Ville, affiche de voyage et imaginaire médiatique 1860-1930

L’affiche de voyage, de 1880 à 1930, révèle l’impact des grandes compagnies de transport dans les cultures urbaines du xixe siècle. L’observation comparative d’une centaine d’affiches françaises — créées pour la compagnie Paris-Orléans (P.O.), 1852 ; les Compagnies de l’Est et de l’Ouest, 1853 ; Paris-Lyon-Méditerranée (PLM), 1857-1938 — révèle l’adoption très rapide d’une identité visuelle cohérente, claire et médiatiquement efficace. À cette époque, des peintres et illustrateurs ont signé, souvent avec talent, des affiches d’un style intermédial novateur — entre peinture et photographie. Ils ont ainsi défini, au-delà de l’image de marque des entreprises, un imaginaire partagé très ciblé. Considérant la forme et le contenu du discours visuel et fonctionnel de ces affiches françaises, nous remarquons qu’elles représentent principalement de grandes villes et des paysages naturels célèbres. Dans les années 1920, de nouveaux points de vue et cadrages sont introduits dans l’histoire de la représentation de la ville et du territoire. Par ailleurs, ces affiches suggèrent le potentiel spécifique de chaque lieu — site balnéaire, station thermale, patrimoine architectural. Tandis que les fonctions urbaines plus triviales sont pratiquement oblitérées — comme le développement industriel, l’habitat, etc. — au profit d’une imagerie hédoniste privilégiant les valeurs patrimoniales et parfois les grands événements — comme les foires et les expositions internationales. Voyager n’est plus une aventure périlleuse mais le signe d’un mode de vie confortable et privilégié. Après la Première Guerre mondiale, ces affiches localisent ainsi la ville dans un réseau de chemin de fer international sans frontières, intégré à une dynamique économique modernisée. Cette nouvelle image médiatique de la ville sera activée et adaptée jusqu’à aujourd’hui avec talent par les plus grands illustrateurs et graphistes.Travel poster from 1880 to 1930 reveals the impact of the major transport companies on urban cultures. Comparative observation of some hundred French posters —created for the P.O. (Paris-Orleans), 1852; the East and West (Companies de l’Est et de l’Ouest) 1853; and the PLM (Paris-Lyon-Méditerranée), 1857-193— reveals the fast adoption of a consistent, clear and media efficient visual identity. At that time, painters and illustrators signed, often with talent, posters of an innovative intermedial style —both paintings and photographs. They thus defined, beyond the brand image of the major companies, a common, very closely targeted imaginative universe. Considering the shape and the content of the functional visual discourse of French posters, we notice they mainly depict large cities and famous natural landscapes. In the 1920s, new viewpoints and framings were introduced into the history of city and territory representation. These posters suggest also the specific potential of each place —seaside resort, spa resort, architectural heritage— while more mundane urban functions, such as the industrial development, the housing, etc. are practically overlooked, in favor of a hedonistic imagery that favors heritage values and sometimes major events such as big fairs and international exhibits. Travelling is no longer a hazardous adventure, but rather a sign of a comfortable, privileged way of life. After World War I, these posters place the city within an international borderless railway network integrated into a modernized, dynamic economy. This new media image of the city has since been reactivated and adapted with talent by the greatest illustrators and graphic designers

Jérusalem

En quoi la représentation photographique introduit-elle un nouveau regard documentaire sur l’espace urbain ? L’image photographique de grande diffusion a-t-elle modifié notre perception des lieux historiques et introduit un nouvel imaginaire médiatique ? Comment les premières photographies éclairent-elles notre compréhension de l’hybridation des médiums – photographie-peinture – qui caractérise progressivement la production imagée ? L’observation comparative d’archives de grande diffusion de Jérusalem permet, dans cette étude, d’aborder ces questions d’un point de vue sémiologique, visuel et pratique. Ces résultats soulignent également les points de contact, de rupture et, ultérieurement, les interconnexions entre peinture et photographie. Cette approche sémiologique de l’image de grande diffusion replace la problématique de la représentation urbaine dans l’histoire des arts visuels et précise l’incidence du photographique dans l’histoire des représentations documentaires et médiatiques.Did photography introduce, in the 19th century, a new documentary look on urban space? Did photographic media has changed our perception of historic cities and inaugurated a new mediatical imagination? How the first photographs reveal our understanding of hybridization process between painting and photography – which today characterizes gradually the visual production? This study analyses mass pictures of Jerusalem on a semiological and visual point of view in order to deal with these questions and to find out how photography enumerates and draws an imaginary journey in an historical city, telling space and architecture in its evoluting context. These results also highlight the first points of contact, crossings and borders between painting and photography. This semiotic approach of the photograph replaces the problematic of the urban representation in the history of the Visual arts and shows accurate incidence of photography in the history of documentary and media since the 1830

Neuronal dysfunction and disconnection of cortical hubs in non-demented subjects with elevated amyloid burden

