Intensidades y retóricas del texto audiovisual

Las páginas que siguen se proponen desarrollar una concepción semiótica que se apoya esencialmente en las teorías de Louis Hjelmslev y de Claude Zilberberg. A través del estudio de un texto audiovisual, el íncipit del filme Pickpocket de Robert Bresson (1959), no se tratará de ilustrar la semiótica de Hjelmslev ni de Zilberberg, y menos aún de aplicarla; se trata más bien de experimentarla, puesto que dicha teoría textual no ha sido aplicada o lo ha sido escasamente, al dominio de lo audiovisual.1 Nos atendremos, por una parte, a dar cuenta, con esa teoría, del texto fílmico en cuestión; y por otra parte, a mostrar su interés y su alcance heurístico, tanto para la teoría del lenguaje como para los estudios fílmicos

Expérience et explication de l’image à l’ère digitale: Une approche critique et utopique des tableaux

peer reviewedThat our relationship with art, both in the museum and in society, is currently undergoing radical transformation; that Art History in particular is destined to be revolutionized by the digital; and that the brand-new Digital Art History is poised to tell us and show us something other than what we have been able to see and know up until now: this can now seem seductively evident. This is then the starting point for the paper, which at the same time aims to return to some preliminary questions : What, on the one hand, is it to see and explain a painting better, and how do we go about it [§1]? How, on the other hand, can research linked to the digitization of images—coming well after the one on languages and texts processing—help us to enhance and sharpen our gaze [§2]? These are the issues addressed here in a frontal and critical manner. The article finds its initial impetus in a certain conception of what experiencing & explaining the picture means, in its fundamental knotting. It is argued that the enterprise of knowledge cannot be cut off from it: hence, by contrast, the gnoseological limits inherent in automatic processing, based on the scanning of large corpora. At the same time, certain key principles of analysis in Art History, Aesthetic theory and Visual Semiotics are reviewed and discussed: motifs (in a critical conception of traditional iconography), diagrams (in close relation to the notion of figurality), and the interweaving of the visual and the verbal (an essential and delicate issue in our relationship to the work of art, which Digital Humanities must by no means sidestep) [§3]. In the light of this assessment, the article proposes a series of original digital devices capable of better tying together, and enhancing, the experience and explanation of the painting [§4]. Drawing on some case studies of Gustave Courbet’s paintings, the aim is to combine the phenomenological demands of a singular encounter with each painting with those of an invention of semiotic value that is fundamentally linked to an active edition & montage of the artworks themselves. In short, we want to show the positive paths to a renewal in which machines could be an essential adjuvant, provided we do not stick to the research directions and to the intervention modalities we have seen celebrated and programmed to date.Que notre rapport à l’art, au musée comme dans la société, connaisse actuellement des transformations radicales ; que l’histoire de l’art en particulier soit destinée à être révolutionnée par le numérique ; et que la toute nouvelle Digital Art History soit en passe de nous dire et montrer autre chose que ce que nous avons pu voir et savoir jusqu’à maintenant : cela paraît désormais une évidence séduisante. Tel est le point de départ de cette étude, qui entend revenir dans le même temps à des questions liminaires : qu’est-ce, d’une part, que mieux voir et mieux expliquer un tableau, et comment s’y prend-on [§ 1] ? de quelle façon, d’autre part, les recherches liées à la numérisation des images — venant bien après celles portant sur le traitement automatique des langues et des textes — pourraient-elles nous aider à augmenter et affiner notre regard [§ 2] ? Tels sont les problèmes travaillés ici d’une manière frontale et critique. L’article trouve son élan initial dans une certaine conception de l’expérience et de l’explication du tableau, ressaisis dans leur nouage fondamental. On soutient que l’entreprise de connaissance ne peut en être coupée : d’où s’ensuivent, par contraste, les limites gnoséologiques propres aux traitements automatiques fondés sur le balayage de grands corpus. Corrélativement, certains principes d’analyse clés en histoire de l’art, théorie esthétique et sémiotique visuelle sont passés en revue et discutés : motifs (dans une conception critique de l’iconographie traditionnelle), diagrammes (en relation étroite avec la notion de figuralité), entrelacements du visuel et du verbal (enjeu essentiel et délicat de notre relation à l’œuvre d’art, que les humanités numériques ne doivent en aucun cas éluder) [§ 3]. À la lumière de ce bilan, l’article propose une série de dispositifs numériques originaux capables de mieux nouer, et augmenter, l’expérience et l’explication du tableau [§ 4]. En s’appuyant à quelques cas d’étude des toiles de Gustave Courbet, on vise finalement à conjuguer les exigences phénoménologiques de la rencontre singulière de chaque tableau avec celles d’une invention de la valeur sémiotique qui soit fondamentalement solidaire d’une mise en montage des œuvres. On voudrait montrer, en somme, les voies positives d’un renouvellement dont les machines pourraient être un adjuvant essentiel, à condition de ne pas en rester aux directions de recherche et aux modalités d’intervention que l’on a vu célébrées et programmées jusqu’à présent

