Background

ARTE SONORA
Como conhecedora da PRAXIS a mais de 20 anos, posso dizer, sem medo de errar, que, a arte sonora é um exercício e, experimento, que objetiva, por um lado, compartilhar o grande estado de atenção e percepção que o músico trabalha tecnicamente, com as pessoas, através de obras que saiam dos padrões fechados e já estabelecidos para o espaço da música ao longo de muitos séculos.
Criar obras e experimentos interativos em que seja possível perceber, sentir, captar o som em suas qualidades de frequência, timbre, altura, camadas, possibilidades harmônicas e aguçamento da escuta, é também uma proposta de ampliar o "olhar" sobre o som.
"Olhar", sim, pensamos em imagens. Pensamos como apresentar visualmente um trabalho de arte sonora de modo a ampliar a escuta sob um determinado fenômeno.


Performance
A performance é um espelhamento do ser único, individual, num dado contexto. Trazer as pessoas para um contexto pensado poéticamente como narrativa da performance é lhes propor um mergulho no seu próprio - e talvez escondido - ambiente onírico.

Alguns Links:


INSTALAÇÃO

Levar a poética para ocupação do espaço é uma oportunidade que temos de lançar ao público o arrebatamento visual pela obra.

O som percorre o espaço e, os objetos nele dispostos convidam a um olhar expandido.

A tecnologia, é, para o som, como é o pincel e a tinta para quem pinta. Ainda assim, certamente quem pinta, pode compor uma obra sem utilizar suas ferramentas principais.

Desse modo, a instalação é um território livre de experimentação, visto que sempre tende a se moldar e adequar-se a um dado espaço.

Cada um elege os materiais, as cores, as texturas, os elementos, com que mais gosta de trabalhar,  e eu tenho elegido a construção de ambientes imersivos, fechados, para experimentações individuais e coletivas, num formato de laboratório, para investigação de novos recursos, ferramentas, desafios cognitivos e de linguagem.

Pesquisador e Professor da Cadeira de Terapia Ocupacional da Faculdade de Medicina da UFRJ
Doutorado em Artes pela Unicamp


Arte e ciência construindo a interdisciplinaridade digital

Arte e ciência são expressões da cultura humana. A capacidade de observar e criar marcam o homo sapiens sapiens desde sua remota origem.
Uma pergunta logo nos assalta quando começamos a enveredar pelas origens do home: o homem fez a cultura ou a cultura fez o homem?
Podemos pensar que a cultura é uma invenção humana. Ao lermos antropólogos, arqueólogos, filósofos, biólogos temos as mais diferentes respostas a esta pergunta.  A música, o teatro, os ornamentos, a pintura, os rituais. promoveram uma transformação no homem e no mundo mais rápida que a que teríamos simplesmente pela seleção natural que parecia o destino de todas as espécies. 
A cultura tornou-se um espelho que refletia o outro e o conjunto da sociedade na organização do indivídiu da espécie homo sapiens cultus. Troquei um sapiens pelo cultus levando em conta esta ideia que a cultura tem a mesma importância da razão na formação do homem.
Os nossos ancestrais indígenas e africanos criaram formas sofisticadas de espressão cultural, olharam para os mortos e os ornaram e enterraram. Olharam para os céus e criaram 7 céus para cada ancestral numa progressão matemática rica e cheia de símbolos para falar de suas origens, de suas dores, de suas lembranças. Pintaram suas impressões, manipularam percepções e impressões em novas imagens gravadas em cavernas e rochedos. Criaram mitos ou os mitos os criaram em sucessões de histórias que muitas chegam até os dias de hoje em sucessivas transmissões orais.
A ciência como conhecemos é muito jovem e só agora pelos idos dos anos 2000 está conseguindo lançar os alicerces para compreender a cultura, berço que a gerou. Sem a união de arte e ciência no mesmo patamar, movidas por mentes criativas, não vamos conseguir continuar a evolução do ser humano que parte da natureza e precisa usar conhecimento, tecnologia, razão e emoção de forma a poder continuar sua viagem ...  
A cultura do homem agora pode se expressar diretamente em bits transdiciplinares, objetos, ideias, ciência e arte; mas somente sem divisões entre razão e a sensibilidade, arte e ciência poderemos esperar criações mais humanas e menos descartáveis...
Pesquisadora do Instituto D'Or de Pesquisa e Ensino
Mestranda pelo Programa de Pós-Graduação em Ciências Morfológicas
Participação especial prevista para 24/11, sáb, tarde.

Decodificação cerebral: aspectos gerais

A decodificação cerebral consiste em utilizar dados de ativação cerebral, sejam ondas por eletroencefalografia (EEG) ou sinal de oxigenação por ressonância magnética funcional (fMRI), para decodificar o que o participante está imaginando naquele exato momento. Essa técnica começou com EEG e está crescendo muito com a tecnologia de fMRI e ferramentas de neuroinformática.

Referência Scientific American Brasil sobre a decodificação cerebral de padrões visuais

http://www2.uol.com.br/sciam/noticias/voce_ve_o_que_eu_vejo__traduzindo_ondas_cerebrais_em_imagens.html

O trabalho do Gallant que não somente decodifica, como reconstrói as imagens visuais decodificadas.

http://super.abril.com.br/blogs/como-pessoas-funcionam/tag/leitura-de-pensamento/

E esse é Gallant falando sobre o próprio trabalho, com vídeos incríveis!! Mas todos em inglês... ainda assim, vale a pena assistir!!

http://newscenter.berkeley.edu/2011/09/22/brain-movies/

A decodificação cerebral começou com estímulos simples (visuais) e agora já está evoluindo para estados cerebrais mais complexos, como emoções.

