary structure, the resulting Prematurity and Respiratory Outcomes Program (PROP) seeks to understand factors that correlate with future risk for respiratory morbidity. Methods/Design The PROP is an observational prospective cohort study performed by a consortium of six clinical centers (incorporating tertiary neonatal intensive care units [NICU] at 13 sites) and a data-coordinating center working in collaboration with the NHLBI. Each clinical center contributes subjects to the study, enrolling infants with gestational ages 23 0/7 to 28 6/7 weeks with an anticipated target of 750 survivors at 36 weeks post-menstrual age. In addition, each center brings specific areas of scientific focus to the Program. The primary study hypothesis is that in survivors of extreme prematurity specific biologic, physiologic and clinical data predicts respiratory morbidity between discharge and 1 year corrected age. Analytic statistical methodology includes model-based and non-model-based analyses, descriptive analyses and generalized linear mixed models. Discussion PROP incorporates aspects of NICU care to develop objective biomarkers and outcome measures of respiratory morbidity in the <29 week gestation population beyond just the NICU hospitalization, thereby leading to novel understanding of the nature and natural history of neonatal lung disease and of potential mechanistic and therapeutic targets in at-risk subjects

Digital intervention increases influenza vaccination rates for people with diabetes in a decentralized randomized trial

People with diabetes (PWD) have an increased risk of developing influenza-related complications, including pneumonia, abnormal glycemic events, and hospitalization. Annual influenza vaccination is recommended for PWD, but vaccination rates are suboptimal. The study aimed to increase influenza vaccination rate in people with self-reported diabetes. This study was a prospective, 1:1 randomized controlled trial of a 6-month Digital Diabetes Intervention in U.S. adults with diabetes. The intervention group received monthly messages through an online health platform. The control group received no intervention. Difference in self-reported vaccination rates was tested using multivariable logistic regression controlling for demographics and comorbidities. The study was registered at clinicaltrials.gov: NCT03870997. A total of 10,429 participants reported influenza vaccination status (5158 intervention, mean age (±SD) = 46.8 (11.1), 78.5% female; 5271 control, Mean age (±SD) = 46.7 (11.2), 79.4% female). After a 6-month intervention, 64.2% of the intervention arm reported influenza vaccination, vers us 61.1% in the control arm (diff = 3.1, RR = 1.05, 95% CI [1.02, 1.08], p = 0.0013, number needed to treat = 33 to obtain 1 additional vaccination). Completion of one or more intervention messages was associated with up to an 8% increase in vaccination rate (OR 1.27, 95% CI [1.17, 1.38], p < 0.0001). The intervention improved influenza vaccination rates in PWD, suggesting that leveraging new technology to deliver knowledge and information can improve influenza vaccination rates in high-risk populations to reduce public health burden of influenza. Rapid cycle innovation could maximize the effects of these digital interventions in the future with other populations and vaccines

Deflationary tactics with the archive of life: contemporary Jewish art and popular culture

This paper discusses art works by Suzanne Treister, Deborah Kass and Doug Fishbone. It considers the importance of their work for contemporary Jewish identity within the terms of wider conceptual questions that preoccupy contemporary art. These concerns are challenging the perceived structures of power, the “performance” of subjectivity and the questioning of authenticity. A deflationary aesthetic is central to the critique of these structures of thinking fuelled by an interest in the relationship between Jewish subjectivity and popular culture that underpins all of these art works. I argue that popular culture plays a key role as a constituting factor in the production of contemporary Anglophone subjectivity. I use the case studies to develop the argument in the three artists’ specificities and the way they all question the idea of authenticity as a stable source of self-understanding. Suzanne Treister questions history and our relationship with historical events, specifically the Holocaust. She also explores questions of the relationship between structures of power and narratives of history. Debora Kass considers the representation of Jewish women, power and iconicity. Doug Fishbone, a younger artist, takes on self-hate as a transformative tool and as a motif that destabilizes Jewishness as a category, especially in an age of the accelerated post-internet-derived subjectivity

Development of intuitive rules: Evaluating the application of the dual-system framework to understanding children's intuitive reasoning

This is an author-created version of this article. The original source of publication is Psychon Bull Rev. 2006 Dec;13(6):935-53 The final publication is available at www.springerlink.com Published version: http://dx.doi.org/10.3758/BF0321390

The flesh of painting: Caillebotte’s Modern Olympia

The language of putrefaction, often applied through a culinary analogy, appeared consistently in the critical reception of modern-life and Impressionist painting. For example, two critics used the term faisandé, referring to well-hung meat, to describe Manet’s nude figure of Olympia in 1865. The analogies that they posed between morgue bodies, female figures, meat, and fleshy paint material became central modes of denigrating Impressionist paintings of women in the ensuing decades. Gustave Caillebotte’s Veal in a Butcher’s Shop (c. 1882), depicting anthropomorphized, gendered, and sexualized animal flesh, can be considered in this context. In my reading, the painting enacts the critical responses to his colleagues’ figures, foregrounding the violent operations through which bodies might be reduced to meat, whether literal or metaphorical. In their comparisons to rotting flesh, nineteenth-century critics expressed a visceral reaction to works of art that Veal in a Butcher’s Shop demands