bluuebunny/crossref_metadata_2025_split huggingface dataset:
Requiem for a Dream: Drug aesthetics in audiovisual processes
Authors: Rossi Laura Langer 
Published: January 2018

Abstract
Requiem for a Dream is an engaging three-act narrative presenting a sensorial take on the decaying experience of addiction. Using highly subjective representations of reality tainted by what can be refer to as a drug aesthetics, the second feature film directed by Darren Aronofsky is a four-way first-person account that revolves around Harry, a drifting young man who dreams of being successful, Sara, a widow who dreams of being on television, Marion, a psychotherapy patient who dreams of becoming independent, and Tyrone, an orphan who dreams of making his mother proud. Although there is not one single protagonist, Harry is the pivot figure connecting the four subjects: Sara is his mother, Marion is his girlfriend and Tyrone is his friend and business partner. The film is constructed with short alternating scenes of each character, merging its enunciation with these four individuals’ inner voices to depict how drugs – both prescribed and illegally acquired – affect their consciousness as they fall into addition.
Requiem for a Dream can be placed in a category of drug movies that aim to explore the internal effects of substances as their main subject matter. Instead of dealing with historical or sociological aspects, it explores the highly subjective representations of the world tainted by what can be referred to as the aesthetics of drugs. Deriving from Elsaesser‘s definition of productive pathology (2009: 24–30), this article proposes to explore how audiovisual narratives, in dealing with altered and sensorial states of the mind, can amplify the possibilities of storytelling. In other words, how internally focalized drug movies expand the aesthetics possibilities of realism in film, playing with subversive uses of language while still sustaining a verisimilar discourse.
The analysis will take two paths. First, based on the assumption that there is no objective access to the physical world except through subjectivity, the initial part of this article will present a reflection on the dichotomy of reality and illusion, proposing a new alternative by taking the perceptive alterations caused by drugs as a starting point to convey how social structures and morality play a definitive role in our understanding of realism in art.
Secondly, approaching specifically the idea of drug aesthetics, the article will consider how audiovisual representation is affected when the subjective point of view is of a character with an altered state of mind. Exploring the mechanics used to translate the effects of drugs on consciousness into filmic form, Requiem for a Dream will be studied as an example of applying unorthodox methods of narration to expand an audience’s experience of a subject matter beyond dramatic storytelling and into a sensorial perception of the universe of mental stimulators.
Aural simulacra: The signal’s path to metamorphosis
Authors: Messinezis Luc 
Published: January 2018

Abstract
Hyper-reality has often been described as the inability of perception to identify and distinguish reality from a simulation of reality. Modern thinkers and scholars such as Umberto Eco and Jean Baudrillard have elaborated extensively on the subject and the effect of simulations within a variety of aspects of modern life. When it comes to auditory arts and research, even though the influence of simulations may be evident, it seems to have been overlooked. With this article, I intend to scrutinize ‘aural simulacra’. During the last two centuries, the audio signal has passed through various stages of transformation; it has mutated following the rhythm of an era marked by technological advancement and a globalized plethora of ideas. For example, the phenomenon of schizophonia has rendered possible the detachment of sounds from their original source and reproducing them within a variety of different contexts. Reproductive media in their turn have evolved from carved discs to magnetic tapes and from optical means to digital abyssal clouds, matrixes of ones and zeroes promoting endless expressive possibilities. In addition, innovative diffusion methods are being introduced and virtual reality technologies have started to populate the scene. Despite the debate on whether the medium may or may not be the message, it adds to it; it acts as a catalyst to an evolutionary reaction. But what happens to the signal itself? Is it transcending to a different dimension of existence?
Treating the signal as a sign, together with practice-based research, may delineate the importance of its conceptual metamorphosis and the ramifications it has for creative processes and the audience’s engagement with the sound artwork. With this article, I intend to examine the sign orders in relation to auditory reality and authenticity, the signal’s change as it may belong to the sacramental order, the order of maleficence, the order of sorcery or find itself outside of the orders of the heard as pure simulacrum. The acknowledgement of the aural simulacrum and the study of the signal’s path towards it may affect our understanding of sonic arts practice, the mediumship of the listener and related areas of research. More specifically subjects such as acoustic ecology, composition but also historical auditory research are scholarly fields that are expected to be influenced, initiating further dialogue, critical analysis and providing the foundation for further interdisciplinary research and new creative processes.
Semiotics and memetics in algorithmic music composition
Authors: Bakogiannis Konstantinos , Cambourakis George 
Published: January 2018

