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2015 •
2020 •
As a publishing act, Migrant Thoughts argues that the image is inevitably nomadic and inexorably migrant and, as Henri Bergson reminds us, is everywhere. Everything is image. We are images among images, and in this respect film is no more than one of the media through which images move. Images become a gesture of resistance, as by being just an image and not a just image, as Jean-Luc Godard said, they are worthy and can never be subdued by power, despotism or an all-too human will corrupted by the idea of ownership. They are pure potential for resistance, as they are not a luxury, or a privilege, and much less a possession. On the contrary, they are the permeable condition of passage so that a living thing does not become stationary or stagnant. The image can of course move on the screen, but at the same time, the image makes a whole screen, a whole surface where it can continue. It continues in bodies, in writing, on these pages, as in politics, archives, memory, literature, and philosophy. The image migrates, and in its wake it provides and proposes intersections, intervals. That is, it advances through life affirming what is living as a cinematographic gesture and, in turn, it exceeds and goes beyond film itself. Or, to put it another way, where cinema itself has to open up to metamorphosis, it becomes a gesture of editing between blocks of text. As editors we have proposed a montage in three parts, with two intervals (opening and closing) as false cuts in a flow of images which could certainly exceed and migrate outside of the fragile content of this book. Florencia Incarbone & Sebastian Wiedemann Editors
2013 •
English translation of an essay on two videos of Carolina Saquel, published originally in Spanish in revista CLAVE 6 (2012): 14-31. Two videos of Chilean artist Carolina Saquel, "Impossibility to Cross a Plane" (2010-11) and "Pentimenti", are taken as the basis for an analysis on problems of the documentary genre in a time of displacement and migrations of people, images, and memories. Film and art history converge in Saquel's works as a reflection on oblivion, power, translation, and the circularity of history, by means of images moving between dream and reality, nature and artifice. Seemingly innocuous beings and spaces (a forest, a horse) become actors and material presences that enhance new perspectives on our relationship with what seems natural, minor, or forgotten.
Journal of Film and Video
Review of Encounters in Video Art in Latin America. Edited by Elena Shtromberg and Glenn Phillips2024 •
Deadline for proposals: Nov. 13, 2017 — Feb. 15, 2018 This first issue of La región central explores the idea of intervention: reciprocal interventions between cinema and contemporary art, but also interventions on the social sphere that may help think the political dimension of contemporary art practices. On the one hand, cinema intervenes in the art sphere, as someone occupying a space that is not her own. Not only because, in the last two decades, film and video practices have entered the white cube and substantially modified the visitors' experiential coordinates. Above all, the incorporation of cinema into the art world has transformed a whole set of production practices and dynamics beyond the aesthetic framework of apprehension. This intervention also signals a transformation in the poetics of artistic practices as well as in the distribution of weights through the tensions that constitute them: the most basic relations between the I and the other; individual authorship and collective work; in-disciplinarity and technical qualification; the event and representation; visual codification and the mute potency of apparition; the specific sites of production and the global circuits of exhibition; etc. On the other side, art intervenes in cinema, as someone coming to the rescue of an exhausted body. We are also interested in mapping these so-called strategies for healing: how—and which, and in what centers or peripheries—art spaces intervene in cinema as a shelter for a critical practice or, on the contrary, as the last site for the fetishization of the projected image. Thus, we would like to question the current valence of
2022 •
This presentation was given at the The Seventh Transdisciplinary Conference on Imaging at the Intersections of Arts, Science and Culture Naryn Campus, September 23 to 25, 2022 https://ucentralasia.org/.../xkad.../mag-v16-web-reduced.pdf Abstract This article explores emerging forms of discursive cultural production framed by what Australian art historian McLean has playfully called the ‘transpocene’—the increasingly deterritorialized context in which much new artistic practice occurs (McLean, 2017). These transcultural and transnational contexts encompass the experience of genocide and epistemicide, conflict, bio-precarity (health and environmental peril) and other forms of displacement in response to an ever more volatile planet. Refugee camps, ‘No places’, border lands, crossings zones, rainforests, river deltas, and steppes; communities, physical and virtual, all are sites of contestation and imagination, of personal and public memory. The authors consider diverse counter-narratives and experiential media within and beyond the museum, across private and public space. And the ways in which these are shaped by both climate change and by powerful sociopolitical forces. These encompass screen-based installations; auditory and sensory experiences; journey mapping, and storytelling; forensic visualizations and explorations of personal mythologies. Tricia Flanagan explores landscape and imagination, focused on the Brigalow Belt—an Australian wilderness corridor that was once a superhighway for fauna and flora, drawing on fragments and memories, exploring a sustainable future for agriculture involving diversity of knowledges and values. Georgia Wallace-Crabbe explores screen-based responses to human and nonhuman flows in the Anthropocene era by artists working across documentary realism and expanded video, whose concepts and images wander across national boundaries, drawing on different traditions.
Current Microbiology
Immobilized Hydrolytic Enzymes Exhibit Antibiofilm Activity Against Escherichia coli at Sub-Lethal Concentrations2015 •
Journal of genetics
The Drosophila melanogaster circadian pacemaker circuit2008 •
2009 •
2019 •
www.abogados.com.ar
Límites a la titularidad de dominio de tierras rurales por extranjeros2017 •
Mycological Research
Multiplex PCR assay for the simultaneous detection and differentiation of Olpidium bornovanus, O. brassicae, and O. virulentus2009 •
Social Dynamics
Contemporary South African Jazz and the Politics of Place2004 •
Retornar: Traços de Memória do Fim do Império
Muitas coisas ao mesmo tempo: sobre o Atlas da exposição Retornar – Traços de Memória2017 •
2015 •
Journal of Cross-Cultural Psychology
In Search of “the Bedouin Adaptive Adult”2015 •
IEEE Communications Magazine
Research challenges in intervehicular communication: lessons of the 2010 Dagstuhl Seminar2011 •
Dermatology Reports
Mini punch graft for chronic leg ulcers, case series2019 •
Journal of African Earth Sciences
Geochronology and tectonic evolution of the Hohewarte Complex, central Namibia: New insights in Paleoproterozoic to Early Neoproterozoic crustal accretion processes2014 •
Australian Health Review
The pharmaceutical situation inthe Philippines2001 •
Marine Ecology Progress Series
Cue hierarchy and foraging in calanoid copepods: ecological implications of oceanographic structure2007 •
Research on World Agricultural Economy
Gender Roles and Economic Differentials in Aquaculture of Kainji Lake Basin, NigeriaProceedings of the 26th ACM SIGSPATIAL International Conference on Advances in Geographic Information Systems
Adaptive processing of spatial-keyword data over a distributed streaming cluster2018 •
Low Temperature Physics
On the theory of skin effect: inclusion of arriving term in collision integral1997 •
Asian Journal of Microbiology, Biotechnology and Environmental Sciences
Agronomic Yield and Post-Harvest Quality of Baby Corn Under Nitrogen Fertilization2022 •