Age-related changes in matching novel objects across viewpoints

Peer reviewedPreprin

EFFECT OF CORTISOL TREATMENT ON HORMONAL RELATIONSHIPS IN CONGENITAL ADRENAL HYPERPLASIA

The temporal relationship between administration of cortisol and serum 17Α-hydroxyprogesterone was investigated in five patients aged 9-19 years with congenital adrenal hyperplasia due to 21-hydroxylase deficiency. There was marked variability in the 17Α-hydroxyprogesterone response (determined hourly for 24 h) of individual patients to administration of cortisol. Mean concentration was less than 0.030 Μmol/l in one patient but 0.519Μ mol/l in another. Levels were higher in all patients while off treatment, and were greatest in those with salt-losing adrenal hyperplasia. Growth hormone secretion was not suppressed by treatment with cortisol. Withdrawal of cortisol for 3 days resulted in a significant decrease in the mean serum FSH/LH ratio and a rise in serum testosterone in all subjects. Episodic release of gonadotrophins persisted in the adolescent patients.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/75713/1/j.1365-2265.1977.tb02002.x.pd

Minds in the Cave: Insects as Metaphors for Place and Loss

The practice-led PhD art research project 'Gathering Shadows' investigates the visual poetics of a speculative ‘ecological gaze’ at a time of ecological crisis. The project considers two environments but avers from the distancing objectification characteristic of lens-based capture and the tired genre of ‘landscape’. Instead, it proposes a symbolic order in which imagery of native invertebrates are presented as indices of the generic non-human 'Other'. This is conveyed with reflections on deep time, ecological sited-ness, ecological continuities and, most importantly, ecological disruption. Employing a unique analogic plein air technique for recording diminutive live subjects without a camera, the research pivots upon a trio of ecomimetic cues: first, its deeply indexical processes reveal an insect umwelten of uncanny intimacy and semiotic presence. Second, it is a process in which images tend to be facilitated not predetermined, where results are partially outcomes of chance-driven, counter-anthropocentric interactions between artist and environment. Third, rather than evoke traditional use of chiaroscuro the artworks present an inverted world of x-ray-like shadows—an oblique and somber metaphor appropriate to the 'dark' ecological conditions the project confronts. The project responds to two sites: semi-arid Lake Tyrrell in the Victorian Mallee, and the sub-alpine plateau of Mount Buffalo. Lake Tyrrell once informed a sacred reciprocity of sky with country in indigenous culture. The loss of this reciprocity is memorialised by using raw starlight falling on the lakebed to contact-print fresh photographic films with the imagery of relics of insect fauna gathered from the lakeshore. In the Australian Alps (the subject of this paper) the project focuses on the keystone species Bogong Moth Agrotis Infusa. These iconic invertebrates, and the imminent decline of their ecosystem due to climate change, inform the exquisitely detailed digital enlargements derived from cameraless images of swarming moths gathered from a summit cave.

Syzygy: Gazing at shadows, darkly

To consider an 'ecological gaze' at a time of the putative 'end of nature' is to engage in 'dark ecology', a mournful attendance to global ecological destruction, the collateral termination of the moribund ontological binary 'man/nature' and the concomitant decay of spatial ecological identity. To uncover an ecological gaze photographically is to bear witness to what might be characterized as ecological 'tragedy' for which the germane ocular trope is not a morbid iconography revealed by reflected light but an elegiac index of shadows, and not distancing monocular hubris but a visceral chiasm of binocular seeing, photo-kinetic action and photo-chemical reaction. Such was the rationale of Syzygy, a project about Lake Tyrrell in the Victorian Mallee

Análise e avaliação de espaços públicos em S. Domingos de Benfica

Dissertação para obtenção do Grau de Mestre, no Mestrado Integrado em Arquitetura, com a especialização em Urbanismo. Dissertação apresentada na Faculdade de Arquitetura - Universidade de Lisboa

Gathering Shadows: landscape, photography and the ecological gaze

The practice-led art research project Gathering Shadows investigates the ‘tragic’ visual poetics of a speculative ‘ecological gaze’ at a time of ecological crisis. The work replaces the distancing objectification of lens-based capture with a unique indexical methodology focussed upon the cameraless outdoor nocturnal photography of live invertebrates and human artifacts. The work presents a symbolic order of dark and intimate x-ray like shadows in which insect umwelten operates as an index of nonhuman selfhood and place and insect abjection alludes to the multiple ‘tragedies’ of the human and non-human ecological predicament. The subjects of these works are drawn from two sites. The first, semi-arid Lake Tyrrell in the Victorian Mallee once informed a sacred reciprocity of sky with country in indigenous culture. The loss of this reciprocity is memorialized by using starlight falling on the lakebed to contact print films with the imagery of insects gathered from the lakeshore, imaging one species en masse on paper and digitally reiterating another. The second site, sub-alpine Mount Buffalo in the Australian Alps is a region already in decline due to climate change. Here, cameraless images of the keystone species Bogong Moth ( Agrotis infusa ) were gathered from a summit cave and digitally reiterated as detailed inkjet enlargements. A summary piece comprising cameraless film imagery from both locations links the two sites. The project confirms the auratic power of the site-specific indexical analogic methods, establishes the unique revelatory potential of digital reiteration of cameraless imagery and contributes to the biosemiotic reimagining and anti-anthropocentric repositioning of invertebrates and ‘landscape’ within photography in ways that aim to legitimize the tragic form as an appropriate aesthetic frame through which to apprehend our ecological predicament