Abstract
In this article, we investigate the circumstances under which the sound structures, which are products of algorithmic composition, are considered as ‘music’. The methods of analysis and evaluation of the music pieces that have derived from mathematical procedures are still under development. Is their ‘beauty’ hidden in the final outcome of the algorithm or in its conceptual background? What is more important: the creator’s approach or the listener’s perception? The answers we attempt to provide are revealed from the tools of semiotics and memetics. We study whether a sound structure, derivative of an algorithm, can act as a signifier of an aesthetic signified, forming a seme. Moreover, we examine whether that seme can be spread as a meme (a unit of cultural phenomena).
Transgenic art: Creativity in the era of genetic engineering
Authors: Savini Mario 
Published: January 2018

Abstract
The spread of biotechnology and genetic engineering has led to a new creative thinking in the context of contemporary visual culture where art, science and life evolve into a network of interdependence. Starting from this premise, this article analyses the works of important artists who, from the late 1990s, have modelled genetic material to create artistic works. These transgenic representations become a metaphor for cultural hybridization. They are places of transaction that contradict their documentary size, losing the concept of memory, narration and storage. Artistic objects are replaced by the evanescence of aesthetics, reconsidering the relationship between image and information. This study goes beyond the boundaries of art, attempting to understand the reasons for the crisis of its representation. Focusing attention on transgenic art means to say that the artist as a scientist is not only able to change life, but to reinvent it completely. Attention is also focused on mixtures of the various ontological categories where bodies are connected to machines in an intimate or a hidden way, questioning the idea of nature and the concept of life. This article will attempt to answer the following questions: how has molecular biology influenced the development of contemporary art? Who is the artist today and what are the new areas of enquiry?
The art of living systems: Between the natural and the technological
Authors: Remneva Olga 
Published: January 2018

Abstract
The art of living systems is a type of art and science that explores and redefines specialities of living systems using sci-tech. Today, since we are living in anthropocene, nature has become increasingly more complex, and we can influence increasingly more. Artists are always at the edge of transforming processes, contemplating them and trying out what is going to happen soon. Living systems art is an artform where the natural and the technological converge and combine with each other. Julie Freeman’s words provide the right direction to the current article: ‘Technology is at its best when it creates a connection between humans and nature in a stimulating yet gentle way’ (2017). In other words, technology can help us to rethink nature and perceive it differently. This is the first and most important paradigm that I assume. The second focus of my framework, since the field of the art of living systems is quite vast, includes examples of sensual mastery of nature. By living systems I mean animals, plants, insects – the world of flora and fauna, and by sensual mastery of nature I mean a way to pay caring and mindful attention to it, becoming emotionally involved. My third focus is, since art and science is my professional interest, on the artworks where the natural and the technological are merged and intermingled. Finally, I describe five projects, all created by Russian artists, demonstrating some common features of the art of living systems.
Microscopy as a form of art
Authors: Avramouli Antigoni , Gonidi Maria , Lambropoulou Maria 
Published: January 2018

