Tracing, reference points and communication paths in artwork.

Research into the way multiple decision-making strategies are required to amalgamate diverse elements in an installation forms the basis of Tracing, reference points and communication paths in artwork. I came to realise that this was a crucial, yet unconscious part of my own practice. Despite an extensive literature search, it became clear that prior research or textual analysis that would facilitate a better understanding of this process was lacking. This led to an initial investigation into the work of other artists and filmmakers who appear to use multiple decision-making in their practices, artists as varied as Blinky Palermo, David Reed, Michael Asher, Daniel Buren, Sol LeWitt, François Morellet, Gerhard Richter, Hans Arp, Max Bill, Richard Paul Lohse, Karl Stanley Benjamin, Man Ray, Luis Buñuel and Salvador Dali, each of whom has something to reveal about multiple decision-making as a strategy for combining diverse elements in an exhibition space.. In my own work, I amalgamate images derived from photographs, abstract-painting methods, and built structures to instigate a play of relations between the elements in the exhibition space. As a way to begin to decipher the decisions that underpin the process of making, I undertook a method of tracing, diagrammatically, both the physical movement of the elements of the artwork, as well as the operation of multiple-decision making during the production process. As a diagrammatic visualisation, it highlighted a series of points interconnected by communication paths. Within this exegesis, the communications paths should be thought of as the spaces, intensities and movements that operate across the physical and cognitive parts of artwork, as well as the points at which decision-making has moved from unconsciousness into awareness of how the decision has affected the arrangement. This move from unconsciousness to awareness is the decisive advance in the practice, since this is the point of regenerative significance and development. In the bringing together diagrammatically of the communication paths and the points, unfixed movement and productivity (a becoming) also manifests. The tracing of actions and decisions has also allowed me to recognise the productive forces within my own practice around different modes of decision-making, such as chance, serendipitous connecting points, and rule setting. This has proved to be a generative process, opening up ways for making new artwork. In coming to terms with how multiple decision-making drives art-marking, the exegesis has taken a sustained investigation into a wide range of practices. Thus, the research not only identifies the particularity of decision-making as it relates to my own practice, but also contributes thinking about the way other artists engage a variety of decisions to realise their artwork. The research is not interested, therefore, in artwork that espouses singularly focussed positions of artistic intent, but in demonstrating how work that aims for complex and multi-dimensional layers of meaning is underpinned by a varied range of technical and cognitive decision-making

Tracing, reference points and communication paths in artwork.

Research into the way multiple decision-making strategies are required to amalgamate diverse elements in an installation forms the basis of Tracing, reference points and communication paths in artwork. I came to realise that this was a crucial, yet unconscious part of my own practice. Despite an extensive literature search, it became clear that prior research or textual analysis that would facilitate a better understanding of this process was lacking. This led to an initial investigation into the work of other artists and filmmakers who appear to use multiple decision-making in their practices, artists as varied as Blinky Palermo, David Reed, Michael Asher, Daniel Buren, Sol LeWitt, François Morellet, Gerhard Richter, Hans Arp, Max Bill, Richard Paul Lohse, Karl Stanley Benjamin, Man Ray, Luis Buñuel and Salvador Dali, each of whom has something to reveal about multiple decision-making as a strategy for combining diverse elements in an exhibition space.. In my own work, I amalgamate images derived from photographs, abstract-painting methods, and built structures to instigate a play of relations between the elements in the exhibition space. As a way to begin to decipher the decisions that underpin the process of making, I undertook a method of tracing, diagrammatically, both the physical movement of the elements of the artwork, as well as the operation of multiple-decision making during the production process. As a diagrammatic visualisation, it highlighted a series of points interconnected by communication paths. Within this exegesis, the communications paths should be thought of as the spaces, intensities and movements that operate across the physical and cognitive parts of artwork, as well as the points at which decision-making has moved from unconsciousness into awareness of how the decision has affected the arrangement. This move from unconsciousness to awareness is the decisive advance in the practice, since this is the point of regenerative significance and development. In the bringing together diagrammatically of the communication paths and the points, unfixed movement and productivity (a becoming) also manifests. The tracing of actions and decisions has also allowed me to recognise the productive forces within my own practice around different modes of decision-making, such as chance, serendipitous connecting points, and rule setting. This has proved to be a generative process, opening up ways for making new artwork. In coming to terms with how multiple decision-making drives art-marking, the exegesis has taken a sustained investigation into a wide range of practices. Thus, the research not only identifies the particularity of decision-making as it relates to my own practice, but also contributes thinking about the way other artists engage a variety of decisions to realise their artwork. The research is not interested, therefore, in artwork that espouses singularly focussed positions of artistic intent, but in demonstrating how work that aims for complex and multi-dimensional layers of meaning is underpinned by a varied range of technical and cognitive decision-making

