4,766 research outputs found
Magdeburg und die umliegende Gegend / von J. C. F. Berghauer
No full textVorlageform der Veröffentlichungsangabe: Magdeburg, bey G. Ch. KeilErschienen: Theil 1 (1800) - Theil 2 (1801
Willensfreiheit
No full textThis book surveys recent debates on freedom of will, incorporating the implications of modern brain research. The author develops an original, capability-based conception of freedom of will. Geert Keil proposes that the well-understood capability for deciding one way or another is reconcilable with the findings of empirical science, but not with the metaphysical doctrine of determinism
Kausalität zwischen Physik und deskriptiver Metaphysik
No full textThe short paper continues a debate on free will, causation and laws of nature between the author and the German philosopher Peter Rohs (opened in a previous issue of the same journal). Both Keil and Rohs are libertarians, but they disagree on a number of metaphysical issues. Keil maintains that causation is a relation between changes, i.e. time-consuming events, not between instantaneous states. Against Davidson’s “principle of the nomological character of causality”, Keil holds that no exceptionless laws subsuming cause-effect pairs exist. He further claims that the primary task of a philosophical theory of causality is to give truth conditions for uncontroversial instances of singular causal statements. This is an exercise in descriptive metaphysics. Causality’s place in advanced physics, by contrast, remains precarious. The paper closes with the incompatibilist claim that deterministic causality, unlike real-world causality, cannot be reconciled with free will
Imaging cortical activity following affective stimulation with a high temporal and spatial resolution
No full textKeil J, Adenauer H, Catani C, Neuner F. Imaging cortical activity following affective stimulation with a high temporal and spatial resolution. BMC Neuroscience. 2009;10(1):83.Background:The affective and motivational relevance of a stimulus has a distinct impact on cortical processing, particularly in sensory areas. However, the spatial and temporal dynamics of this affective modulation of brain activities remains unclear. The purpose of the present study was the development of a paradigm to investigate the affective modulation of cortical networks with a high temporal and spatial resolution. We assessed cortical activity with MEG using a visual steady-state paradigm with affective pictures. A combination of a complex demodulation procedure with a minimum norm estimation was applied to assess the temporal variation of the topography of cortical activity. Results: Statistical permutation analyses of the results of the complex demodulation procedure revealed increased steady-state visual evoked field amplitudes over occipital areas following presentation of affective pictures compared to neutral pictures. This differentiation shifted in the time course from occipital regions to parietal and temporal regions. Conclusion: It can be shown that stimulation with affective pictures leads to an enhanced activity in occipital region as compared to neutral pictures. However, the focus of differentiation is not stable over time but shifts into temporal and parietal regions within four seconds of stimulation. Thus, it can be crucial to carefully choose regions of interests and time intervals when analyzing the affective modulation of cortical activity
Monumenta Asiae Minoris, vol. III. Denkmäler aus dem Rauhen Kilikien herausgegeben von Keil(Jos.) und Wilhelm, (Ad.)
No full textCumont F. Monumenta Asiae Minoris, vol. III. Denkmäler aus dem Rauhen Kilikien herausgegeben von Keil(Jos.) und Wilhelm, (Ad.). In: Revue belge de philologie et d'histoire, tome 11, fasc. 3-4, 1932. p. 766
F. P. Knowlton, 1928
No full textF. P. Knowlton seated at a lab bench, looking at his notebookInscribed "F.P. Knowlton, 1928"Photograph
Regional Urbanisation Processes in Contemporary Italy: Beyond the City, from the Country of One Hundred Cities
No full textOver the last twenty years, a relevant amount of research in Italy has been dedicated to explore urban change, in particular observing the complex interplay between the persistence of the urban territorial patterns inherited from the past and the emergence of new urban phenomena, connected with globalisation processes and their impact on the socio-spatial fabric. The debate on the negative or positive nature of urban transformation is progres¬sively losing its meaning. We have tried to show what the contemporary urban space is in Italy. It is not the deterioration of the modern city or metropolis; it is something else. Images are persistent, and if we continue to name this new socio-spatial phenomenon a city or a metropolis, we may unconsciously incur a number of implicit consequences. If we continue to look for the reconstruction of an order that has been lost forever, we will miss the opportunity to explore the potential and appropriateness of the post-metropolitan space in dealing with emerging soci¬etal challenges
Scale mismatches between predictor and response variables in species distribution modelling: a review of practices for appropriate grain selection
No full textCzech Science Foundation [20-28119S]; Czech Academy of Sciences [RVO 67985939]; REES (Research Excellence in Environmental Sciences) grant from the Faculty of Environmental Sciences, Czech University of Life Sciences in Prague; Margarita Salas contractMoudrý, V., Keil, P., Gábor, L., Lecours, V., Zarzo-Arias, A., Barták, V., Malavasi, M., Rocchini, D., Torresani, M., Gdulová, K., Grattarola, F., Leroy, F., Marchetto, E., Thouverai, E., Prošek, J., Wild, J., Šímová, P
Maria Keil, uma operária das artes (1914-2012). Arte Portuguesa do século XX
No full textTese de doutoramento em Letras, área de História, na especialidade de História da Arte, apresentada à Faculdade de Letras da Universidade de CoimbraEstudar a vida e a obra de Maria Keil é analisar a História e a Arte Portuguesas desde a década de 1930, quando a autora começou a sua
actividade, até 2012, ano em que faleceu. Tendo desenvolvido obra em
diversas áreas artísticas, destacando-se as artes gráficas, publicidade,
ilustração, azulejaria, desenho e pintura, Maria Keil definia-se como uma
“operária das artes”. O corpo de trabalho que nos legou é vasto e diversificado,
pleno de beleza, sensibilidade e humanismo, qualidades que caracterizavam a
personalidade e o traço da artista.
