98 research outputs found
Burn Down the Zendo
No full textstab binding in the style of a Japanese chomen or account book, with nail for hanging book, housed in a lucite slipcase; prospectus exterior; front cover; interior pages. number 96 in an edition of 110, signed by the author. Designed and printed by Carolee Campbell. Kanji on cover by David Brock. San Zendo means Zen meditation hall or periodic question and answer session between student and teacher (from prospectus)https://digitalcommons.risd.edu/specialcollections_artistsbooks/1018/thumbnail.jp
Exposure to antimicrobial-resistant Escherichia coli through the consumption of ground beef in Western Canada
No full textAntimicrobial Usage in Companion and Food Animals: Methods, Surveys and Relationships with Antimicrobial Resistance in Animals and Humans
No full textAntimicrobial resistance (AMR) is currently a high priority topic for public health and a paradigmatic example of the One Health concept. AMR bacteria flow among humans and animals and actions for fighting the problem must take into account both sectors. Antimicrobial usage (AMU) is one of the potential drivers for AMR. In the animal sector, many national and supra-national authorities (e.g. the European Medicines Agency) have established AMU monitoring programs, most of them being based on sales data of antimicrobials for veterinary use. While providing very valuable information, these data also have limitations and make it difficult to identify by whom, when and how the antimicrobial products were actually used. Different central aspects of AMU monitoring remain to be solved, including, among others: full coverage of both companion and food animal, use of appropriate methods for collection of information at the animal and farm levels and choice of metrics of measurement of AMU and animal populations at risk
Does the Side of Stroke Matter? An fMRI Study on the Role of Stroke Laterality on the Action Observation Network
No full textAbstract
Date Presented 4/1/2017
This poster presents an fMRI study on the role of the action observation network in stroke recovery by examining brain activity differences after left hemisphere stroke and right hemisphere stroke. Our findings suggest that the side of stroke may impact responsiveness to treatment.
Primary Author and Speaker: Kaori L. Ito
Contributing Authors: Sook-Lei Liew, Kathleen Alice Garrison, Panthea Heydari, Mona Sobhani, Julie Werner, Hanna Damasio, Carolee Winstein, Lisa Aziz-Zadeh</jats:p
La post-pornographie comme art féministe : la sexualité explicite de Carolee Schneemann, d’Annie Sprinkle et d’Émilie Jouvet
No full textDans un contexte de pluralisation des stratégies féministes, le développement d’une pornographie féministe, queer, ou encore ce que les Européennes ou Annie Sprinkle appellent la « post-pornographie », peut-il être envisagé comme un projet féministe viable ou même souhaitable? L’auteure présente une analyse de cette création de pornographie critique et féministe, à la lumière du concept de post-pornographie, dans le champ des arts visuels, plus particulièrement des images en mouvements. Elle trace une généalogie de cette pratique à partir de trois oeuvres réalisées à trois moments clés de cette production : le film expérimental Fuses (1965), de Carolee Schneemann, la vidéo Sluts and Goddesses Video Workshop or How to Be a Sex Goddess in 101 Easy Steps (1992), d’Annie Sprinkle, et le film Too much Pussy. Feminist Sluts in Queer X Show (2010), d’Émilie Jouvet.In the contemporary context of multiple feminist strategies, can we conceive of feminist, queer, or post pornography as a legitimate or desirable feminist project? The author analyzes critical and feminist pornography in visual arts (video or film) with respect to the concept of post-pornography. She traces a genealogy of this artistic practice by examining three films made at three different key moments : the experimental film Fuses (1965), by Carolee Schneemann; the video Sluts and Goddesses Video Workshop or How to Be a Sex Goddess in 101 Easy Steps (1992), by Annie Sprinkle; and, Émilie Jouvet’s film, Too much Pussy. Feminist Sluts in Queer X Show (2010).En el contexto de la pluralización de las estrategias feministas, el desarrollo de una pornografía feminista, queer, o lo que las europeas o Annie Sprinkle llamen « post-pornografía » ¿puede ser visto como un proyecto feminista viable o incluso deseable? En este trabajo se presenta un análisis de la creación de la pornografía crítica y feminista, a la luz del concepto de post-pornografía, en el campo de las artes visuales y más particularmente en las imágenes en movimiento. Propongo trazar una genealogía de esta práctica a partir de tres obras realizadas en tres momentos claves de esta producción : la película experimental Fuses (1965), de Carolee Schneemann, la vídeo Sluts and Goddesses Video Workshop or How to Be a Sex Goddess in 101 Easy Steps (1990), de Annie Sprinkle, y la película Too much Pussy. Feminist Sluts in Queer X Show (2010), de Émilie Jouvet