Decodificação cerebral emocional e neurofeedback

A partir desse reconhecimento de padrões cerebrais, é possível modulá-los voluntariamente. O participante ou paciente recebe sinais de ativação do próprio cérebro no formato de um termômetro ou um círculo distorcido (como no exemplo desse link) e deve utilizar essa informação para modular (aumentando ou diminuindo) a atividade em determinadas regiões cerebrais.

Esse vídeo é lá do IDOR, mostrando a ativação cerebral em tempo real, e o software desenvolvido internamente no IDOR, que classifica as emoções (positiva ou negativa) em tempo real e fornece feedback para o participante (vídeos).

A porcentagem mostrada na tela representa a acurácia de classificação do software para prever em qual estado cerebral (positivo ou negativo) o sujeito se encontra. Como podemos ver, temos uma acurácia bem alta para distinguir esses estados quando nos baseamos somente em ativação cerebral.



Estimulação cerebral profunda A estimulação cerebral profunda ou DBS (deep brain stimulation) consiste em implantar um chip cerebral, capaz de estimular ou inibir a atividade em determinadas regiões do cérebro. Ele funciona com uma bateria que fica implantada no peitoral do paciente e pode ser ligado e desligado través de um controle remoto. A troca das baterias ocorre aproximadamente depois de oito anos. Inicialmente, esse procedimento foi desenvolvido para tratamento de pacientes com parkinson, mas agora já está sendo aplicada em pacientes com depressão. E o futuro... quem sabe? Esquema geral de como funciona
Exemplo prático de DBS (deep brain stimulation) em um paciente com parkinson (esse foi o único vídeo que encontrei em português, mas tem diversos outros em inglês, se puder também)
Esse é um vídeo completo sobre DBS, mas é todo em inglês.


Não poderá comparecer ao evento Bits, mas disponibilizou as seguintes refs:

* Companhia de Aruanda: Coordenadora, Pesquisadora, Arte Educadora , Dançarina- Atuante
* Ponto de Cultura
* Espetáculo Fuzuê em temporada no Teatro Glauce Rocha


* Abertura do Evento Rio+20. Apresentação para presidenta Dilma Rousseff

* Seminários
Encontro de Cultura Tradicional e Juventude 03/2011
Juventude de terreiros - Herdeiros do axé 04/2011
Bendito Louvado Seja Mestre Darcy do Jongo 08/2012

* Segundo turno Cultural - Educadora 2009-2011
* Espetáculo Orirê – Atriz
* INDEC- Capacitadora da metodologia de implementação da Lei 10.639/03 com material educativo da Cor da Cultura.
* Colônia de Férias da Prefeitura - Coordenadora de Pólo 2009.
* Projeto Tempo Livre - Pesquisadora, Arte Educadora 2008/2009.
* Cia de Dança Brasil Mestiço –Dançarina popular, pesquisadora 2005/2009.
* Clínica de Movimento – Projeto PÉ NA TERRA - Agente Arte Educadora,
Pesquisadora e dançarina popular -2006/2007.
* Colônia de Férias da Animasom no Jóquei - Contação de história e teatro – 2008
* Casa da Cultura da baixada - Professora de danças populares - 2008
* Lançamento do Livro: TEMPORAIS – Performance Cênica - 2008
* Curta metragem - E Tú quem és? – Atriz – 2008.
* Mix Sócio Cultural – Produção, figurinista e coreógrafa – 2008.
* A arte do tempo: África – Exposição de Antonio Olinto – Performance Cênica e
Leitura Dramatizada – Sesc do Flamengo e Sesc de Madureira 2007/2008.
* União Jongueira da Serrinha – Clube Campestre Guanabara – dançarina -2008.
* Tempero Cultural – Produção do evento - 2007
* Escola de Teatro Leonardo Alves - Professora de danças populares e afro – 2007.
* Casa do Bailado – Professora de danças populares e dança afro -2007.
* Revista EPARREI – Modelo fotográfico – 2006.
* Corpo de dança do grupo Rio Maracatu – Dançarina - 2006
* Jongo da Serrinha – Apresentação na gravação do DVD de Bete Carvalho -2006
Temporada no Teatro Carlos Gomes – 2005
* Corpo de dança Lucio Sanfillipo:
Apresentação no MAM – Festa da Embaixada da África do Sul - Dançarina – 2006.
Apresentação na UERJ - Dançarina – 2005
* Stúdio de dança Henrique Nascimento - Professora de danças populares e africanas – 2005.
* CEASM – Programa de Criança Petrobras - Agente Arte Educadora de Expressão corporal e dança popular – 2005 - 2008

* Projeto Quitanda das Letras – Contadora de Histórias - 2004
* Escola de Dança Alice Harja - Professora de Teatro – 2004
* Corpo de dança Lucio Sanfillipo – Dançarina - 2005
* Corpo de dança do Jongo da serrinha – Dançarina – 2005
* Grupo Cultural Afro Reggae – Dançarina - Várias apresentações pelo Brasil; em programas de Tv -
2001 – 2006; e o CLIP da música “Me espere” do 1º CD – Performance Cênica -2003

* Espetáculos teatrais – atriz - Vários de 1997 – 2005:
- Estória de Sapo e outros Bichos – Grupo Teatral Viajantes – 1997 – 1999
- Drácula – Uma estória de amor – 2000
- A Revolta dos brinquedos – 2000
- Pilões e a Pólvora – Cia Chronos de Teatro – 2000 – 2001
- O Misterioso rapto de Flor de Sereno – 2001
- Contos da Cantuária – 2003
- Presiganga - Cia Chronos de Teatro – 2004
- Vira mundo e o Boizinho encantado – Cia Mambembe de teatro de bonecos – 2004
- Mitologia dos Deuses Africanos – 2005`

