On the art of audio description: Naomi Kawase's Radiance.

Audio description improves access to visual culture for people who are unable to fully participate in it due to visual impairments. Because of this direct benefit to disabled people, it is usually defined as an accommodation or inclusion service. Rather than adopting this view, we see disability as a creative force, arguing that it can engender a new dimension of art: audio description as a form of cinematic ekphrasis. This claim is made by drawing on the 2017 movie Radiance, by Japanese director Naomi Kawase. This movie puts audio description in the spotlight and stimulates discussion on this underdeveloped and under-recognised art. Radiance is structured around the process of making the audio description, thus offering good insight into the artistry and main challenges of this process. Between the words of this meditation on the art of audio description, Kawase also challenges the dominant ocular normative narrative on blindness as a deficiency and provokes a discussion on the contribution that blindness-with its different, still culturally unexplored modes of perception-could make to the interpretation of visual arts. Radiance can thus be treated as an artful argument for the greater recognition of disabled people's right to participate in cultural life.

[Art and health care: a tradition of mutable functions]. / Kunst en gezondheidszorg.

The art heritage that has survived from medieval and early modern hospitals situated in the north of the Netherlands should be considered in the context of the multifunctional character hospitals had at the time. As a result, the heritage does not compare well with the role and function of visual art in hospitals of the 20th and 21st centuries. However, commissioning art in hospitals and other healthcare facilities is an old and fascinating tradition that, like all good traditions, changes with time. From the second half of the 20th century, many a Dutch hospital built up its own art collection. Initially with the aim of supporting art and artists, later on with the idea to elevate human beings and using art as a healing environment. The latest developments sees hospitals giving art and artists a function in training young doctors. Invariably, art manages to connect people in all ages.

Was this extinct human the first gravedigger-and artist?

Anthropologists hail new Homo naledi fossils but doubt spectacular claims of intentional burial and art.

A permanência dos símbolos teriomórficos na arte e na psique / The permanence of sybols in artand in the psyque / La permanencia de los simlolos del teriomorfismo en elarte yen la psique

O artigo trata de símbolos teriomórficos­referidos a animais. A importância que exercem pode ser atestada pela permanência na arte (pinturas parietais até os grafites contemporâneos) e na psique. A perpetuação de símbolos e temas é tratada por estudos como os de Aby Warburg em história da arte, com as noções de Kulturgeschichte, Pathosformele Mnemosyne: a recorrência de temas, emoções e comportamentos revela a perpetuação de símbolos interligados à cultura. Essa recorrência simbólica, em termos psíquicos é entendida por C.G. Jung mediante as noções de arquétipo e inconsciente coletivo. Autores contemporâneos a Warburg e a Jung e seus respectivos conceitos, bem como a apresentação de algumas obras de arte, ilustram a importância dos símbolos teriomórficos .Aventa-se a hipótese de que seja uma necessidade psíquica de reunir a natureza biológica, sua força desejante instintiva com a esfera da mente e do sentido de ser constantemente renovada (AU).

Teriomorphicsymbols refer to animals. The importance they exercise can be demonstrated by the permanence of these symbols both in art (parietal paintings to contemporary graffiti) and in the psyche. The perpetuation of symbols and themes is dealt with by studies suchas those by Aby Warburg in art history: Kulturgeschichte, Pathosformel and Mnemosyne. The recurrence of themes, emotions and behaviors reveals the perpetuation of symbols intertwined with culture. This symbolic recurrence, in psychic terms, is understood by C.G. Jung through the notions of archetype and collective unconscious. Contemporary authors of Warburg and Jungand their respective concepts, as well as the presentation of some works of artillustratethe importance of teriomorphic symbols. It is hypothesized that it is a psychic need to unite the biological nature, its instinctive desiring force with the sphere of the mind and the sense of being constantly renewed (AU).

Los símbolos teriomorfosse refieren a los animales. La importancia que ejercen puede ser atestiguada por su permanencia en el arte (pinturas parietales hasta grafitis contemporáneos) y en la psiquis. La perpetuación de símbolos y temas es abordada por estudios como los de Aby Warburg en historia del arte: Kulturgeschichte, Pathosformel y Mnemosyne: la recurrencia de temas, emociones y comportamientos revela la perpetuación de símbolos entrelazados con la cultura. Esta recurrencia simbólica, en términos psíquicos, es comprendida por C.G. por Jung a través de las nociones de arquetipo e inconsciente colectivo. Autores contemporáneos de Warburg y Jungy sus respectivos conceptos,así como la presentación de algunas obras de arte, ilustran la importancia de los símbolos teriomorfos. Se plantea la hipótesis de que se trata de una necesidad psíquica de unir la naturaleza biológica, su fuerza instintiva deseante con la esfera de la mente y el sentido de renovarse constantemente (AU).