Disruption of functional connectivity between brain regions may represent an early functional consequence of β-amyloid pathology prior to clinical Alzheimer's disease. We aimed to investigate if non-demented older individuals with increased amyloid burden demonstrate disruptions of functional whole-brain connectivity in cortical hubs (brain regions typically highly connected to multiple other brain areas) and if these disruptions are associated with neuronal dysfunction as measured with fluorodeoxyglucose-positron emission tomography. In healthy subjects without cognitive symptoms and patients with mild cognitive impairment, we used positron emission tomography to assess amyloid burden and cerebral glucose metabolism, structural magnetic resonance imaging to quantify atrophy and novel resting state functional magnetic resonance imaging processing methods to calculate whole-brain connectivity. Significant disruptions of whole-brain connectivity were found in amyloid-positive patients with mild cognitive impairment in typical cortical hubs (posterior cingulate cortex/precuneus), strongly overlapping with regional hypometabolism. Subtle connectivity disruptions and hypometabolism were already present in amyloid-positive asymptomatic subjects. Voxel-based morphometry measures indicate that these findings were not solely a consequence of regional atrophy. Whole-brain connectivity values and metabolism showed a positive correlation with each other and a negative correlation with amyloid burden. These results indicate that disruption of functional connectivity and hypometabolism may represent early functional consequences of emerging molecular Alzheimer's disease pathology, evolving prior to clinical onset of dementia. The spatial overlap between hypometabolism and disruption of connectivity in cortical hubs points to a particular susceptibility of these regions to early Alzheimer's-type neurodegeneration and may reflect a link between synaptic dysfunction and functional disconnection

Post-mortem correlates of in vivo PiB-PET amyloid imaging in a typical case of Alzheimer's disease

The positron emission tomography (PET) radiotracer Pittsburgh Compound-B (PiB) binds with high affinity to β-pleated sheet aggregates of the amyloid-β (Aβ) peptide in vitro. The in vivo retention of PiB in brains of people with Alzheimer's disease shows a regional distribution that is very similar to distribution of Aβ deposits observed post-mortem. However, the basis for regional variations in PiB binding in vivo, and the extent to which it binds to different types of Aβ-containing plaques and tau-containing neurofibrillary tangles (NFT), has not been thoroughly investigated. The present study examined 28 clinically diagnosed and autopsy-confirmed Alzheimer's disease subjects, including one Alzheimer's disease subject who had undergone PiB-PET imaging 10 months prior to death, to evaluate region- and substrate-specific binding of the highly fluorescent PiB derivative 6-CN-PiB. These data were then correlated with region-matched Aβ plaque load and peptide levels, [3H]PiB binding in vitro, and in vivo PET retention levels. We found that in Alzheimer's disease brain tissue sections, the preponderance of 6-CN-PiB binding is in plaques immunoreactive to either Aβ42 or Aβ40, and to vascular Aβ deposits. 6-CN-PiB labelling was most robust in compact/cored plaques in the prefrontal and temporal cortices. While diffuse plaques, including those in caudate nucleus and presubiculum, were less prominently labelled, amorphous Aβ plaques in the cerebellum were not detectable with 6-CN-PiB. Only a small subset of NFT were 6-CN-PiB positive; these resembled extracellular ‘ghost’ NFT. In Alzheimer's disease brain tissue homogenates, there was a direct correlation between [3H]PiB binding and insoluble Aβ peptide levels. In the Alzheimer's disease subject who underwent PiB-PET prior to death, in vivo PiB retention levels correlated directly with region-matched post-mortem measures of [3H]PiB binding, insoluble Aβ peptide levels, 6-CN-PiB- and Aβ plaque load, but not with measures of NFT. These results demonstrate, in a typical Alzheimer's disease brain, that PiB binding is highly selective for insoluble (fibrillar) Aβ deposits, and not for neurofibrillary pathology. The strong direct correlation of in vivo PiB retention with region-matched quantitative analyses of Aβ plaques in the same subject supports the validity of PiB-PET imaging as a method for in vivo evaluation of Aβ plaque burden

Le photographique mémoriel : Dire la mort et son contraire

Des médaillons de porcelaine, fabriqués dès les années 1850, aux plaques funéraires, aujourd’hui gravées au laser, la plastique de la photo funéraire évolue dans son propos sur la représentation commémorative du corps. Ce sujet trop rarement abordé est ici considéré en termes d’image et d’imaginaire et de propos mémoriel. En effet, la photographie funéraire ne médiatise pas seulement le portrait du défunt, sa plastique renseigne indirectement sur l’image retenue par les proches pour faire leur deuil d’un défunt selon une esthétique et des codes partagés par la famille, les amis, concitoyens et/ou compatriotes. Sur les tombes, la disposition de ces portraits peut reproduire métaphoriquement une hiérarchie familiale ou sociale, effective ou fantasmée. Selon cette enquête, le photographique funéraire se révèle un objet de culture populaire évolutif qui, en Europe comme en Amérique du Nord, fait image, sens et propos dans l’espace de la tombe comme dans l’espace du cimetière.Since the 1850, the funeral picture reflects a technological change from the porcelain medallions manufactured for the cemeteries to the portraits now engraved by laser. Those photographs also indicate a plastic and semantic evolution that, from a sociosemiotic point of view, shows a too rarely treated aspect of the Body image and the imaginary of funeral representation connected with photography. This paper considers how the lates’ portraits are mediates by photography and how those pictures inform us indirectly about the image of the Body – chosen as memorial matter by the relatives – to make mourning but also to make memory and remember their lates, according to an esthetics and codes shared by the family, the friends, fellow-citizens and/or compatriots. On the tombs, the arrangement of these portraits can metaphorically reproduce an effective or fantasmatic family or social hierarchy. According to this investigation, the photo funerary appears like an evolutionary object of popular culture that, in Europe as in North America, makes image, makes sense and matter in the grave’ space as well as in the cemetery’s environment

Sarah Moon, conte et photographie : réactiver le conte merveilleux par la vidéo créative

Quatre contes, d’après Hans Christian Andersen et Charles Perrault, écrits et illustrés par Sarah Moon, révèlent comment le photographique – photo et vidéo – et l’interrelation texte‐image construisent un imaginaire fictionnel actualisé. Ces contes soulignent l’intérêt et les possibilités qu’offre une démarche plasticienne d’auteur pour transposer et réactiver les trames narratives de contes merveilleux plus que centenaires à partir de problématiques contemporaines