* PÉ NA TERRA Difusão e Pesquisa em Dança Popular Brasileira – o grupo foi
convidado a convidar o público presente a dançar cantigas infantis, Ciranda, Coco e Jongo, na 4ª Festa do Galo - um encontro do samba "no princípio era a roda", uma
grande homenagem, que o Grupo Galo Canto, faz ao Roberto Moura, autor do trabalho,
autor do trabalho de mesmo nome. O evento foi realizado no Centro Cultural da Ação e Cidadania. (Gamboa/ RJ), Domingo, 25.11.2007

*Cia de dança Brasil Mestiço – apresentações:
- CANECÃO – Agosto/ 2004
- Apresentações particulares em festas, escolas, eventos, etc... – desde 2004
- Festival do café, Vassouras/ RJ - 2006
- CIRCO VOADOR, Lapa/RJ – de 2004 a 2007 (temporadas)
- Apresentações no Teatro Carlos gomes
- Festival de Goiás de Cultura Popular – São Jorge/ GO – Julho/ 2007
- CASA BRASIL MESTIÇO, Lapa/RJ – de 2006 a 2007
- SESC de Campos – 2007
- 5º Festejo do Tambor Mineiro, MG – 2007

* Grupo Popular Mariocas (Tambor de Crioula, Boi, etc.):
- Comemorações de ZUMBI – Dançarina - desde 2005
- Participação no programa Linha direta - Dançarina (Globo) – 2007

* Corpo de dança Lucio Sanfillipo:
- Apresentação no MAM – Festa da Embaixada da África do Sul - Dançarina – 2005.
- Apresentação na UERJ - Dançarina – 2005

* Encontro de Jongueiro:
- Santo Antônio de Pádua, RJ – 2005
- Piquete, SP – 2008
- Quilombo São José, Valença/RJ – 2008

* Cortejo - Rio Maracatu – brincante – de 2005 - 2007

* C.E. Guadalajara – Oficineira de dança afro na XII Jornada Pedagógica – 2006

IV. CURSOS DE APERFEIÇOAMENTO
* Curso de \extensão da UFRJ (Em Curso)
http://www.universidadedasquebradas.pacc.ufrj.br/showcase/ana-cristina-sant%C2%B4anna-da-silva/

* Curso de Artes integradas – TEAR
* Curso de Arte Educação – TEAR
* Oficina de Danças Populares e dança afro - Direção: G’lleu e Luciane Menezes.
* Oficina de Danças Populares - Direção: Gustavo Pereira
* Oficina de Manipulação de Bonecos - Direção: Bruno Pena Firme
* Oficina de Clown - Direção: Leonardo Carnevalle

Ana Cristina Sant´Anna da Silva
Data da participação Bits: 23 sex, manhã.

http://www.simonemichelin.com/
É artista visual, pesquisadora e professora da Escola de Belas Artes da Universidade Federal do Rio De Janeiro. Incorpora tecnologias de comunicação e imagem, fotografia, vídeo, sistemas computacionais e construções arquitetônicas em sua produção. Doutora em Artes Visuais e pesquisadora independente com a bolsa VIRTUOSE de Cultura, SAC/MINC, na Temple University PA/USA, 1998/99. Integra ainda o programa CAIIA-STAR – University of Plymouth/UK (http://www.caiia-star.net/people/) 1999-2000 e é membro da ANPAP (Associação Nacional dos Pesquisadores em Artes Plásticas). Representada pela galeria A Gentil Carioca, participou recentemente de mostras no OI Futuro, RJ, na 7a Bienal do MERCOSUL, 10ª Bienal de Havana, ARCO 08, Paço Imperial, RJ, Tate Modern, UK, Instituto Tomie Othake, SP, Galerie Haut Pave, France, Museo José Luis Belo y Gonzalez, México, ZKM Zentrum für Kunst und Medientechnologie, Alemanha, Daniel Reich Gallery, New York, entre outros.
Sou Designer Gráfica, publicitária e desenhista, mão livre e digital.
Sou também Redatora e escritora, com livro sobre Criação Publicitária publicado. Com esta união textoXimagemXmodernidade, me tornei videomaker amadora e desenvolvi um projeto autoral na web.

Tags: tv online, denisekosta, cristina hare, tv hare, tvhare.com, tvweb, novidade, vídeo, internet, controle-remoto, segmentação, roteiro, diferente.

Seguem alguns links:

1)
www.tvhare.com
Essa é a TV online que criei e desenvolvo junto com minha irmã Cristina Hare.

Um espaço digital que surgiu com o intuito de podermos veicular de modo independente nossas produções audiovisuais. Logo, muitas pessoas começaram a pedir para participar dos esquetes que fazíamos... Temos amigos que estão conosco praticamente desde o início: Vinícius Melich, Alexandre Longo, Alexandre Belluno, Lucian Kosta e Thiago Boa.

Além dessa turma que topa todas "sem verba", já contamos hoje com mais de 300 artistas e mão de obra voluntária, entre produtores, iluminadores, diretores, etc.

A TV Hare já foi clicada por mais de 30 diferentes países e contabiliza a marca de mais de um milhão e meio de hits assistidos ao longo desses quase dois anos de "existência".

A TV tem plataforma exclusiva, não seu utiliza de outros sites como tube ou vlogs.

É 100% gerenciada de modo independentem e oferece uma espécie de controle remoto que fica ao lado da tela, regulado por assunto e áreas de interesse.

A programação randômica, ininterrupta, que pode ser alterada por cliques sobre o controle.

A maior vantagem de se estar na TV HARE em relação a outros sites que aceitam postagens de vídeos é que a TV HARE funciona como um ponto de encontro
digital...

"Se participo da novela, meus amigos vêm me assistir e te assistem também, assim como seus amigos e os de outros me assistem. Não é uma ação isolada nem solitária. É todo mundo divulgando todo mundo."

