A few years ago no one would have suspected that the well‐known disorder of connective tissue, Marfan syndrome, could be caused by mutations in a recently discovered extracellular component, fibrillin. Likewise, nobody would have predicted that fibrillin represents a small family of proteins that are associated with several pheno‐typically overlapping disorders. The fibrillins are integral constituents of the non‐collagenous microfibrils, with an average diameter of 10 nm. These aggregates are distributed in the extracellular matrix of virtually every tissue. Microfibrillar bundles (...) provide the external coating to elastin in elastic fibers, and serve an anchoring function in non‐elastic tissues. At higher resolution, individual microfibrils have a “beads‐on‐a‐string” appearance resulting from the head‐to‐tail polymerization of multiple fibrillin aggregates. Structurally, fibrillin contains a series of repeated sequences homologous to the epidermal growth factor calcium‐binding motif. Characterization of fibrillin mutations in Marfan syndrome patients, together with the elucidation of the structure of the fibrillin proteins, have provided new insights, and raised new questions, about the function of the 10 nm microfibrils. For example, it is possible that the fibrillins, in addition to serving a structural function, might also be involved in regulating cellular activities and morphogenetic programs. It is fitting that the long search for the Marfan syndrome gene has brought a novel group of proteins to the forefront of extracellular matrix biology. (shrink)

A growing number of nurse researchers travel globally to conduct research in poor and underserved populations in developing nations. These researchers, while well versed in research ethics, often find it difficult to apply traditional ethical standards to populations in developing countries. The problem of applying ethical standards across cultures is explained by a long-standing debate about the nature of ethical principles. Fundamentalism is the philosophical stance that ethical principles are universal, while the anthropologically-based ‘multicultural’ model claims the philosophical position that (...) principles are culturally bound. The authors explicate the two philosophical stances and advocate a morally sensitive but moderate position of ‘ethical multiculturalism’ rather than favouring either of the above philosophical positions. The final section suggests ways to promote ethical multiculturalism while planning and conducting nursing research. (shrink)

Sob a ótica da Psicologia Social Comunitária, propõe-se uma análise sobre armadilhas/dimensões psicossociais que afetam as relações interpessoais dos docentes, com subprodutos negativos à prática e rede escolar-comunitária. Realizou-se uma pesquisa exploratória, aplicando questionários semiestrutura..

Between the 1960s and 1970s, Hélio Oiticica, Lygia Pape and Edgardo Antonio Vigo shared the idea that the audience should stop behaving as a passive spectator to become an active participant in the artistic process. In this case study, we will study how, with this aim in mind, these artists put into practice a series of participatory proposals −most of them in public spaces− which sought to establish a bond with the community. Therefore, these three artist’s artistic proposals involved (...) bodily action, dancing, and intellectual and sensitive stimulus and exploration. Within the framework of both Brazilian and Argentinean dictatorships, as well as of the emergence of revolutionary actions and movements, they fostered an art democratizing ideal in their own way. (shrink)

Uma assembleia com as dimensões do Concílio Vaticano II necessariamente aglutinaria diversificadas correntes e perspectivas. No episcopado brasileiro a heterogeneidade também foi uma marca. Considerando tais dados, este artigo foi escrito com dois objetivos maiores: identificar transversalidades nas formas de pensar e agir de Proença Sigaud e Helder Camara, a partir dos temas propostos para o Concílio e analisar afinidades/convergências e oposições/divergências existentes entre as suas posições, respectivamente conservadoras e progressistas, sobretudo a partir das respostas que elaboraram às consultas (...) solicitadas na fase antepreparatória; perpassando o trabalho, há discussões remetendo aos grupos a que se associaram e às articulações estabelecidas, bem como aos seus epistolários e questões neles tratadas. Baseado em pesquisas bibliográfica e documental – realizada, esta, nos arquivos do Instituto Dom Helder Camara e da Cúria Arquidiocesana de Diamantina – com o artigo foi possível reforçar o entendimento de que a diversidade de perspectivas doutrinais e pastorais é fato inconteste, ainda que salvaguardada a unidade; outrossim, a transversalidade evidenciou, a partir da abordagem de temas sociopolíticos e religiosos, a existência de preocupações semelhantes que implicavam, nas posições majoritariamente antagônicas dos dois, igual empenho pela adoção de medidas, ainda que habitualmente díspares, no tocante à forma de analisá-los e enfrentá-los. (shrink)

