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Addendum: Del contatto del Leonardo a Montova
No full textThis piece was originally submitted for a course on Leonardo da Vinci (FAH433), taught by Professor Giancarla Periti at the University of Toronto in the Department of Art History. The assignment involved rewriting Leonardo’s biography published in Giorgio Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects (1568). The task was to write in the voice of Vasari, and although I could be creative in presenting new information, it had to be based on scholarship and be consistent with Vasari’s own ideas and historical circumstances. I chose to focus on the relationship between Leonardo and Isabella d’Este, the most eminent female patron of the Renaissance period. Vasari does not write much about this connection but there are over 28,000 extant letters that Isabella d’Este, Marchioness of Mantua, addressed to rulers, ambassadors, and artists. We know quite a bit about Isabella’s life and challenges as one of the few Renaissance women to possess a study-room filled with ancient and modern artworks. My research led me to examine Isabella’s network of relations from the Este to the Gonzaga households, her political and cultural engagements, and her passion for art. By writing about Isabella d’Este’s interactions with Leonardo, I addressed the legacies of Leonardo and Isabella, and their unusual position in the Renaissance society. The mix of facts and historical conjectures around which my piece revolves is something that would not have been possible with a traditional research paper, but the rigor of research remains intact.Questo articolo è stato originariamente presentato per un corso su Leonardo da Vinci (FAH433), dirito dalla professoressa Giancarla Periti presso il Dipartimento di Storia dell\u27Arte dell\u27Università di Toronto. Il compito consisteva nel riscrivere la biografia di Leonardo ne Le vite dei più eccellenti pittori, scultori e architetti (1568) pubblicata di Giorgio Vasari. L\u27attività richiedeva una riscrittura nello stile Vasariano e, nonostante l\u27opportunità creativa nella presentazione, doveva basarsi sulla ricerca ed essere coerente con le idee di Vasari e le circostanze storiche. Ho scelto di concentrarmi sul rapporto tra Leonardo e Isabella d\u27Este, la più eminente mecenate femminile del Rinascimento. Vasari non scrive tanto a proposito questa relazione, ma esistono oltre 28.000 lettere scritte da Isabella d\u27Este, marchesa di Mantova, indirizzate a sovrani, ambasciatori e artisti. Si sa della vita e delle sfide di Isabella, una delle poche donne del Rinascimento a possedere uno studio pieno di opere d\u27arte antiche e moderne. La mia ricerca mi ha portato ad esaminare la rete di relazioni di Isabella dalle famiglie Este ai Gonzaga, i suoi impegni politici e culturali e la sua passione per l\u27arte. Scrivendo delle interazioni di Isabella d\u27Este con Leonardo, ho affrontato l\u27eredità di Leonardo e Isabella e la loro posizione insolita nella società rinascimentale. Il misto di fatti e congetture storiche attorno al quale ruota il mio lavoro è qualcosa che non sarebbe stato possibile con un approccio tradizionale, anche se rimane l\u27acutezza della ricerca accademica
CAR-T Cells in Cancer Therapy: Current Applications and Future Directions
No full textChimeric Antigen Receptor T-cell (CAR-T) therapy has emerged as a promising cancer immunotherapy, offering targeted and sustained anti-tumor responses, particularly in hematological malignancies such as Acute Lymphoblastic Leukemia (ALL) and Multiple Myeloma (MM). Unlike conventional treatments such as chemotherapy or radiotherapy, CAR-T cells are genetically engineered to recognize and kill cancer cells with high specificity. Despite its successes, CAR-T therapy faces limitations, including Cytokine Release Syndrome (CRS), high production costs, and limited efficacy in solid tumors. Current advancements focus on mitigating these challenges through innovative CAR designs, multi-antigen targeting, CRISPR-based modifications, and AI-driven target identification. Additionally, CAR-T applications may extend beyond oncology to infectious diseases and antibiotic-resistant bacterial infections. As global accessibility and cost-effectiveness improve, CAR-T cells are a promising cancer therapy, paving the way for next-generation immunotherapies. This review explores CAR-T’s current applications, limitations, and future directions in precision medicine
L\u27intermédialité institutionnelle: tiercé de travaux multisupports du Service de la photographie
No full textAmong the institutions that supported photographers after WWII, the Still Photography Division (SPD) of the National Film Board of Canada (NFB) distinguished itself by its inherently intermedial approach. Originally established as a service provider for federal government departments, the Division quickly mutated during the 1960s into a protean institution that simultaneously functioned as image bank, photo laboratory, gallery, publisher, press agency, and multimedia project incubator. The books it published thus functioned alternatively as exhibition catalogues, coffee table books, souvenirs, diplomatic gifts, artists’ books, or photobooks.
This paper seeks to understand the cultural ramifications of the kind of photographic work that was championed by the SPD from the late 1960s to the early 1970s by asking the question: Why promote a specific medium, photography, based on its intermedial uses?