São diversos canais, onde escolhe-se entre minimetragens, seriados e até uma novela que batizamos de "Webcapts" - que são os Capítulos para a web).

São 30 capítulos de em média 3 minutos cada, que jamais saem do ar*, por isso também a chamamos de "Novela Self Service", porque o "webespectador" é quem decide a ordem dos capítulos e quando deseja assisti-los.

Os primeiros webcapts do mundo chamam-se GEMMINIES, e contam a história de irmãs geneticamente idênticas, mas, que tiveram suas fichas trocadas antes do nascimento,
sendo,portanto, gêmeas de pais e mães diferentes. Quando o "Chefe" descobre a troca, 25 anos já se passaram e ele envia seus agentes para desfazer a confusão".

Entre os minimetragens temos: You, a história de um ladrão de almas SUBUMANOS Manifesto Avesso e Nunca mais ou para sempre

Obs .: 98% da programação da TV HARE é gravada com máquina fotográfica digital simples, editada e legendada com formato de programas de tv aberta, adaptados para o meio virtual.

Recebemos constantemente vídeos de outros estados de artistas que querem divulgar seus projetos e aceitamos, desde que sejam videos exclusivos e o interlocutor diga algo do tipo: Eu estou na TV HARE.

Recebemos, também, dezenas de currículos e pedidos de atores para participar da TV, mesmo que voluntários.

Infelizmente, não podemos atender a todos nem temos mais produzido conforme gostaríamos por falta de verba, já que a edição é uma sobrecarga muito forte e
precisamos terceirizar a mão-de-obra.

De todo modo, seguimos como dá! E não vamos mais parar!

Tem o blog, com entrevistas e fotos de algumas produções:
www.tvharecom.blogspot.com

2) PROGRAMA 29
www.tvhare.com/29.html
2.9 é um programa em quatro edições, vencedor do edital de microprojetos da Secretaria de Cultura RJ, produzido e veiculado em canal exclusivo da TV Hare.
Destina-se a incentivar os jovens acerca de seus talentos, em profissões geralmente não muito incentivadas pelos adultos: música, futebol, direção de arte e teatro,
com dicas de como proceder e onde buscar oportunidades.

3) FAÇO TAMBÉM VÍDEOS, A PARTIR DOS MEUS DESENHOS:

Tem um chamado entremeios, neste link das Quebradas:
http://www.universidadedasquebradas.pacc.ufrj.br/sintese-estetica/

4) Tem meu blog e meu site, que estão sendo reprogramados:
www.denisekosta.webs.com
www.denisekosta.blogspot.com

Bem...
clicando no controle da TV HARE você vai assistir a dezenas de coisas. Tirando os que vieram de outros estados, praticamente todos são de roteiros assinados e dirigidos por mim e apresentados por Cristina Hare.


BACKGROUND For the first decade since reaching a final position at Federal University of Rio de Janeiro during conclusion of my PhD, by the end of the nineties, my investigative fronts concentrated in intercellular communication and developmental neuroscience. Ahead of a mounting developmental neuroscience laboratory, formal training, formal thoughts lead to a period of intense battle for low cost and creative methodologies to address experimentally the hypothesis that low resistance pathways between neural cell types, including neurons and glial cells, were co-players in neural circuit formation and early brain development in model rodents. Papers in specialized journals, invited reviews, lectures in scientific meetings, organization and coordination of national and international courses, graduate students formation in traditional Master and PhD Programs, all marked this period, as expected from regular choices in the scientific scenario.

THE EMERGENCE OF AN ARTSCI PROPOSAL Since 2008, nevertheless, I have been impacted by the expression and consolidation of a turning point in my intellectual and research interests. What one would arguably classify as a new sight to science has its roots on strong personal experiences in my private life, together with remarkable lessons extracted from mine and lab colleagues joint efforts in reductionist science. My direct involvement with undergraduate teaching of the human functional anatomy of the ear and speech systems to students in Phonoaudiology, since the early 2000s, was marked by two apparently non-related, albeit worthnoting, evidences: the great difficulties imposed by complex technical, descriptive scientific objects and the conflicting (usually hidden) existential link between the individual and scientific objects, specially those experienced in the day-by-day of a Laboratory of Anatomy, where practical classes are developed onto human pieces, in this case including preserved faces.

It became more and more appealing to me the idea that both cognitive and non-cognitive brain processes, the latest in the category of rejected experiences in the scientific methodological foreground, were in fact indelibly linked for the benefit of science creation and scientific findings. These undergraduate laboratory tours became metaphors of the human condition I recognized in science, in that not only cognitive, but also affective-emotional processes might have much more to do with conceptual creation, apprehension and theoretical/experimental evaluation in science than ever assumed. I did not fully realize, in these early years, I was enthrapped into a new critical platform for consideration of epistemological and ontological basis that presumably anchors science. From a field of truth findings to a field of argued consensual creations, science was re-meant for me. A point of no return.

Boosted by the reconceptualization of the meaningfulness of scientific knowledge, by the end of 2007, I decided to create an inter- (I would risk 'trans') disciplinary team, called Anatomy of Passion, a poetic reference to the human nature of science (http://anatomiadaspaixoes.blogspot.com/), and the corresponding Laboratory of Experimental Epistemology. The hypothesis claimed by my group, including neuroscientists, a team of academic and independent contemporaneous artists, researchers from humanities, engineers and philosophers, is that aesthetical valorization in science paradigms would lead to optimization of its cognitive handling, as expressed as scientific conception and intellectual insight. We have began to address this possibility both theoretically as well as experimentally, by electing one of our biological sensory apparatus as model system, in a convenient attempt to explore the filters that mediate our perception of the objective world and of the objective science, while revealing an undeniable individual, subjective character of sensorial experience.