Desde o século XIX o catolicismo foi assinalado por uma divisão interna advinda das demandas pastorais de como a Igreja Católica deveria se situar e responder aos novos desafios lançados pela modernidade. Uns entendiam que ela deveria dialogar com modernidade, abrindo-se àquelas perspectivas positivas do projeto moderno, outros negavam qualquer possibilidade de tal diálogo, vendo nos valores modernos apenas anticristianismo e perdição, defendendo o lançamento de anátemas aqueles que, possivelmente, se desviassem da ortodoxia. O Concílio Vaticano II (1962-1965) pode ser (...) compreendido como um campo de lutas simbólico-normativas, no qual estas duas tendências colocaram-se frente a frente nos inúmeros debates. Este artigo tem como objetivo principal apresentar brevemente a atuação de dois bispos brasileiros conservadores no concílio: D. Antônio de Castro Mayer e D. Geraldo de Proença Sigaud (1962-1965). Para tanto, apresentaremos algumas das principais intervenções dos bispos na assembleia conciliar, chamando atenção para os temas em que travaram maior combate, como liberdade religiosa, liturgia e organização hierárquica da Igreja.Since the 19th century Catholicism has been marked by internal divisions arising from the pastoral demands of how the Catholic Church should position itself and deal with the new challenges launched by modern times. Some people understood that the Catholic Church was supposed to evolve with modern times and open itself to new perspectives related to the modern project. Others denied any possibility of dialogue with the modern times and believed that modern values would encourage scepticism and anti Christianity, defending also the excommunication of those who deviate from orthodoxy. The Second Vatican Council (1962-1965) can be understood as a symbolic-normative battle field, in which two divergent positions are in continuous confrontation. This article aims to briefly present the opinions of two Brazilian conservative Bishops in the Council: D. Antônio de Castro Mayer and D. Geraldo Proença Sigaud (1962-1965). For this purpose, the main points made by the Bishops at the Conciliar Assembly, will be outlined. Therefore, the focus of the article will be on the more controversial themes discussed at that time, such as religious freedom, liturgy and hierarchical Church organization. Keywords: Brazilian bishops. Catholic conservatism. Second Vatican Council. Coetus Internationalis Patrum. (shrink)

This article explores the use of interactive and kinetic technologies in contemporary art practice as a means by which artists engage with conditions of social and ecological crisis. In a context in which the perpetual exploitation of human and natural resources threatens the sustainability of the planet and all earthy life, the language of interactivity provides perspective into the interconnectivity of organisms and the interdependence of biological, social, economic and political systems. The interactive, kinetic work affords a distilled set of (...) relationships and movements that rely on connection and participation and, as such, serve as simple and relatable models of complex and interrelated systems. By engendering a sense of fragile suspension between sustainability and collapse – a felt experience of the present ecological crisis – the artists discussed incite affective responses through their works that are argued to be distinctly empathic in nature. Contemporary environmental theory provides insight into a shifting relationship between human and ‘nature’ that dissolves the previously instated binary in favour of an empathic consciousness, at the core of which is a recognition of the interdependence of living organisms. Art historical insight of interactivity as a means of production reveals a notable link between interactive art, destruction and trauma. The affective response engendered in contemporary works that grapple with concepts of transience and mortality relies on the very human knowledge of the body as a relatable site of experience, particularly pain and trauma. The idea of empathy as prefigured by violence and loss is particularly resonant in relation to contemporary ecological trauma. Works by artists including Rebecca Horn, Theo Jansen, Natalie Jeremijenko, Alan Rath, Lygia Clark, Alexandra Karakashian and Robert Krishner are discussed in terms of interactivity and kineticism as prompting empathic engagement in the context of environmental entropy. (shrink)

