"No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they? Roland Barthes once wrote that color in a photograph is like make-up on a corpse. ...No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate. Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion."
After the end of the Second World War, advertisements have noticeably blossomed along with the progress of Japanese economy. Towards the end of 20th century, advertisements have become a mirror to ...reflect the era and left its footprints greatly in the history of Arts and Culture. As we are now in the 21st century, the transition of the media has changed the purpose and the role of advertisements. By showing you my earlier era’s noticeable advertisements as examples, I would like to reminds you the height of prosperity of the advertisements.
Lancée en 2014 à l’initiative de la maison d’édition espagnole Alkibla, la collection « Te Cuento » propose des réécritures « en mots et en photographies » des contes patrimoniaux. L’actualité de ...l’Espagne du début du XXIe siècle, au coeur des contes de la collection, vient mettre en lumière le potentiel littéraire, artistique et didactique des versions originales.
La photographie médicale, omniprésente en chirurgie plastique, apporte des informations essentielles au dossier médical. Les smartphones sont devenus l’outil privilégié d’acquisition de ces ...photographies, mais posent un problème de sécurité des données. Par ailleurs, la gestion des photographies reste souvent manuelle et chronophage. La suite logicielle Pixacare a donc été conçue pour combler ce besoin en toute sécurité. Elle comprend une application mobile, une web application et un serveur HDS. L’objectif de l’étude était de calculer le temps économisé par l’application Pixacare au moment de l’acquisition des données.
Cette étude prospective et monocentrique s’est déroulée en deux temps afin de chronométrer les durées d’acquisition avec la méthode habituelle et avec l’application mobile Pixacare. Chaque phase comportait 89 patients recrutés en consultation de chirurgie plastique et maxillo-faciale avec quatre chirurgiens. Le nombre de patients et le nombre moyen de photographies par patient étaient comparables pour chaque praticien dans les deux phases.
Le temps d’acquisition des données photographiques était divisé par 3,77 (p<0,001). Avec la méthode usuelle, le temps d’acquisition moyen était de 259 secondes contre 69 secondes avec l’application Pixacare, faisant gagner 3minutes et 10 secondes par patient.
La suite logicielle Pixacare fait donc gagner un temps significatif au chirurgien tout en assurant une sécurité appropriée des données. Cette étude ne prend pas en compte le temps supplémentaire économisé avec l’organisation des réunions médicales, les atouts du partage de photographies entre professionnels de santé et l’efficacité de la messagerie sécurisée.
Medical photography, ubiquitous in plastic surgery, provides essential information to the medical record. Smartphones have become the preferred tool for acquiring these photographs, but cause a data security issue. Furthermore, the management of photographs is frequently manual and time-consuming. The Pixacare software suite has been designed to meet this need in complete security. It includes a mobile application, a web application and a HADS server. The objective of the study was to calculate the time saved by the Pixacare application at the time of data acquisition.
This prospective and monocentric study was carried out in two steps in order to time the acquisition times with the usual method and with the Pixacare mobile application. Each phase included 89 patients recruited in plastic and maxillofacial surgery consultation with four surgeons. The number of patients and the average number of photographs per patient were comparable for each practitioner in both phases.
The acquisition time of the photographic data was divided by 3.77 (P<0.001). With the usual method, the average acquisition time was 259seconds, compared to 69seconds with the Pixacare application, saving 3minutes and 10seconds per patient.
The Pixacare software suite saves the surgeon significant time while ensuring appropriate data security. This study does not take into account the additional time saved by organising medical meetings, the benefits of sharing photographs between healthcare professionals and the efficiency of secure messaging.
Introduction: the use of real images of food portions constitutes a useful and effective tool to help measure the amount of food consumed. Objective: to validate content and visual perception of the ...images of a photographic atlas of food portions designed for Ecuador. Methods: first, eight experts assessed the content in an atlas of food portions, using the Delphi technique. Then, 56 adults (aged 18-59) gave an assessment of their visual perception of about 35 portions of nine selected products. The concordance in the estimation using the atlas versus an estimation without the atlas was evaluated through the intra-class correlation coefficient (ICC), the Bland-Altman graphical method, and a hypothesis contrast. The differences between the real amounts and the estimation were assessed using the Wilcoxon test (p < 0.05). For each of the food items, the percentage of participants who chose the correct photograph, the one directly above or below was calculated. Results: the assessment carried out by experts showed that this instrument is relevant and appropriate. ICC values of between 0.576 and 0.956 were obtained using the atlas, as well as significant differences between the real amounts and the estimation without the atlas (p < 0.001). There was a sufficient correlation between the actual image and its perception for all food items except mayonnaise. The correct photograph was chosen in 66% of 500 estimations. Conclusions: the photographic atlas of food portions for Ecuador is an appropriate tool for helping to estimate the amount of food consumed by adults.
Companion to the exhibition CONGOVILLE, Middelheim Museum, May 2021 – October 2021
One hundred years after the founding of the École Coloniale Supérieure in Antwerp, the adjacent Middelheim Museum ...invites Sandrine Colard, researcher and curator, to conceive an exhibition that probes silenced histories of colonialism in a site-specific way. For Colard, the term Congoville encompasses the tangible and intangible urban traces of the colony, not on the African continent but in 21st-century Belgium: a school building, a park, imperial myths, and citizens of African descent. In the exhibition and this adjoining publication, the concept Congoville is the starting point for 15 contemporary artists to address colonial history and ponder its aftereffects as black flâneurs walking through a postcolonial city.
Due to the multitude of perspectives and voices, this book is both a catalogue and a reference work comprised of artistic and academic contributions. Together, the participating artists and invited authors unfold the blueprint of Congoville, an imaginary city that still subconsciously affects us, but also encourages us to envision a decolonial utopia.
Een eeuw na de oprichting van de École Coloniale Supérieure in Antwerpen nodigt het naburige Middelheimmuseum onderzoeker en curator Sandrine Colard uit om een tentoonstelling te creëren die sitespecifiek peilt naar de stille geschiedenissen van het kolonialisme. Congoville duidt op de zichtbare en onzichtbare stedelijke sporen van de kolonie, niet op het Afrikaanse continent, maar pal in het België van vandaag: een schoolgebouw, een park, imperialistische mythes en burgers van Afrikaanse origine. Doorheen de tentoonstelling en deze bijhorende publicatie is Congoville de context waarbinnen 15 hedendaagse kunstenaars, als zwarte flâneurs op pad in een postkoloniale stad, het koloniale verleden en de impact ervan adresseren.
Door de veelheid aan perspectieven en stemmen is dit boek tegelijk een catalogus en een naslagwerk met zowel academische als artistieke bijdragen. Samen ontvouwen de betrokken kunstenaars en auteurs de blauwdruk van Congoville, een imaginaire stad die ons nog steeds onbewust in haar greep houdt, maar ons ook aanspoort om na te denken over een de-koloniaal utopia.
With contributions by/Met bijdragen van: Pieter Boons, Sandrine Colard, Filip De Boeck, Bas De Roo, Nadia Yala Kisukidi, Sorana Munsya & Léonard Pongo, Herman Van Goethem, Sara Weyns, Nabilla Ait Daoud
Participating artists/Deelnemende kunstenaars: Sammy Baloji, Bodys Isek Kingelez, Maurice Mbikayi, Jean Katambayi, KinAct Collective, Simone Leigh, Hank Willis Thomas, Zahia Rahmani, Ibrahim Mahama, Ângela Ferreira, Kapwani Kiwanga, Sven Augustijnen, Pascale Marthine Tayou, Elisabetta Benassi, Pélagie Gbaguidi
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