awesome repeat x infinity bonus ;-O

TesisLepidium meyenii (maca) es un recurso vegetal que ha alcanzado mucha relevancia en los últimos años debido a que muchas de las propiedades que la medicina tradicional le atribuía, han sido comprobadas científicamente. Es así que algunas de las propiedades verificadas o comprobadas son; el efecto sobre la espermatogénesis, efecto sobre el aprendizaje, actividad citoprotectora en condiciones de estrés oxidativo, función antiproliferativa a nivel prostático. Estas propiedades son atribuidas a los metabolitos secundarios que contiene, siendo uno de los principales compuestos conocidos las macamidas, que no son otra cosa que ésteres del ácido bencílico y sus derivados con ácidos grasos saturados e insaturados. Como es conocido, las condiciones climatológicas y edafológicas pueden no solo influenciar en la cantidad de metabolitos secundarios presentes, sino que también pueden afectar el color de las raíces del vegetal. Esto da lugar a la existencia de diferentes ecotipos de Lepidium meyenii, encontrándose entre los más comunes las variedades, amarilla, roja y negra En el presente trabajo se ha procedido a obtener extractos pentánicos por re-extracción continua líquido-líquido de extractos metanólicos de las 3 variedades mencionadas. En estos extractos ha sido posible la identificación y cuantificación de las siguientes macamidas; N-(3-metoxibenzyl) tetradecanamide (1), N-benzylhexadecanamide (2), N- (3-metoxibenzyl) hexadecanamide (3), N-benzyloctadecanamide (5), Nbenzyltetracosanamide (11). Esto fue posible gracias a que el laboratorio de farmacología del MCPHs University donó los estándares correspondientes. Esta cuantificación requirió un proceso de adecuación y estandarización de la técnica analítica cromatográfica con el fin de contar con resultados confiables, varios parámetros analíticos mostraron que el sistema cumple con los requisitos para un método validado. La respuesta del detector fue lineal en el rango de concentración de 0.25 a 50 μg/mL; con coeficientes de correlación mayores a 0.95, se obtuvo una precisión aceptable, con valores máximos de 4.097% para las concentraciones más bajas utilizada para el estándar (11) y (1); mientras que el resto está por debajo de 2%, los límites de detección y cuantificación variaron entre 0.10 y 0.64 μg/mL entre las macamidas analizadas y la exactitud fue evaluada al contaminar las muestras con una cantidad conocida de estándar, obteniendo un porcentaje de recuperación entre 80.91% - 101.26%. La evaluación de los extractos, mostró la ausencia de la macamida (11) en las tres variedades analizadas. Adicionalmente, el contenido del resto de las macamidas analizadas fue menor en la maca negra y roja frente al de la maca amarilla. Cabe mencionar que la macamida más abundante fue la N-benzylhexadecanamide (2) en los tres ecotipos siendo en el extracto de maca amarilla donde se encontró la concentración más alta de N-benzylhexadecanamide (2), 58.14 ±1.8 mg/g de extracto, mientras que en las otras dos variedades la concentración de la misma no superó los 20 mg/g de extracto. Adicionalmente mencionar que de las macamidas restantes se encontraron concentraciones inferiores a 3 mg/g de extracto Palabras clave: Lepidium meyenii, macamidas, ecotipo