The intricate anatomical organization of the human auditory system, from its peripheral stations to central nervous system associative areas, was the scientific object of choice in many theoretical and all experimental fronts held by the group during those first four years. The emerging hypothesis was that subjective access, qualification and signification of the perceptual experience would be fostered or emphasized by direct artistic interference on anatomical aesthetics. Moreover, that morphofunctional appreciation and problematization would be favored this way. With this hypothesis in mind, I was faced to the challenge of re-creating a referential collection of artsci pieces concerning the human ear anatomy. Pieces comprised both concrete objects and conceptual figures strongly framed and/or conceived with artistic impregnation, as to establish a model system. This enabled us to test our claims about putative benefits of an artsci combination on the cognitive handling of science, in our experience represented by the human auditory functional anatomy.

During these last years, punctuated by great efforts in order to create an almost complete collection of artsci experimental pieces (by the end of 2011, summing up around 50 individual and a series of artsci pieces, and growing), we have been actors of the emergence of a new laboratory, and implicitly, a new autoscopic paradigm for human cognitive  evaluation, in which a metaphor of cognition, as applied to science, turned out to be the investigative object of choice. Post-mortem anatomical pieces of the human auditory system are contextualized in contemporaneous artistic anatomy. For such, a first, funding step was the development of novel technoartistic illumination tools, based on LEDs, negro lights and tungsten microlamps, as contributed by Alan Verissimo Azambuja, enabling us an innovative exploration of biological tissue transparency, explored with a miriad of light incidence effects and photographic resources. Our collection also includes anatomical preparations, sculptures and sculptural supports for anatomical positioning of biological pieces, anatomical design, video art, techno art, and artistic photography, software development for experimental perception (audiovisual pseudosynesthesia evaluation – in course), poetics (literary and musical), scenography projects and particular scenotechnical solutions, digital 3D projection maps, design and performance, all centered in human audition at anatomical and neurobiological standpoints.

In 2007, the Institute of Biomedical Sciences Graduate Program of Morphological Sciences, to which I was credited as researcher and advisor since 2000, declared non textually my withdrawal, claiming my new research interests and my production were not technically and conceptually fitted to the excellence criteria advocated by the graduate program. The remaining two students I had under shared-advisory at this moment had their academic doctoral (2009) and master conclusions unaffected (2008). In two consecutive rounds (between 2008 and 2009), selected artsci fronts were contemplated by emerging Institute of Biomedical Sciences grant programs, in the categories of outreach and undergraduate relevant activities. The investment in my interdisciplinary research into the limits of my Institute emptied out, while grants were consistently raised at recognized research funding agencies, and this paralleled my own proactive movement out of its walls.

Our artsci initiatives have then been gradually and coherently displaced from the Institute of Biomedical Sciences, gaining intercentric academic collaborators and students, accompanied by increasing local academic, regional and national recognitions, as attested by more than 15 thousand access to web material of the group (from lectures and interviews to exhibitions and art pieces; refer to ANATOMIA DAS PAIXÕES as keyword), together with several articles in magazines as exemplified by Scientific American Brain and Mind (Brazilian edition Aug 2009 and 2011), online journals, printed national circulation newspapers, interviews and native language national research publications, contributions to international neuroscience congresses and interdisciplinary meetings. During this while, our group productions have been stamped by broaden interdisciplinary programs and institutions, in UFRJ and beyond, as evidenced by my present affiliations (refer to Summary above) and attested by renewed concession of grants from university outreach programsas well as federal and state outreach and experimental research grants provided by the Ministries of Education and Culture, CAPES and CNPq, and FAPERJ.

Culminating these interdisciplinary and intercentric expansion, my affiliation as a permanent member of the interdisciplinary Graduate Program of History of Sciences and Techniques and Epistemology (UFRJ), a joint Program involving the Centers of Technology, Math and Natural Sciences and Philosophy and Human Sciences, with master and doctoral students under my advisory, and recently my new permanent position as Professor and Research Director at the Tercio Pacitti Institute of Computational Applications and Research (CCMN/UFRJ).

This laborious phase involved, until 2012, 26 undergraduate scholar students from Fine Arts to Engineer, from Biophysics to Chemistry, under my direct academic advisory and institutional responsibility, for instance co-oriented by colleagues in the corresponding fields of origin. Students were trained in public outreach, artistic, technological and scientific investigative fronts of our interfacial project. Mostly due to artistic treatment, our artsci growing collection turned out to be easily exploitable and aesthetically impacting, motivating us to contextualize it in outreach activities of the group. These included four exhibitions for a macro-category of general public, which took place at museums of  science (Casa da Ciência, Rio de Janeiro 2008 and Espaço Ciência Viva during the 2010 Brain Awareness Week at Rio), and arts (Museu de Arte Moderna, Rio de Janeiro 2010 and Centro Cultural Galpão da Ação da Cidadania, Rio de Janeiro 2011). Exhibitions were also held in neuroscientific meetings, including audiovisual presentation at the international interdisciplinary Symposium Art and Science: exploring the limits of human perception (Benasque – Spain 2009), and an integrated scenographic artistic exhibition as part of the satellite artsci event organized by our team during the Brazilian Society of Neuroscience and Behavior Meeting (Caxambu 2010), which results were recently summarized and presented in SfN 2011, gaining the referential indication as a 2011 SfN Hot Topic. In addition, two consecutive selections (2010 and 2011) in the honored category of Special Projects granted by the main scientific funding agency of the state of Rio de Janeiro, FAPERJ, a major contributor during this five year period (10 grant approvals). Some minor exhibitions were also held, mainly restricted to academic public.

