4 research outputs found
On \u3ci\u3eDistoma felineum\u3c/i\u3e Riv. in the United States and on the Value of Measurements in Specific Determinations among the Distomes (1895)
The distomes of cats have received special attention of late in the two papers of Braun (94) and stiles and Hassall (94). The latter authors give a most admirable account of our present knowledge of a dozen allied forms, and record two, D. albidum and D. complexum n. sp., as found in cats in the United States. During the past year I have examined the cats killed at this laboratory, and have found neither of the forms recorded from the east. Distoma felineum, however, which Stiles and Hassall did not find, and which has not been reported hitherto for the United States, is not uncommon here. Among a dozen cats examined last spring, two contained specimens of this species, and one of the four killed this fall was likewise infected. The first cat contained over one hundred of the distomes, and the others approximately one dozen each. The exact correspondence of the forms with the figures and descriptions of Braun and Stiles and Hassall leave little doubt as to the identity of the two forms, and yet there are some points of disagreement which deserve mention, especially since the discovery of the European form in the liver of man in Siberia by Winogradoff adds this species to the list of human parasites
L’enjeu écologique dans le travail des Land et Reclamation Artists
Dans les années 1960 apparaissent des pratiques artistiques qui traitent de questions écologiques. Aux États-Unis, on peut découvrir des œuvres monumentales qui consistent en des projets de reboisement, de dépollution, de réintégration de la faune et de la flore en milieu déserté. Alors que le sujet interpelle le grand public, certains artistes ont déjà conscience de la façon dont la réhabilitation écologique pourrait être récupérée et, a fortiori, leur travail : « Sera-t-il plus facile à l’avenir d’éventrer le paysage pour une dernière parcelle d’énergie non renouvelable si l’on peut trouver un artiste (bon marché, bien sûr) pour transformer la dévastation en une œuvre d’art moderne et inspirée. » (Robert Morris). Si certains artistes choisissent délibérément de poursuivre leurs recherches de concert avec des scientifiques pour développer des solutions inédites, d’autres ne se départissent pas de leur scepticisme à l’égard d’une utilisation de l’art à des fins de réhabilitation écologique. À partir de projets tout à fait consensuels sur le papier, ils réalisent des œuvres qui révèlent l’ambiguïté du travail en milieu déclassé et dénoncent les risques d’une instrumentalisation de l’art à des fins politiques.During the sixties, new artistic practices concerned with ecological issues began to appear. In the United States, one could begin to discover monumental artworks consisting of reforestation, depollution, the reintroduction of flora and fauna in deserted areas. Whilst the question reaches a large audience, certain artists are already aware of the way that ecological rehabilitation, and even their own works, could be manipulated. “Will it be a little easier in the future to rip up the landscape for one last shovelful of non-renewable energy source if an artist can be found (cheap, mind you) to transform the devastation into an inspiring and modern work of art? (Robert Morris). If some artists deliberately choose to pursue their researches together with scientists in order to develop unprecedented solutions, others refuse to abandon their scepticism towards a use of art for ecological purposes. From initial projects which are altogether very consensual, they realise artworks which reveal the ambiguity of working in derelict places and denounce the risks of instrumentalising art for political purposes
L’esthétique invisible ou le mythe de l’artiste performatif dans les années 1990 aux États-Unis
De nombreux artistes aux États-Unis travaillent depuis la fin des années 1960 sure des formes d’art qui engagent, non plus seulement la forme ni le contenu, mais aussi des processus complexes en devenir. Le cas de Mel Chin (né en 1951 à Houston, Texas) est particulièrement intéressant, notamment en ce qui concerne ses Revival Fields. Ces œuvres ont une propension à interroger l’écologie politique et des voies de médiations à l’encontre des pouvoirs publics, mais aussi dans une dimension esthé..
L’enjeu écologique dans le travail des Land et Reclamation Artists
During the sixties, new artistic practices concerned with ecological issues began to appear. In the United States, one could begin to discover monumental artworks consisting of reforestation, depollution, the reintroduction of flora and fauna in deserted areas. Whilst the question reaches a large audience, certain artists are already aware of the way that ecological rehabilitation, and even their own works, could be manipulated. “Will it be a little easier in the future to rip up the landscape for one last shovelful of non-renewable energy source if an artist can be found (cheap, mind you) to transform the devastation into an inspiring and modern work of art? (Robert Morris). If some artists deliberately choose to pursue their researches together with scientists in order to develop unprecedented solutions, others refuse to abandon their scepticism towards a use of art for ecological purposes. From initial projects which are altogether very consensual, they realise artworks which reveal the ambiguity of working in derelict places and denounce the risks of instrumentalising art for political purposes