Abstract
Art and Science are usually considered fields of different perceptions and approaches with very little overlap, but when combined, sometimes something unusually beautiful and unexpected can arise. Currently, a major effort is being made to promote the interaction between artists and scientists as demonstrated by some of the most recent grant programmes by organizations such as the United Kingdom’s Engineering and Physical Sciences Research Council (EPSRC). Occasionally, artists are approaching science with slightly different insights than those expected, but to date, there is a gap that is rarely violated despite the extraordinary ideas that may arise from such collaborations. There can be no doubt that Nature is the greatest inspiration for art and beauty. In many ways, science attempts to reveal the rules and the beauty of nature. Microscopy, as a technique in scientific research, plays a key role in revealing the beauty of nature, a trend that has led some to regard it as a form of art. But can this claim be justified? For the uninitiated, microscopy could provide a high-resolution image of nature’s creations, revealing at the same time its inherent beauty. The cells – human or non-human – form images of the same beauty as those represented in paintings. Preparations observed under the microscope contain a wealth of information. The aim of the researcher is to correlate the cellular structure with the functioning of the organism and ultimately with the miracle of life. The aesthetic quality of the images has led many scientists to stand in their artistic nature. But can we say that microscopy, which is essentially a way of acquiring and analyzing scientific data, is a form of art? If art is the creation of works by people of extraordinary talent, then microscopy might be an art form and a technique that seeks the functional disclosure of complex admirers of cellular structures. However, unlike music or painting, microscopy is certainly not a form of art, with the traditional concept of creativity. The question therefore arises as to whether the aesthetic nature of the images revealed by a microscope can be considered as art. This is a question that is the starting point of this article.
Invisible motion: Paratactical curation of bio art and performative political imaginaries
Authors: Yetiskin Ebru 
Published: January 2018

Abstract
Bio artworks tend towards social reflection, conveying political and societal criticism through the combination of artistic and scientific processes. Some bio artworks also challenge to subvert hegemonic political imaginaries. In this article, focusing on the curation of a bio artwork and making an ethnographic research based on my participatory observation, I suggest a new conception of contemporary curatorial practice, ‘paratactical curation’, which aims to create performative political imaginaries and alternative futures. The article focuses on The Invisible Life, a series of a bio artwork of Joseph A. DeGiorgis and Ayse Gul Suter. This series was exhibited in Contemporary Istanbul Art Fair – Plugin New Media Section that I have curated in 2015. The main discussion is developed by paying attention to the giant squid axon work, in which the article responds to the emergence of a new political realm that reflects the communication problems of post-control societies: connection failures, memory loss and noise.
The aesthetics of anger: Spatializing emotions through intermedia practices
Authors: Psarras Bill 
Published: January 2018

Abstract
Art has always been a transgressive way of exploring in-between and liminal aspects of human experience. Within the current era of social upheaval and crisis, it is of great interest how extreme emotions can be aestheticized and examined under new interdisciplinary lenses. Anger has constituted an excluded emotion – often a taboo within rationalized social norms – although the politics of repression in various threads of contemporary life are often a provoking factor. Yet, it has always been an emotion with not only great expressive qualities but also located near wisdom, virtue and wrath. Can anger be spatialized through intermedia practices? How can the aesthetization of such an emotion reveal political aspects of such works of art? The current article seeks to explore the potential and aesthetics of anger in contemporary art and in particular how it becomes performed, spatialized and mediatized with poetic and political implications. Having as the starting platform the philosophical, cultural and socio-spatial aspects of emotions within wider contemporary affective structures of the everyday, it explores such an emotion through different trajectories (philosophical, cultural, spatial) and forms of artistic expression, ranging from video art and installation to hybrid performances and documented walking actions. Therefore, the article focuses on a number of artists including the works of Bill Viola, Pipilotti Rist, Claire Fontaine, Lanfranco Aceti, Regina Galindo and Bill Psarras.
Analyticity and Existence of the Keller–Segel–Navier–Stokes Equations in Critical Besov Spaces
Authors: Yang Minghua , Fu Zunwei , Liu Suying 
Published: January 2018

Abstract
This paper deals with the Cauchy problem to the Keller–Segel model coupled with the incompressible 3-D Navier–Stokes equations. Based on so-called Gevrey regularity estimates, which are motivated by the works of Foias and Temam [20], we prove that the solutions are analytic for a small interval of time with values in a Gevrey class of functions. As a consequence of Gevrey estimates, we particularly imply higher-order derivatives of solutions in Besov and Lebesgue spaces. Moreover, we prove that the existence of a positive constant

C
~

{\tilde{C}}

such that the initial data

(

u
0

,

n
0

,

c
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)

:=

(

u
0
h

,

u
0
3

,

n
0

,

c
0

)