The work of the Brazilian artist Lygia Clark occupies a singular position in the movement of institutional critique that began in the 1960s and 70s. The center of her research consists in a mobilization of the two capacities of perception and sensation that alllow us to grasp the otherness of the world, respectively as a map of forms on which we project representations or as a diagram of forces that affect the senses in their capacity for resonance. In 1976, (...) with the Structuring of the Self, she abandoned the field of art and opted for therapy. The forms of critique that she brought into play over the following decade only found a resonance among the generation that began to assert itself in the mid-1990s. Noting this resonance, Suely Rolnik decided to develop a project for the reactivation of memory around the work of Lygia Clark. The idea was to use filmed interviews to produce a living recording of the effects of the body constituted by Lygia during her exile from art, in her cultural and political environment in Brazil and in France. With the exhibition, the pulsation of this body had a chance of contaminating the territory of art. (shrink)

Machine generated contents note: -- List of IllustrationsAcknowledgementsIntroductionImmanent authorship: From the Living Theatre to Cage and Goat IslandDisorganizing language, voicing minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent imitations, animal affects: From Hijikata Tatsumi to Marcus CoatesPaying attention, participating in the whole: Allan Kaprow alongside Lygia ClarkEthical durations, opening to other times: Returning to Goat Island with WilsonIn-Conclusion: What 'good' is immanent theatre? Immanence as an ethico-aesthetic valueCodaBibliographyIndex.

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

La lectura de libros especializados es, casi siempre, un ejercicio que implica un cierto grado de redundancia. Para el filósofo de profesión, la lectura de un libro académico suele implicar el repaso de una buena cantidad de ideas ya conocidas. En este aspecto, el libro de Rico Sneller es una sorprendente excepción: aborda temas bien poco comunes, haciendo uso de un arsenal de referentes académicos inusuales aunque de muy buen calibre: desde la artista brasilera Lygia Clark hasta la biología (...) vitalista de Hans Driesch y la Lebensphilosophie de Ludwig Klages, pasando por los sesudos estudios de Max Picard sobre la fisiognomía. (shrink)

Introduction : aesthetics in the age of consumer culture. Some terms -- Attention and distraction : the billboard as mural form -- Fascination; or, enlightenment in the age of neon light -- Poetry, replication, late capitalism : Octavio Paz as concrete poet -- Lygia Clark, at home with objects -- Conclusion.

Discussions of the object as a key to understanding central aspects of modern and contemporary art. Artists increasingly refer to "post-object-based" work while theorists engage with material artifacts in culture. A focus on "object-based" learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the "objectness" of production, with art as its focus. Among the topics (...) it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object's transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past. Artists surveyed include Georges Adéagbo, Art in Ruins, Iain Baxter, Louise Bourgeois, Pavel Büchler, Lygia Clark, Claude Closky, Brian Collier, Jimmie Durham, Fischli & Weiss, Luca Frei, Meschac Gaba, Isa Genzken, Gruppe Geflecht, Eva Hesse, Mike Kelley, John Latham, Antje Majewski, Gustav Metzger, Cady Noland, Gabriel Orozco, Adrian Piper, Falke Pisano, Eva Rothschild, Aura Satz, Kenneth Snelson, Hito Steyerl, Josef Strau, Alina Szapocznikow, Joëlle Tuerlinckx, Erwin Wurm Writers include Homi K. Bhabha, Jack Burnham, Ewa Lajer-Burcharth, Lynne Cooke, Gillo Dorfles, Jean Fisher, Ferreira Gullar, Charles Harrison, Paulo Herkenhoff, Julia Kristeva, Bruno Latour, Bracha Lichtenberg-Ettinger, Jean-François Lyotard, Lev Manovich, Ursula Meyer, Bruno Munari, Georges Perec, Hans-Jörg Rheinberger, Dieter Roelstraete, Howard Singerman, Nancy Spector, Marcus Steinweg, Anne Wagner, Gérard Wajcman, Slavoj Zizek. (shrink)

Journal of Philosophy of Education, Volume 56, Issue 1, Page 94-104, February 2022.