Canadian beef cattle antimicrobial use and associations with antimicrobial resistance in fecal Escherichia Coli
No full textThe research described in this thesis investigated antimicrobial (AM) use practices in beef production in Canada, as well as risk factors for antimicrobial resistance (AMR) in generic 'Escherichia coli' isolated from beef cattle. A study of volunteer cow-calf and feedlot producers was conducted to collect farm-level AM use information, to collect samples for ' E. coli' isolation and susceptibility testing, and to evaluate risk factors for AMR. Oxytetracycline, penicillin, macrolides, florfenicol, and spectinomycin were AMs most commonly used by injection; most commonly used in-feed were monensin, tylosin, lasalocid, and tetracyclines. No isolates were resistant to ceftriaxone, ciprofloxacin, gentamicin, or nalidixic acid, and 66% of total use. The majority of estimated use occurred during the feedlot stage of production (69%). A mathematical model was built to estimate the average probability that cattle complete the feedlot stage of beef production colonized with ceftiofur-resistant 'E. coli' under conditions involving various ceftiofur use practices, different beef production stages, and Canadian beef production conditions. The model estimated an average of 900 kg of ceftiofur was used in 2007 in beef production in Canada (5th percentile 300 kg; 95th percentile 1,921 kg). The probability that a feedlot animal would be colonized with ceftiofur-resistant ' E. coli' at the end of the feedlot stage of production was 1.40 x 10-4 (5th percentile = 1.05 x 10-7; 95th percentile = 7.09 x 10-4). Nationally, this corresponded to 511 feedlot animals in 2007 carrying ceftiofur-resistant ' E. coli' at the end of the feedlot stage (5th percentile = 0; 95th percentile = 2,601)
The Aesthetic Lives of Performers: Rethinking Intermediality in the Films of Yvonne Rainer and Carolee Schneemann
No full textThis article reads together the work of Yvonne Rainer and Carolee Schneemann, as situated between film, performance, as well as dance and painting, considering what their work reveals about a specific intermedial feminist aesthetics developing at this time. It argues these traits in their work are not isolated commonalities but are shared with a wide range of feminist artists working in the 1960s and 1970s and are still echoed in contemporary feminist art. Further the article proposes to think through these intermedial relationalities as a mode of feminist aesthetics. It argues Schneemann and Rainer successfully extend the position of the female body in cinema beyond the traditional role as object to include both an embodied form of authorship, and a complex, affective performance of woman onscreen and provides the historical foundation and influence for my reading of the embodied, intermedial experiments found in feminist experimental film and media in the ensuing decades. The comparative reading of Schneeman’s film Plumb Line and Rainer’s film Lives of Performers index the artists’ shared positioning of their own bodies in the dual roles of performer and author within their films. In my analysis, this aesthetic innovation actively engages with the different embodiments of the artist/performer, the bodies onscreen and the embodied spectator the films address
A critical history of the international art journal Artforum
No full textThe American-based international art journal Artforum has proved one of the most prominent and influential of art history's discursive agencies, playing a critical role in framing, probing, and re-working particular beliefs of art
practice, art history, and art criticism broadly conceived of as 'Modernist' and 'post-Modernist.' This thesis investigates the development of Artforum's critical and historical writing on 'Modernist,' 'post-Modernist,' and feminist issues. It takes Artforum, from 1962 to 1993, as its 'archive' and undertakes a critical history of the journal's personnel, policies, and textual discourse, as
well as its look and design.
The first chapter, "The Language of Another Generation," focuses upon the 'old' Artforum, a concept of the magazine which attempts to articulate a retrospective perception of its critical power from the mid -1960s to the mid'
70s. Specifically, it challenges a conception of the magazine which portrays it as a mouthpiece for Clement Greenberg's theories of Modernist artistic and
critical practices. In attempting to elucidate this misconception of the journal, the chapter makes use of some of Michel Foucault's suggestions for a historical
analysis that focuses on the ruptures, rather than the continuities of Lhe object of study. To this end, the chapter identifies factors which contributed to the
construction of the idea of Artforum as a Greenberg-influenced journal and then locates a discourse working against that idea, a discourse that disrupts Greenbergian Modernism.