{(u_{0},n_{0},c_{0}):=(u_{0}^{h},u_{0}^{3},n_{0},c_{0})}

satisfy

C
~

⁢

(

∥

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,

c
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)

∥

B
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q
,
1

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⁢

(

ℝ
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)

×

B
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q
,
1

3
/
q

⁢

(

ℝ
3

)

+

∥

u
0
h

∥

B
˙

p
,
1

-
1

+

3
/
p

⁢

(

ℝ
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)

+

∥

u
0
h

∥

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p
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1

-
1

+

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p

⁢

(

ℝ
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)

α

⁢

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-
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≤
1

\tilde{C}\bigl{(}\lVert(n_{0},c_{0})\rVert_{\dot{B}^{-2+3/q}_{q,1}(\mathbb{R}^% {3})\times\dot{B}^{3/q}_{q,1}(\mathbb{R}^{3})}+\lVert u_{0}^{h}\rVert_{\dot{B}% ^{-1+3/p}_{p,1}(\mathbb{R}^{3})}+\lVert u_{0}^{h}\rVert_{\dot{B}^{-1+3/p}_{p,1% }(\mathbb{R}^{3})}^{\alpha}\lVert u_{0}^{3}\rVert_{\dot{B}^{-1+3/p}_{p,1}(% \mathbb{R}^{3})}^{1-\alpha}\bigr{)}\leq 1

for certain conditions on

p
,
q

{p,q}

and α implies the global existence of solutions with large initial vertical velocity component.
On the images of Sobolev spaces under the Schrödinger semigroup
Authors: C Sivaramakrishnan , D Sukumar , Dogga Venku Naidu 
Published: January 2018

Abstract
In this article, we consider the Schrödinger semigroup for the Laplacian Δ on

{\mathbb{R}^{n}}

, and characterize
the image of a Sobolev space in

{L^{2}(\mathbb{R}^{n},e^{u^{2}}du)}

under this semigroup as weighted Bergman space (up to equivalence of norms). Also we have a similar characterization for Hermite Sobolev spaces under the Schrödinger semigroup associated to the Hermite operator H on

{\mathbb{R}^{n}}

.
Sequential Auctions with Decreasing Reserve Prices
Authors: Landi Massimiliano , Menicucci Domenico 
Published: January 2018

AbstractWe study sequential sealed bid auctions with decreasing reserve prices when there are two identical objects for sale and unit-demand bidders (existing literature has dealt with the case of weakly increasing reserve prices). Under decreasing reserve prices bidders may have an incentive not to bid in the first auction, and no equilibrium exists with a strictly increasing stage one bidding function. However, we find that an equilibrium always exists, and its shape depends on the distance between the two reserve prices. The equilibrium exhibits some pooling at the stage one auction, which disappears in the limit as the number of bidders tends to infinity. We also show revenue equivalence between first-price and second-price sequential auctions under decreasing reserve prices. Finally, our results allow us to shed some light on an optimal order problem (increasing versus decreasing exogenous reserve prices) for selling the two objects.
Mapping landscape units in Galicia (Spain): A first step for assessment and management?
Authors: Corbelle-Rico Eduardo , Sánchez José María Tubío 
Published: January 2018

AbstractIn the beginning of 2015, the Regional Administration of Galicia (NW Spain) set the requirements for a map of landscape units: it had to be produced in less than 3 months, it should cover the whole territory of the region (29,574 km²), and it should be useful for management at a scale of 1:25,000. With these objectives in mind, we pro- posed a semiautomatic mapping methodology entirely based on the use of free software (GRASS GIS) and already available cartographic information. Semi-automatic classification of different land-use patterns was at the heart of the proposed process. Consultation with experts of different academic background took place along the project. This consultation process allowed to identify both problems and opportunities. As it could be expected, the diverse epistemic community represented by the expert panel implied that one of the main challenges was to reach consensus on the understanding of the concept of landscape and the decisions leading to the mapping methodology proposed in this paper. This initiated a very interesting debate that, in our view, was centred around three main issues: the approach to the landscape, the purpose of the mapping exercise, and the ability to include subjectivity into the analysis.
Uneventful delivery of two pregnancies in a woman with severe factor XII deficiency: case report and systematic review
Authors: Petousis Stamatios , Karavas George , Margioula-Siarkou Chrysoula , Dagklis Themistoklis , Karapavlidou Paraskevi , Athanasiadis Apostolos , Mamopoulos Apostolos 
Published: January 2018