In addition to exhibitions, and mostly reflecting an intellectual demand for emergence of a critical inspirational and theoretical mass aimed to feed this emerging problematization field, which I refer, tentatively, as experimental epistemology, we have also conceived, coordinated, produced and organized interdisciplinary events in the period, including the first two editions of the biennial SCHOOLS OF PERCEPTION (2009, 2011), one artsci Satellite Meeting (MAIS QUE A RAZÃO DO BELO: UMA SENSÍVEL CIÊNCIA/MORE THAN REASON IN BEAUTY: A SENSITIVE SCIENCE, Caxambu 2010), a honor meeting including history of science (entitled ANATOMIA DAS PAIXÕES: UM REENCONTRO DAS ARTES E DAS CIÊNCIAS NAS FORMAS PLÁSTICA E MUSICAL/ANATOMY OF PASSION: A REENCOUNTER OF ARTS AND SCIENCES IN PLASTIC AND MUSICAL FORMS, Rio de Janeiro 2008), and a permanent discussion round table (HIGHTECHLOWTECH collective) adjoining, once a week, professionals of the society (artists, engineers, system analysts, designers, producers, physicists) with neuroscientists and educators of the academy, to explore technological and artistic creative boundaries. More recently, our team has conceived, produced and coordinated an unusual artsci program, as an intervention for artsci epistemological problematization at the Vth Congress in History of Sciencies and Epistemology - Scientiarum Historia V/UFRJ - and a Symposium in Digital Arts and Media: Transdisciplinary Bits, which consisted in arts and technological digital embraces as signified at neuroscientific, computational theoretics, epistemological and artistic forced horizontal crossboundaries. In next September 2013, an artsci experimental workshop proposal, SBNeC . UFMG . artsci 2013 will enhance our list of provocative models for scientific inspiration, critics and innovative creation.

Always conceived as epistemological provocations, meetings included lectures, courses and forum, especially designed to discuss interfaces between arts, (neuro)science and philosophy, and combined, whenever possible, hybrid artsci practical modules, including immersive exhibitions (mentioned above), as well as interferential performing executions. All activities have in common their convergence to the conceptual complexity of human perception, onto biological, cognitive, philosophical and artistic grounds. In alternative formats, marked by interactive conferences, debates and workshops, researchers, artists and general public are usually invited to force innovative sights to human perception as well as to deepen, update and broaden the interdisciplinary discussion concerning the epistemological, artistic and scientific predictions of perception and cognitive handling, hypothetically involved in science creation itself.

By the end of 2009, provided with an incomplete, albeit substantial collection of artistic material and immaterial ear and sound related pieces, a first round of three consecutive, replicated and complementary experiments started, through which cognitive gain in groups of volunteers was evaluated, making use of technical questionnaires and scales in response to two modeling classes of the human ear anatomy: traditional (classical anatomical aesthetics and formal presentation) versus experimental (artistic aesthetics and non-formal presentation). Experimental classes were completed in the late 2010. We are presently analyzing the statistical significance of our data, which partial results have been presented at local and national neuroscientific meetings.
Graduated in Biological Sciences (Biomedicine - Biophysics) from the State University of Rio de Janeiro (1988), Master of Sciences (Biophysics) at the Federal University of Rio de Janeiro (1992) and PhD in Biological Sciences (Biophysics), Federal University of Rio de Janeiro (1997). Postdoc Scholar at Collège de France (Chaire de Neuropharmacologie) in 1999. Associate Professor at Federal University of Rio de Janeiro since 1998 (Assistant Prof. from 1996 to 1998). Formal training and experience in Biophysics and Cell Biology, with emphasis on Cellular Neurobiology. Leader investigations in basic experimental science cover gap junctional intercellular communication in neuronal and glial arrays and neural development. After five years of partial retreat of my activities in basic research (2003-2007), I have turned my intellectual emphasis and production mostly to an original Art/Science interface, settled up onto both experimental and epistemological grounds. I am presently the Coordinator of the interdisciplinary group Anatomy of Passion, founder and head of the corresponding Laboratory of Experimental Epistemology, co-founder and
staff-member of the Laboratory of Cellular Neuroanatomy, co-founder of the Rio SfN Chapter, member of the Head Committee of the Advanced Program in Neuroscience, tenured professor of the Graduate Program in History of Sciences and Techniques and Epistemology, Professor at the Institute Tercio Pacitti of Computational Applications and Research, associate researcher of the Program of Contemporaneous Advanced Culture, and member of the transdisciplinary program Alexandria (Dean of Graduate Studies and Research PR-2), all Institutional entities and/or Research Program of the Federal University of Rio de Janeiro.
http://lattes.cnpq.br/3588792476990568
Maira Froes

ANATOMIA DAS PAIXÕES

MAIRA MONTEIRO FRÓES
Research Director

Laboratory of Experimental Epistemology

Advanced Program of Neurosciences
Advanced Program of Contemporaneous Culture
Graduate Program of History of Sciences and Techniques and Epistemology
Federal University of Rio de Janeiro . Rio de Janeiro . Brazil


ABOUT MAIRA FRÓES                       
Graduated in Biological Sciences (Biomedicine - Biophysics) from the State University of Rio de Janeiro (1988), Master of Sciences (Biophysics) at the Federal University of Rio de Janeiro (1992) and PhD in Biological Sciences (Biophysics), Federal University of Rio de Janeiro (1997). Postdoc Scholar at Collège de France (Chaire de Neuropharmacologie) in 1999. Associate Professor at Federal University of Rio de Janeiro since 1998 (Assistant Prof. from 1996 to 1998). Formal training and experience in Biophysics and Cell Biology, with emphasis on Cellular Neurobiology. Leader investigations in basic experimental science cover gap junctional intercellular communication in neuronal and glial arrays and neural development. After five years of partial retreat of my activities in basic research (2003-2007), I have turned my intellectual emphasis and production mostly to an original Art/Science interface, settled up onto both experimental and epistemological grounds. I am presently the Coordinator of the interdisciplinary group Anatomy of Passion, founder and head of the corresponding Laboratory of Experimental Epistemology, co-founder and staff-member of the Laboratory of Cellular Neuroanatomy, co-founder of the Rio SfN Chapter, member of the Head Committee of the Advanced Program in Neuroscience, tenured professor of the Graduate Program in History of Sciences and Techniques and Epistemology, associate researcher of the Program of Contemporaneous Advanced Culture, at the Forum of Science and Culture, and member of the transdisciplinary program Space Alexandria (Dean of Graduate Studies and Research PR-2), all Institutional entities and/or Research Program of the Federal University of Rio de Janeiro.
Area: Interdisciplinary: Neuroscience, Art, Epistemology.