Nascida em Silves em Agosto de 1914, com o início da I Guerra
Mundial, Maria da Silva Pires deixou a terra Natal aos quinze anos de idade
por vontade da família aconselhada por Samora Barros, seu professor na Escola
Industrial, e partiu para Lisboa para frequentar a Escola de Belas-Artes. Após a
conclusão do curso geral, de três anos, frequentou o primeiro ano do curso de
pintura com o pintor Veloso Salgado. Entretanto, conheceu na Escola
Francisco Keil do Amaral, na altura aluno de arquitectura, com quem viria a
casar em 1933. O casamento com Keil do Amaral e a aproximação a um
círculo de amizades que incluía alguns dos mais notáveis intelectuais e artistas
da época, fê-la perceber que “na Escola não se aprendia nada”. Na rua, nos cafés, designadamente na Brasileira do Chiado, em casa de amigos, era nesses
locais que de facto se aprendia e se tinha acesso ao que as vanguardas artísticas
internacionais faziam. Longe dos modelos em gesso e do academismo do
ensino oficial das artes, havia um mundo por descobrir cujos ecos chegavam
timidamente a Portugal, através de revistas e livros estrangeiros ou pela boca
dos poucos artistas nacionais que conseguiam viajar e estabelecer-se fora do
país.
Em 1936, Maria Keil começou a colaborar com o Estúdio Técnico de
Publicidade (ETP), fundado por José Rocha, onde trabalhavam, entre outros,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques e Thomaz de
Mello. No ETP, Maria reaprendeu a desenhar, conheceu uma nova realidade, a
da publicidade, e desenvolveu um grafismo muito próprio, de risco sintético e
estilizado, claramente modernista, que aplicaria, mais tarde, a outras áreas
artísticas.
Esse momento marcou o início da actividade profissional,
multifacetada, da autora. Nas décadas de 1930 e 1940, num contexto político
totalitário, em que a Arte foi colocada ao serviço do regime através da acção do
SPN/SNI, Maria Keil trabalhou, tal como a maioria dos artistas da sua geração,
como decoradora nas exposições internacionais de Paris (1937), Nova Iorque
(1939), São Francisco (1939) e na Exposição do Mundo Português (1940).
Neste âmbito, de referir, ainda, a colaboração com a revista Panorama, a
participação nas Campanhas do “Bom gosto”, a decoração das Pousadas de
Portugal e dos edifícios dos CTT, a realização de figurinos e cenários para a
Companhia de Bailado Verde-Gaio, entre outros. Paralelamente a autora, que sempre se posicionou, tal como o marido e o seu círculo de amizades mais
próximas, do lado da oposição ao regime, chegando a ser presa pela PIDE em
1953 por ter ido receber Maria Lamas ao aeroporto, desenvolveu outros
trabalhos, para clientes privados, muitas vezes amigos pessoais, essencialmente
na área da ilustração. A este propósito, refira-se a forte consciência social e
política de Maria Keil que a levou a defender várias causas, entre as quais, a da
Mulher.
A década de 1950 colocou a azulejaria e a ilustração infantil no seu
caminho, áreas artísticas que desenvolveu de forma notável até ao final da vida.
Casada com o arquitecto responsável pelo projecto do Metropolitano de
Lisboa, Maria fez os painéis de azulejo abstractos, de cariz geométrico, que
decoravam as suas estações. Além do marido, outros arquitectos recorreram ao
seu trabalho na área da azulejaria nos anos de 1950, tendo a autora executado
um conjunto de obras que contribuíram para introduzir decisivamente o
modernismo na azulejaria portuguesa. A partir da década de 1950 e até 2009,
ano da derradeira intervenção de Maria Keil na área da azulejaria, a artista
produziu dezenas de painéis de azulejo, sempre na Fábrica da Viúva Lamego.
A actividade de ilustração infantil começou em 1953, com Histórias da
Minha Rua de Maria Cecília Correia, e continuou, sem parar, até 2010, data em
que ilustrou o livro Florinda e o Pai Natal de Matilde Rosa Araújo, tendo a
autora deixado um legado de cerca de quarenta obras infantis ilustradas.
