La lógica cultural del museo tardo-capitalista

In the light of the socio-political changes that occurred in the 1980s, especially the increasing of financial processes, this text discusses the participation of museums and cultural complexes – their intimate relationship with the then recent status of postmodern architecture, their opening to worldwide markets and the increasing specialization of its functions – in a renewed dynamic of commercialization processes, reception of art works and, above all, in the reconfiguration of the reach of aesthetic experience. Focusing on European and North American examples, the author argues about the then imminent link between the institutional appropriation of Minimalism's operations and the revisions of the disciplinary field of Art History to support the new "logic" verified in art's remarkable spaces.A la luz de los cambios sociopolíticos de los años 1980, en particular la escalada de los procesos de financiarización, este texto discute la participación de museos y complejos culturales – su íntima relación con el entonces reciente estatuto de la arquitectura postmoderna, su apertura a mercados mundiales y la creciente especialización de sus funciones – en la renovada dinámica de procesos de comercialización y recepción del arte y, principalmente, en la reconfiguración del alcance de la experiencia estética. Con ejemplos europeos y estadounidenses, la autora analiza el nexo entonces inminente entre la apropiación institucional de las operaciones del minimalismo y las revisiones de la historia del arte para fundamentar la nueva “lógica” verificada en los espacios consagrados del arte.À luz das modificações sociopolíticas ocorridas na década de 1980, mormente a escalada dos processos de financeirização, este texto discute a participação dos museus e complexos culturais – sua íntima relação com o então recente estatuto da arquitetura pós-moderna, sua abertura aos mercados mundiais e a crescente especialização de suas funções – em uma renovada dinâmica dos processos de comercialização e recepção dos trabalhos de arte e, sobretudo, na reconfiguração do alcance da experiência estética. Detendo-se em exemplos europeus e norte-americanos, a autora analisa o nexo iminente, àquela altura, entre a apropriação institucional das operações do minimalismo e as revisões do campo disciplinar da história da arte para fundamentar a nova "lógica" verificada em consagrados espaços dedicados à arte

Argumentos favoráveis e contrários à pintura: algumas anotações

El texto discute los diferentes entendimientos sobre la pertinencia o inadecuación de la pintura como forma de arte canónica frente a las experiencias sociales y políticas de la modernidad. Partiendo de una notoria atribución como modelo de actividad autónoma entre sujeto y mundo bajo la cultura iluminista, el análisis recoge las propuestas artísticas de las corrientes denominadas “bohemio-duchampiana” y “constructivista-soviética”, que resultaran en la concomitancia y, por veces, rivalidad entre la pintura y las nuevas formas de arte. Finalmente, el trabajo señala el residual histórico de este debate al asimilar los caminos de la producción artística actual.This work argues about painting’s pertinence or inappropriateness as a canonical art form before modernity’s social and political experiences. Departing from painting’s notorious attribution as a model of autonomous activity between subject and world in the midst of the Enlightenment culture, this analysis compiles artistic proposals from streams entitled “Bohemian-Duchampian” and “Constructivist-Soviet” that will result in concomitance and, sometimes, rivalry between painting and new art forms. Finally, the text indicates the striking historical traces of such debate by assimilating the paths of current artistic production.O texto discute as variadas compreensões sobre a pertinência ou impropriedade da pintura enquanto forma de arte canônica em face das experiências sociais e políticas da modernidade. Partindo de sua notória atribuição enquanto modelo de atividade autônoma entre sujeito e mundo no bojo da cultura iluminista, a análise colige as propostas artísticas das correntes intituladas “boêmio-duchampiana” e “construtivista-soviética”, que redundarão na concomitância e, por vezes, rivalidade entre a pintura e novas formas de arte. Por fim, o trabalho sinaliza o pregnante residual histórico de tal debate ao assimilar os caminhos da produção artística atual.

Mutational signatures in esophageal adenocarcinoma define etiologically distinct subgroups with therapeutic relevance.

Esophageal adenocarcinoma (EAC) has a poor outcome, and targeted therapy trials have thus far been disappointing owing to a lack of robust stratification methods. Whole-genome sequencing (WGS) analysis of 129 cases demonstrated that this is a heterogeneous cancer dominated by copy number alterations with frequent large-scale rearrangements. Co-amplification of receptor tyrosine kinases (RTKs) and/or downstream mitogenic activation is almost ubiquitous; thus tailored combination RTK inhibitor (RTKi) therapy might be required, as we demonstrate in vitro. However, mutational signatures showed three distinct molecular subtypes with potential therapeutic relevance, which we verified in an independent cohort (n = 87): (i) enrichment for BRCA signature with prevalent defects in the homologous recombination pathway; (ii) dominant T>G mutational pattern associated with a high mutational load and neoantigen burden; and (iii) C>A/T mutational pattern with evidence of an aging imprint. These subtypes could be ascertained using a clinically applicable sequencing strategy (low coverage) as a basis for therapy selection.Whole-genome sequencing of esophageal adenocarcinoma samples was performed as part of the International Cancer Genome Consortium (ICGC) through the oEsophageal Cancer Clinical and Molecular Stratification (OCCAMS) Consortium and was funded by Cancer Research UK. We thank the ICGC members for their input on verification standards as part of the benchmarking exercise. We thank the Human Research Tissue Bank, which is supported by the National Institute for Health Research (NIHR) Cambridge Biomedical Research Centre, from Addenbrooke’s Hospital and UCL. Also the University Hospital of Southampton Trust and the Southampton, Birmingham, Edinburgh and UCL Experimental Cancer Medicine Centres and the QEHB charities. This study was partly funded by a project grant from Cancer Research UK. R.C.F. is funded by an NIHR Professorship and receives core funding from the Medical Research Council and infrastructure support from the Biomedical Research Centre and the Experimental Cancer Medicine Centre. We acknowledge the support of The University of Cambridge, Cancer Research UK (C14303/A17197) and Hutchison Whampoa Limited. We would like to thank Dr. Peter Van Loo for providing the NGS version of ASCAT for copy number calling. We are grateful to all the patients who provided written consent for participation in this study and the staff at all participating centres. Some of the work was undertaken at UCLH/UCL who received a proportion of funding from the Department of Health’s NIHR Biomedical Research Centres funding scheme. The work at UCLH/UCL was also supported by the CRUK UCL Early Cancer Medicine Centre.This is the author accepted manuscript. The final version is available from Nature Publishing Group via http://dx.doi.org/10.1038/ng.365