Chapter 2, "Shameless Hussies," centres on Artforum's November 1974 and November 1980 issues and questions the journal's gendered biases toward the human figure in art. It considers the magazine's attempt to wrest from body
and performance artists Lynda Bengiis, Lisa Lyon, and Carolee Schneemarln their artistic authority, and documents its struggle to maintain the producer/product, subject/object distinctions that these artists had blurred
through their practices. Indeed, the chapter propounds that Artforum's resistance to images of the female figure waxed when the body represented belonged to the artist herself and, in view of the evidence presented by the
November 1980 issue, waned when artist and body were either distinct identies or male. The chapter concludes with an analysis of whether or not the journal succeded in nullifying the artists' political power by preventing their bodies' final collapse into ambiguous representation. Chapter 3, "Autocritique," looks at Artforum's relationship to certain concepts of post-Modernism through its notable recourses to a self-referential criticality. It discusses examples of the journal's self-reflexivity under the editorships of John Coplans, Ingrid Sischy, and current editor Jack Bankowsky and proposes that the magazine oscillates between working with and exhibiting a Greenbergian notion of Modernist self-criticism on the one hand, and an idea of a post-Modernist deconstructive impulse on the other
Concrete Erotics: Carolee Schneemann’s Parts of a Body House Book
No full textThis presentation proposes to discuss the connections between erotics and the materialities of text in the publishing work of Carolee Schneemann, focusing on her first artist’s book, Parts of a Body House Book (Cullompton, Devon: Beau Geste Press, 1972). A complex literal corpus, the book is a container for a wide array of content ‘culled’ as the artist described, from ‘mounds of related material’ and a repository and guide for the reader to navigate a route through Schneemann’s multi-disciplinary practice. The anthology format of the publication includes long form texts, diary entries, poems, original artworks, scores, charts and correspondence. Through this range of material, Schneemann collated, collaged and extrapolated accounts from herself and others to configure the texts collected in the book, embodying varied and diffuse positions — interlacing the materials established the narrativization of the author as a subject collaged within each passage, framed within and without parenthesis.
Her writing, as with that of her contemporaries such as Kathy Acker, Lee Lozano and Constance DeJong, flowed from libidinal currents, and her habitation of multiple subject positions disentangled the linguistic corralling of traditional narrative associations. This, combined with siting the negation of structure as a strategy against the apparatus of capitalism, was the position adopted by many artists at the beginning of the 1970s as prose writing emerged as a form of conceptual practice, alongside poetry and performance. The performative and disruptive use of grammar and self-citation as modes of verbo-voco-visual materiality within Schneemann’s artist’s book aligns with processes incorporated in her early works, with text as a concrete formation, to be read and vocalised off the page as a materialisation of language spoken to occupy space.
Extending this translation of the emotional form of ‘concretion’ from the context of performance into publishing, the presentation will discuss a more comprehensive relationship between the engagement Schneemann had in presenting reformulations of her body as an ‘aesthetic and emergent political subject in her work’. In Parts of a Body House Book, Schneemann problematises dematerialised strategies such as the index or chart into a formulation of biological conceptualism, where properties such as the artist’s blood were combined within the processes of printing, assembling and editioning — embodied as a particular kind of affective publishing. By locating Schneemann’s eroticism within such typographic procedures it is possible to connect the contents of Parts of a Body House Book, and the eponymous text ‘Parts of a Body House’ (1957-67) to such broader distinctions that differentiate between the epistemology of the archive, through its location as repository, and its function as repertoire, as positioned within the activation of the document as a performative gesture
Emerg Infect Dis
No full textAntimicrobial use contributes to the global rise of antimicrobial resistance (AMR). In 2014, the poultry industry in Canada initiated its Antimicrobial Use Reduction Strategy to mitigate AMR in the poultry sector. We monitored trends in antimicrobial use and AMR of foodborne bacteria (Salmonella, Escherichia coli, and Campylobacter) in broiler chickens during 2013 and 2019. We quantified the effect of antimicrobial use and management factors on AMR by using LASSO regression and generalized mixed-effect models. AMR in broiler chickens declined by 6%-38% after the decrease in prophylactic antimicrobial use. However, the withdrawal of individual compounds, such as cephalosporins and fluoroquinolones, prompted an increase in use of and resistance levels for other drug classes, such as aminoglycosides. Canada's experience with antimicrobial use reduction illustrates the potential for progressive transitions from conventional antimicrobial-dependent broiler production to more sustainable production with respect to antimicrobial use
- …