Paralelamente, Maria Keil foi autora de cartões para tapeçarias, escreveu livros, infantis e para adultos, dedicou-se à fotografia e pintou. A pintura, essencialmente de retratos, embora lhe tenha valido um prémio em 1941, era para a autora uma área de actividade pessoal, que ela não incluía no
seu trabalho profissional, ou seja, Maria Keil não se considerava uma pintora.
No entanto, ao longo da sua vida Maria não deixou de expor, individualmente ou em exposições colectivas, a sua obra de pintura que revela, sobretudo no domínio do retrato, uma elevada qualidade estética e técnica.Studying the life and work of Maria Keil is to analyze the Portuguese
History and Art since the 1930s, when she began working, until 2012, the year
she died. Having developed work until the end of her life, in various artistic
fields, among which stand out the graphic arts, advertising, illustration, tiling,
painting and drawing, Maria Keil defined herself as an “arts worker”. The body
of work she left us is vast and diverse, full of beauty, sensitivity and humanity,
qualities that characterized the personality and trace of the artist.
Born in Silves with the onset of World War I, in August 1914, Maria da
Silva Pires, left her homeland at the age of fifteen-years-old, by decision of her
family advised by Samora Barros, her drawing teacher at the Industrial School,
and left for Lisbon to attend the School of Fine Arts. After completing the
general course of three years, she attended the first year of Painting with the
painter Veloso Salgado. At the school she met Francisco Keil do Amaral, a
student of architecture at the time, with whom she would marry in 1933.
Marriage with Keil do Amaral and approximation to a circle of friends that
included some of the most remarkable intellectuals and artists of the time,
made her realize that "at school no one learned anything". On the street, in
cafes, in particular at Brasileira do Chiado, visiting friends, those were the places where in fact young artists learned and had access to the international
artistic vanguards. Far from plaster models and old methods of art education,
existed a world to discover whose echoes came timidly to Portugal, through
foreign magazines and books or by the words of the few artists who could
travel and settle abroad.
In 1936, Maria Keil began collaborating with Estúdio Técnico de
Publicidade (ETP), founded by José Rocha and where worked, among others,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques an Thomaz de
Mello. In the ETP, Maria relearned how to draw, met a new reality, publicity,
and developed a very own artwork, with a synthetic risk and stylized, clearly
modernist, that she abandoned no more and applied to other artistic areas. From
there began the multifaceted occupation of the author.
In the 1930s and 1940s, a totalitarian political context in which the art
was placed at the service of the regime through the action of SPN / SNI, Maria
Keil worked, as most artists of her generation, as decorator in international
exhibitions, in Paris (1937), New York (1939) and San Francisco (1939), and
the Portuguese World Exhibition (1940). In this context, has to be mentioned
also the collaboration with the SPN’s magazine Panorama and the
participation in campaigns of "Good Taste", decoration of the Pousadas de
Portugal and public buildings, the creation of performing costumes and sets for
the Ballet Company Verde-Gaio, among others. Alongside, the author, who has
always positioned herself, as her husband and her closest circle of friends,
against the regime, eventually being arrested by the PIDE in 1953 for going to
the airport to receive Maria Lamas, developed other work for private clients, often personal friends, primarily in the field of illustration. In this regard,
should be mentioned the strong social and political consciousness of Maria
Keil that led her to defend various causes, including the Women's.
The 1950 placed the tiles and children's illustration in her way, artistic
areas that she developed remarkably from then until the end of her life. Married
to the architect responsible for the design of the Lisbon Metro, Maria made the
abstract tile panels of geometric nature, which decorated the stations. Besides
her husband, other architects resorted to her work in the area of tiles in the
1950s, having executed several works that contributed decisively to introduce
modernism in Portuguese tiles. From the 1950s and until 2009, the year of last
intervention of Maria Keil in the field of tiles, the artist produced dozens of tile
panels, always in Viúva Lamego Factory.
Maria’s activity in the field of children’s illustration began in 1953,
with Histórias da minha Rua, by Maria Cecilia Correia, and continued nonstop
until 2010, with the illustration of Florinda e o Pai Natal, by Matilde Rosa
Araújo. Maria Keil has left a legacy of nearly forty illustrated books for
children. Meanwhile, Maria Keil was author of tapestries, wrote books for
children and adults, made an experience on photography and painted. Painting,
primarily of portraits, though it was worth a prize in 1941, was for her a
personal thing, that she did not included in her professional work, in other
words, Maria Keil did not considered herself a painter. However, throughout
her life, she has not ceased to exhibit individually or in collective exhibitions, her work of painting, which reveals, especially in the field of portraiture, a high
aesthetic and technical quality
Reduction of Pathological Inhibition of Cortical Recativity to Aversive Stimuli in Visual Sensory Areas in PTSD Through Exposure Therapy
No full textAdenauer H, Catani C, Keil J, Aichinger H, Ruf M, Neuner F. Reduction of Pathological Inhibition of Cortical Recativity to Aversive Stimuli in Visual Sensory Areas in PTSD Through Exposure Therapy. PSYCHOPHYSIOLOGY. 2009;46:S98
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