Abstract

Background
Deficiency of factor XII (FXII) is widely considered to have a detrimental effect on pregnancy. Several reports underline the increased risk for antenatal complications with few published case reports of uncomplicated deliveries. The main objective of our article is to perform a systematic review to highlight pregnancies with severe deficiency of FXII that have been delivered uneventfully, along with presenting our relative case of a woman with severe deficiency of FXII.

Materials and methods
A systematic review was performed in the Pubmed database. Inclusion criteria were considered to be case reports and case series presenting delivery of uncomplicated pregnancies in women with severe FXII deficiency. Medical records of our patient were also reviewed in terms of signs and symptoms, laboratory and imaging examinations and neonatal outcomes.

Results
There were 62 abstracts derived while 44 were assessed for eligibility. There were finally three case reports of women with FXII deficiency delivering live newborns and one case series of 12 women with a final outcome of 19 deliveries. Regarding our case presentation, the woman with FXII levels <12%, after a neonatal death because of extreme prematurity (24 weeks + 4 days), was set in regular follow-up and treatment with bemiparin natriate, 3.5 mg/kg and acetylsalicylic acid, 100 mg/day. She finally managed to have her second pregnancy delivered at 38 weeks + 3 days, her third pregnancy ended up as a miscarriage and her fourth pregnancy was also delivered at 37 weeks + 4 days.

Conclusion
Despite the increased risk for antenatal complications, appropriate follow-up of pregnancies with severe FXII pregnancy may finally lead to an uneventful delivery.
Ecological modelling of a wetland for phytoremediating Cu, Zn and Mn in a gold–copper mine site using Typha domingensis (Poales: Typhaceae) near Orange, NSW, Australia
Authors: Subrahmanyam Sreenath , Adams Allan , Raman Anantanarayanan , Hodgkins Dennis , Heffernan Mark 
Published: January 2018

AbstractAn artificial wetland was computationally modelled using STELLA®, a graphical programming tool for an Au-Cu mine site in Central-west NSW, the aim of which was to offer a predictive analysis of a proposed wetland for Cu, Zn and Mn removal using Typha domingensis as the agent. The model considers the important factors that impact phytoremediation of Cu, Zn and Mn. Simulations were performed to optimise the area of the wetland; concentration of Cu, Zn and Mn released from mine (AMD); and flow rates of water for maximum absorption of the metals. A scenario analysis indicates that at AMD = 0.75mg/L for Cu, Zn and Mn, 12.5, 8.6, and 357.9 kg of Cu, Zn and Mn, respectively, will be assimilated by the wetland in 35 years, which would be equivalent to 61 mg of Cu/kg, 70 mg of Zn/kg and 2,886 mg of Mn/kg of T. domingensis, respectively. However, should Cu, Zn and Mn in AMD increase to 3 mg/L, then 18.6 kg of Cu and 11.8 kg of Zn, respectively, will be assimilated in 35 years, whereas no substantial increase in absorption for Mn would occur. This indicates that 91 mg of Cu, 96 mg of Zn and 2917 mg of Mn will be assimilated for every kg of T. domingensis in the wetland. The best option for Cu storage would be to construct a wetland of 50,000 m2area (AMD = 0.367 mg/L of Cu), which would capture 14.1 kg of Cu in 43 years, eventually releasing only 3.9 kg of Cu downstream. Simulations performed for a WA of 30,000 m2indicate that for AMD = 0.367 mg/L of Zn, the wetland captures 6.2 kg, releasing only 3.5 kg downstream after 43 years; the concentration of Zn in the leachate would be 10.2 kg, making this the most efficient wetland amongst the options considered for phytoremediating Zn. This work will help mine managers and environmental researchers in developing an effective environmental management plan by focusing on phytoremediation, with a view at extracting Cu, Zn and Mn from the contaminated sites.