<i>Mycoplasma agalactiae</i> MAG_5040 is a Mg²⁺-dependent, sugar-nonspecific SNase recognised by the host humoral response during natural infection

In this study the enzymatic activity of Mycoplasma agalactiae MAG_5040, a magnesium-dependent nuclease homologue to the staphylococcal SNase was characterized and its antigenicity during natural infections was established. A UGA corrected version of MAG_5040, lacking the region encoding the signal peptide, was expressed in Escherichia coli as a GST fusion protein. Recombinant GST-MAG_5040 exhibits nuclease activity similar to typical sugar-nonspecific endo- and exonucleases, with DNA as the preferred substrate and optimal activity in the presence of 20 mM MgCl2 at temperatures ranging from 37 to 45uC. According to in silico analyses, the position of the gene encoding MAG_5040 is consistently located upstream an ABC transporter, in most sequenced mycoplasmas belonging to the Mycoplasma hominis group. In M. agalactiae, MAG_5040 is transcribed in a polycistronic RNA together with the ABC transporter components and with MAG_5030, which is predicted to be a sugar solute binding protein by 3D modeling and homology search. In a natural model of sheep and goats infection, anti-MAG_5040 antibodies were detected up to 9 months post infection. Taking into account its enzymatic activity, MAG_5040 could play a key role in Mycoplasma agalactiae survival into the host, contributing to host pathogenicity. The identification of MAG_5040 opens new perspectives for the development of suitable tools for the control of contagious agalactia in small ruminants

Prescription appropriateness of anti-diabetes drugs in elderly patients hospitalized in a clinical setting: evidence from the REPOSI Register

Diabetes is an increasing global health burden with the highest prevalence (24.0%) observed in elderly people. Older diabetic adults have a greater risk of hospitalization and several geriatric syndromes than older nondiabetic adults. For these conditions, special care is required in prescribing therapies including anti- diabetes drugs. Aim of this study was to evaluate the appropriateness and the adherence to safety recommendations in the prescriptions of glucose-lowering drugs in hospitalized elderly patients with diabetes. Data for this cross-sectional study were obtained from the REgistro POliterapie-Società Italiana Medicina Interna (REPOSI) that collected clinical information on patients aged ≥ 65 years acutely admitted to Italian internal medicine and geriatric non-intensive care units (ICU) from 2010 up to 2019. Prescription appropriateness was assessed according to the 2019 AGS Beers Criteria and anti-diabetes drug data sheets.Among 5349 patients, 1624 (30.3%) had diagnosis of type 2 diabetes. At admission, 37.7% of diabetic patients received treatment with metformin, 37.3% insulin therapy, 16.4% sulfonylureas, and 11.4% glinides. Surprisingly, only 3.1% of diabetic patients were treated with new classes of anti- diabetes drugs. According to prescription criteria, at admission 15.4% of patients treated with metformin and 2.6% with sulfonylureas received inappropriately these treatments. At discharge, the inappropriateness of metformin therapy decreased (10.2%, P &lt; 0.0001). According to Beers criteria, the inappropriate prescriptions of sulfonylureas raised to 29% both at admission and at discharge. This study shows a poor adherence to current guidelines on diabetes management in hospitalized elderly people with a high prevalence of inappropriate use of sulfonylureas according to the Beers criteria