AN ANATOMY OF PASSION

BACKGROUND For the first decade since reaching a final position at Federal University of Rio de Janeiro during conclusion of my PhD, by the end of the nineties, my investigative fronts concentrated in intercellular communication and developmental neuroscience. Formal training, formal thoughts lead to a period of intense battle with low cost and creative methodologies to approach the hypothesis that low resistance pathways between neural cell types, including neurons and glial cells, were co-players in neural circuit formation and early brain development in model rodents. Papers in specialized journals, invited reviews, many participation in scientific meetings, organization and coordination of national and international courses, graduate students formation in traditional Master and PhD Programs, marked this period, as expected for regular choices in the scientific scenario.

THE EMERGENCE OF AN ARTSCI PROPOSAL The last five years, nevertheless, were definitely marked with the consolidation and expression of a turning point in my intellectual and research interests. What one would arguably classify as a new sight to science has its roots on strong personal experiences in my private life, together with some remarkable lessons extracted from mine and lab colleagues joint efforts in reductionist science.  Ahead of a mounting developmental neuroscience laboratory, my direct involvement with undergraduate teaching of human functional anatomy of the ear and speech systems to students in Phonoaudiology, since the early 2000s, was marked by two apparently non-related, albeit worth noting, evidences: the great difficulties imposed by complex technical, descriptive scientific objects and the conflicting (usually hidden) emotional link between the scientific object and the individual, specially experienced in the day-by-day of the multiuser Laboratory of Anatomy, at my institute, when practical classes are developed onto human pieces, in my case including more or less preserved faces.

It gradually turned out for me that both cognitive and non-cognitive brain processes, the latter in the category of human rejected resources of scientific methodological foreground, were in fact indelibly linked to growth of science as a knowledge field. These undergraduate laboratory tours became a metaphor of the human condition in science, in that cognitive, and hypothetically also, affective-emotional processes might have much more to do in conceptual creation, apprehension and theoretical/experimental evaluation in science than ever assumed. I did not fully realize, in these early years, I had been driven towards a new critical platform for the consideration of the epistemological and ontological basis that presumably ground science. From a field of truth findings to a field of argued consensual creations, science was re-meant for me. A point of no return.

Boosted by the reconceptualization of the meaningfulness of scientific knowledge, by the end of 2007, I decided to create an inter- (rather trans) disciplinary team, called Anatomy of Passion, a poetic reference to the human nature of science (http://anatomiadaspaixoes.blogspot.com/), and the corresponding Laboratory of Experimental Epistemology.   The hypothesis claimed by my group, including neuroscientists, a team of academic and independent contemporaneous artists, researchers from humanities, engineers and philosophers, is that aesthetical valorization, and even redefinition of science paradigms would lead to optimization of cognitive handling in science, as expressed as scientific conception and intellectual insight. We have began to address this possibility both theoretically as well as experimentally, by electing one of our biological sensory apparatus as model system, in a convenient attempt to explore the filters that mediate our perception of the objective world and of the objective science, while in themselves sources for reflecting about the undeniable individual, subjective character of sensorial experience.  

The intricate anatomical organization of the human auditory system, from its peripheral stations to central nervous system associative areas, was the scientific object of choice in many theoretical and all experimental fronts held by the group during these first four years. The emerging hypothesis was that subjective access and qualification of the perceptual experience and signification would be fostered or emphasized by direct artistic interference on anatomical aesthetics. Moreover, that morphofunctional appreciation and problematization would be favored this way. With such a hypothetical ground in hand, I was faced with the challenge of re-creating a referential collection in ear anatomy, comprised of both concrete objects and conceptual figures strongly framed and/or conceived with artistic impregnation, as to establish a model system for testing our cognitive handling in human functional anatomy. Our claims concerning the putative benefits of artsci combination could be addressed experimentally.

Our last years were, therefore, marked by a great effort to create an almost complete collection of artsci experimental pieces (by the end of 2011, summing up around 50 individual and series of artsci pieces), tooling us up with a new laboratory and a new paradigm for human cognitive evaluation, in which a metaphor of cognition, as applied to science, turns out to be the investigative object of choice. Post-mortem anatomical pieces of the human auditory system were contextualized in contemporaneous artistic anatomy. For such, a fundamental step was the development of novel technoartistic illumination tools, based on LEDs, negro lights and tungsten microlamps by Alan Verissimo Azambuja (corresponding technical international publication in course of preparation) applied to an innovative exploration of biological tissue transparency developed by the group, taking advantage of light incidence and photography imaging studies. Our collection also includes anatomical preparations, sculptures and sculptural supports for anatomical positioning of biological pieces, anatomical design, video art, techno art, and artistic photography, software development for experimental perception (audiovisual pseudosynesthesia evaluation – in course), poetics (literary and musical), scenography projects and particular scenotechnical solutions, digital 3D design and performance, all centered in human audition at anatomical and neurobiological standpoints.