I address this paradox through the case study of three co-temporal photographic SPD books: Normand Grégoire’s (b. 1944) Série 4 (1971), Judith Eglington’s (b. 1945) Earth Visions (1973), and John Max’s (1936–2011) Open Passport (1973). All three were produced in a period during which the SPD’s mandate was pivotally redefined away from holding a mirror to Canada and towards fostering contemporary artists. Each of these works was also produced simultaneously for multiple supports—together, they span the domains of book, magazine, portfolio, exhibition, movie, and slide show—thus de-centering and de-hierarchizing media in a manner germane to art and media schools, as well as amateur practices. The works of Grégoire, Eglington, and Max thus point at a long-term narrative of resistance to the museal division of labour between media in the Canadian context and show how photobooks constitute a field to which scholars of the book should more actively contribute.Parmi les organismes qui ont soutenu les photographes après la Seconde Guerre mondiale, le Service de la photographie de l\u27Office national du film (ONF) du Canada s\u27est démarqué par son approche intrinsèquement intermédiale. Fondé à l\u27origine pour fournir ses services aux ministères du gouvernement fédéral, le Service de la photographie s\u27est rapidement transformé au cours des années soixante en une institution protéiforme occupant les rôles multiples de banque d\u27images, de laboratoire photographique, de musée, de maison d\u27édition, d\u27agence de presse et d\u27incubateur de projets multimédias. Les ouvrages publiés sous son égide ont ainsi servi alternativement de catalogues d\u27expositions, de beaux-livres, d\u27ouvrages commémoratifs, de cadeaux diplomatiques, de livres d\u27artistes ou encore de livres photographiques.
Ce texte vise à examiner les ramifications culturelles du type de travail photographique préconisé par le Service de la photographie, de la fin des années soixante au début des années soixante-dix, en posant la question suivante : pourquoi valoriser un médium spécifique, en l\u27occurrence la photographie, en se fondant sur ses usages intermédiaux?
J\u27explore ce paradoxe par le biais d\u27une étude de cas de trois ouvrages photographiques publiés à un moment charnière du Service de la photographie : Série 4 (1971) de Normand Grégoire (né en 1944), Visions terrestres (1973) de Judith Eglington (née en 1945) et Un passeport infini (1973) de John Max (1936–2011). Tous trois furent réalisés à une période où le mandat du Service de la photographie se voyait redéfini de façon cruciale, s\u27éloignant du reflet de la société canadienne pour s\u27orienter vers le soutien aux artistes contemporains. Chacune de ces oeuvres fut également produite simultanément sur différents supports, couvrant tout à la fois le monde du livre, de la revue, du portfolio, de l\u27exposition, du film et de la projection de diapositives. Ce faisant, elles contribuèrent à décentrer et à dé-hiérarchiser le médium comme le font aussi les écoles d’art et les pratiques amateurs. Les travaux de Grégoire, d\u27Eglington et de Max mettent ainsi en lumière un récit de résistance à long terme à la répartition muséale des rôles incombant aux différents supports utilisés, dans le contexte canadien, et soulignent pourquoi les livres photographiques constituent un domaine auquel les érudits du livre devraient contribuer plus activement
McLuhan Up Close and Personal: A Review of Chase Joynt’s Vantage Points: On Media as Trans Memoir (2024, Vancouver: Arsenal Pulp Press, 256 pages)
No full textMcLuhan Up Close and Personal: A Review of Chase Joynt’s Vantage Points: On Media as Trans Memoir (2024, Vancouver: Arsenal Pulp Press, 256 pages
No Mystery that B.W. Powe’s Latest Gathering of Poetry and Prose “Mysteria” Is a Must Read: A Review
No full textNo Mystery that B.W. Powe’s Latest Gathering of Poetry and Prose “Mysteria” Is a Must Read: A Revie
Cooperative Hedging: A Collaborative De-Risking Strategy for Secondary States in the Asia-Pacific
No full textThis paper delves into the evolving dynamics of state behaviour in the Asia-Pacific region, with a focus on interactions between secondary powers. While the discourse on secondary states has traditionally centred on their strategies vis-à-vis great powers, this study highlights the growing cooperation and engagement among secondary states themselves. Drawing on network theory and the economics-security nexus, it argues that globalization has generated power asymmetries, with China emerging as a central hub. This asymmetrical economic interdependence has led to a security deficit, as China leverages its position to achieve strategic goals—a phenomenon termed “weaponizing asymmetric economic interdependencies.” In response, secondary states fearful of compromising their autonomy are increasingly strengthening ties with one another and engaging in cooperative hedging as a de-risking measure, without drastically altering relations with the great powers, because they fear the consequences
Autism and Social Myth: Understanding ASD with Semiotics
No full textIn a world driven by social categorization, autistic individuals often find themselves defined by overly simplistic myths and archetypes. Using a semiotic lens, this work investigates how popular culture, literature, and folklore can contribute to harmful social stereotypes of autism spectrum disorder (ASD). Drawing on theories of Roland Barthes and Carl Jung, I define three autistic myths—"The Computer," "The Otherworldly," and "The Cryptid"—and explain how these archetypes dehumanize autistic individuals and reinforce a negative social stigma. These myths, which depict autistic people as hyper-intelligent and apathetic, naïve and unearthly, or reclusive and monstrous, fail to recognize the complexity of real autistic experiences. Using Saussurean semiotics, I propose that these archetypes are arbitrary cultural constructs, and that altering our current social perceptions can build a greater acceptance of neurodiversity. By examining differing social structures, I display how understanding autistic traits as their own social culture can allow for autistic and allistic people to interact more cohesively. I ultimately advocate for a reconsideration of autism in our social and cultural environments with semiotics at the forefront of this change