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Este trabalho compila traduções de três textos da crítica e historiadora de arte norte-americana Rosalind Krauss, \"Arte na era da condição pós-meio\" (1999), \"Reformulando o meio\" (1999) e \"Dois momentos da condição pós-meio\" (2006). Os ensaios exploram o que a autora chama de \"condição pós-meio\" da arte atual, ou seja, um cenário em que há, nas manifestações artísticas, uma reduzida vinculação aos meios conhecidos para sua operação, bem como um recuo aos espaços expositivos institucionalizados sob a memória do \"cubo branco\". Esse recorte da produção da autora sinaliza o amadurecimento e a reavaliação de determinadas proposições teóricas que marcaram boa parte de sua produção crítica ao longo das últimas cinco décadas, como a influência do pós-estruturalismo, o legado da arte minimalista e os efeitos da arte conceitual para o horizonte artístico atual. Junto às traduções, também é apresentada uma monografia sobre os principais pontos da trajetória intelectual de Krauss, com o objetivo de reconstruir as origens e sugerir possíveis comparações dessa leitura conjuntural sobre arte contemporânea.This dissertation compiles three translations of American art historian and critic Rosalind Krauss, \"\'Voyage on the North Sea\' Art in the Age of Post-Medium Condition\" (1999), \"Reinventing the Medium\" (1999), and \"Two Moments from the Post-Medium Condition\" (2006). The essays explore what the author calls the \"post-medium condition\" of contemporary art: a scenario in which artistic manifestations have little connection with the traditional media for its operation, as well as a refusal to the institutionalised exhibition space known as \"white cube\". This cutout of the author\'s production signals a maturation and reassessment of certain theoretical propositions that have marked much of her critical production over the last five decades, such as the influence of poststructuralism, the legacy of minimalist art, and the effects of conceptual art on the current artistic horizon. Along with the translations, a monograph is also presented on Krauss\' intellectual trajectory in order to reconstruct its origins and to suggest possible comparisons of this conjunctural approach about contemporary art

Interview with Rosalind Krauss

Nesta entrevista, realizada em 2012 e originalmente publicada no jornal The Brooklyn Rail, Rosalind Krauss debate com Yve-Alain Bois os principais argumentos presentes em seu livro Under Blue Cup [Sob a xícara azul], lançado em 2011. A severa crítica feita pela autora, do fenômeno internacional das instalações de arte, é defrontada com a própria experiência crítica de Bois, a partir do trabalho de determinados artistas que, segundo ela, importam justo na medida em que propõem a crítica dos meios artísticos tradicionais sem que, por isso, revelem indiferença a eles. O diálogo, que revela traços da formação intelectual de ambos, lança luz a diferentes métodos de trabalho e à centralidade da noção de forma na arte mais experimental do século XX.In this interview, done in 2012 and originally published in the Brooklin Rail journal, Rosalind Krauss debates with Yve-Alain Bois the main questions focused in Under Blue Cup. The severe criticism addressed by the author to the international dissemination of installation art is confronted with Bois own critical stand on the subject, both of the critics approaching a set of artworks which, according to Krauss, are interesting as far as they perform a criticism of the medium. The dialogue, showing interesting features of the intellectual background of both critics, also illuminates to the different methods at work in both, and points out to the central role played by the idea of form in the art done in the 20th Century

Remote sensing assessment of anthropogenic and climate variation effects on river channel morphology and vegetation: Impact of dry periods on a European piedmont river

Rivers are subject to increasing human pressure, resulting in a loss of their natural characteristics, further enhanced by climate change. The present study focuses on a piedmont reach of the Italian Po River and combines Landsat satellite information with hydrological records to investigate changes in sandbars exposure and riparian vegetation coverage, considering the summer period of 1984-2022. Satellite data were handled via Google Earth Engine, looking at common indexes such as the Modified Normalized Difference Water Index, which was used to identify temporal variations in wetted channel area, and the Normalized Difference Vegetation Index, considered as a proxy of vegetation coverage variations. Changes in the river hydrology were analysed by looking at the annual minimum water levels, the discharge duration curve, the stage-discharge relationship and the yearly annual water volume. Results suggest that a process of oversimplification is affecting this reach of the Po River, showing how climate change can affect piedmont European watercourses. Indeed, after an initial period where bars tended to be barer and somehow stable over time, in the most recent decade a different trend appeared, with vegetation able to colonize the exposed sandbars more. Using the Po River as an exemplary case study, this work suggests that prolonged dry periods, which are more common in recent decades, might impact large and medium rivers located in temperate climates, favouring the development of vegetation on exposed sandbars, eventually resulting in a less dynamic active channel.This research focuses on a piedmont reach of the Italian Po River, and combines satellite information with hydrological records to investigate changes in sandbars exposure and riparian vegetation coverage, considering the summer period 1984-2022. Using the Po River as an exemplary case study, the work shows that prolonged dry periods, more common in recent decades, might impact large and medium rivers located in temperate climates, favouring the development of vegetation on exposed sandbars, resulting in a less dynamic active channel. imag