In 2007, the Institute of Biomedical Sciences Graduate Program of Morphological Sciences, to which I was credited as researcher and advisor since 2000, declared non textually my withdrawal, claiming my new research interests and my production were not technically and conceptually fitted to the excellence criteria advocated by the graduate program. The remaining two students I had under shared-advisory at this moment had their academic doctoral (2009) and master conclusions unaffected (2008).  In two consecutive rounds (between 2008 and 2009), selected artsci fronts were contemplated by emerging Institute of Biomedical Sciences grant programs, in the categories of outreach and graduate relevant activities. The investment in my interdisciplinary research into the limits of my Institute emptied out, and this also included my own proactive movement out of its walls.   

Our artsci initiatives have then been gradually displaced from the Institute of Biomedical Sciences, gaining intercentric academic collaborators and students, accompanied by increasing local academic, regional and national recognitions, as attested by more than eight thousand accessions to web material of the group (from lectures and interviews to exhibitions and art pieces; refer to ANATOMIA DAS PAIXÕES as keyword), together with several articles in magazines as exemplified by Scientific American Brain and Mind (Brazilian edition Aug 2009 and 2011), online journals, printed national circulation newspapers, interviews and native language national research publications, contributions to international neuroscience congresses and interdisciplinary meetings. During this while, our group productions have been stamped by broaden interdisciplinary programs and institutions, in UFRJ and beyond, as evidenced by my present affiliations (refer to Summary above) and attested by national grants provided by the Ministries of Education and Culture (PROEXT 2010), CAPES and CNPq 2011 (for participation in international congress) and by university outreach programs (PIBEX/PR-2/UFRJ 2009, 2010, 2011). Culminating these interdisciplinary and intercentric expansion, my affiliation as a permanent member of the interdisciplinary Graduate Program of History of Sciences and Techniques and Epistemology, a joint Program involving the Centers of Technology, Math and Natural Sciences and Philosophy and Human Sciences, with two master and two doctoral graduate students under my advisory from March 2010 on, whose theses converge to art and/or science epistemology.    

This laborious phase involved 26 undergraduate scholar students from Fine Arts to Engineer, from Biophysics to Chemistry, under my direct academic advisory and institutional responsibility, for instance co-oriented by colleagues in the corresponding fields of origin. Students were trained in public outreach, artistic, technological and scientific investigative fronts of our interfacial project. Mostly due to artistic treatment our artsci growing collection turned out to be easily exploitable and aesthetically impacting, motivating us to contextualize it in outreach activities of the group. These included four exhibitions for a macro-category of general public, which took place at museums of science (Casa da Ciência, Rio de Janeiro 2008 and Espaço Ciência Viva during the 2010 Brain Awareness Week at Rio), and arts (Museu de Arte Moderna, Rio de Janeiro 2010 and Centro Cultural Galpão da Ação da Cidadania, Rio de Janeiro 2011). Exhibitions were also held in neuroscientific meetings, including audiovisual presentation at the international interdisciplinary Symposium Art and Science: exploring the limits of human perception (Benasque – Spain 2009), and an integrated scenographic artistic exhibition as part of the satellite artsci event organized by our team during the Brazilian Society of Neuroscience and Behavior Meeting (Caxambu 2010), which results were recently summarized and presented in SfN 2011, gaining the referential indication as a 2011 SfN Hot Topic. In addition, two consecutive selections (2010 and 2011) in the honored category of Special Projects granted by the main scientific funding agency of the state of Rio de Janeiro, FAPERJ, a major contributor during this five year period (10 grant approvals). Some minor exhibitions were also held, mainly restricted to academic public.  

In addition to exhibitions, and mostly reflecting an intellectual demand for emergence of a critical inspirational and theoretical mass aimed to feed this emerging problematization field I refer tentatively as experimental epistemology, we have also conceived, coordinated, produced and organized interdisciplinary events in the period, including the first two editions of the biennial SCHOOLS OF PERCEPTION (2009, 2011), one artsci Satellite Meeting (MAIS QUE A RAZÃO DO BELO: UMA SENSÍVEL CIÊNCIA/MORE THAN REASON IN BEAUTY: A SENSITIVE SCIENCE, Caxambu 2010), a honor meeting including history of science (entitled ANATOMIA DAS PAIXÕES: UM REENCONTRO DAS ARTES E DAS CIÊNCIAS NAS FORMAS PLÁSTICA E MUSICAL/ANATOMY OF PASSION: A REENCOUNTER OF ARTS AND SCIENCES IN PLASTIC AND MUSICAL FORMS, Rio de Janeiro 2008), and finally a permanent discussion round table (HIGHTECHLOWTECH collective) adjoining, once a week, professionals of the society (artists, engineers, system analysts, designers, producers, physicists) with neuroscientists and educators of the academy, to explore technological and artistic creative boundaries. Always conceived as epistemological provocations, meetings included lectures, courses and forum, specially designed to discuss interfaces between arts, (neuro)science and philosophy, and combined, whenever possible, hybrid artsci practical modules, including immersive exhibitions (mentioned above), as well as interferential performing executions. All activities converged to the conceptual complexity of human perception, onto biological, cognitive, philosophical and artistic grounds. In alternative formats, marked by interactive conferences, debates and workshops, researchers, artists and  general public were invited to force innovative sights to human perception as well as to deepen, update and broaden the interdisciplinary discussion concerning the epistemological, artistic and scientific predictions of perception and cognitive handling possibly involved in science creation itself.

By the end of 2009, provided with an incomplete, albeit substantial collection of artistic anatomical pieces, a first round of three consecutive, replicated and complementary experiments started, through which cognitive gain in groups of volunteers was evaluated, making use of technical questionnaires and scales in response to two modeling classes of the human ear anatomy: traditional (classical anatomical aesthetics and formal presentation) versus experimental (artistic aesthetics and non-formal presentation). Experimental classes were completed in late 2010. We are presently analyzing the statistical significance of our data, which partial results have been presented at local and national congresses (three communications and poster/oral presentations in 2010 and 2011). 

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