A permanência dos símbolos teriomórficos na arte e na psique / The permanence of teriomorphic symbols in art and in the psyche / La permanencia de los simbolos del teriomorfismo en el arte y en la psique

O artigo trata de símbolos teriomórficos referidos a animais. A importância que exercem pode ser atestada pela permanência na arte (pinturas parietais até os grafites contemporâneos) e na psique. A perpetuação de símbolos e temas é tratada por estudos como os de Aby Warburg em história da arte, com as noções de Kulturgeschichte, Pathosformele Mnemosyne: a recorrência de temas, emoções e comportamentos revela a perpetuação de símbolos interligados à cultura. Essa recorrência simbólica, em termos psíquicos é entendida por C.G. Jung mediante as noções de arquétipo e inconsciente coletivo. Autores contemporâneos a Warburg e a Jung e seus respectivos conceitos, bem como a apresentação de algumas obras de arte, ilustram a importância dos símbolos teriomórficos.Aventa-se a hipótese de que seja uma necessidade psíquica de reunir a natureza biológica, sua força desejante instintiva com a esfera da mente e do sentido de ser constantemente renovada (AU).

Teriomorphicsymbols refer to animals. The importance they exercise can be demonstrated by the permanence of these symbols both in art (parietal paintings to contemporary graffiti) and in the psyche. The perpetuation of symbols and themes is dealt with by studies suchas those by Aby Warburg in art history: Kulturgeschichte, Pathosformel and Mnemosyne. The recurrence of themes, emotions and behaviors reveals the perpetuation of symbols intertwined with culture. This symbolic recurrence, in psychic terms, is understood by C.G. Jung through the notions of archetype and collective unconscious. Contemporary authors of Warburg and Jungand their respective concepts, as well as the presentation of some works of artillustratethe importance of teriomorphic symbols. It is hypothesized that it is a psychic need to unite the biological nature, its instinctive desiring force with the sphere of the mind and the sense of being constantly renewed (AU).

Los símbolos teriomorfosse refieren a los animales. La importancia que ejercen puede ser atestiguada por su permanencia en el arte (pinturas parietales hasta grafitis contemporáneos) y en la psiquis. La perpetuación de símbolos y temas es abordada por estudios como los de Aby Warburg en historia del arte: Kulturgeschichte, Pathosformel y Mnemosyne: la recurrencia de temas, emociones y comportamientos revela la perpetuación de símbolos entrelazados con la cultura. Esta recurrencia simbólica, en términos psíquicos, es comprendida por C.G. por Jung a través de las nociones de arquetipo e inconsciente colectivo. Autores contemporáneos de Warburg y Jungy sus respectivos conceptos,así como la presentación de algunas obras de arte, ilustran la importancia de los símbolos teriomorfos. Se plantea la hipótesis de que se trata de una necesidad psíquica de unir la naturaleza biológica, su fuerza instintiva deseante con la esfera de la mente y el sentido de renovarse constantemente (AU).

Corpo, arte e loucura em Arthur Bispo do Rosário / Body, art and madness in Arthur Bispo do Rosário / Cuerpo, arte y locura en Arthur Bispo do Rosário / Corps, arts et folie chez Arthur Bispo do Rosário

Resumo Este artigo investiga a relação corpo, arte e loucura na obra de Arthur Bispo do Rosário, pelo referencial teórico psicanalítico freud-lacaniano em diálogo com outros campos do saber, a partir das seguintes interrogações: de que maneira a psicanálise dialoga com a temática da arte? Qual o estatuto da arte na psicose? Como sujeitos psicóticos fazem uso da arte, pela via das invenções, a fim de lidar com o corpo e estabilizar seu sofrimento psíquico? Nesse sentido, traçamos considerações sobre o estatuto da arte na psicanálise, levantamos algumas contribuições histórico-filosóficas sobre a relação entre arte e loucura e apreciamos a obra de Bispo à luz das proposições de Jacques Alain-Miller, com vistas a compreender os modos através dos quais a arte produzida por sujeitos em sofrimento psíquico pode servir de anteparo à loucura e favorecer a forma como eles lidam com seu corpo.

Abstract This essay investigates the relations between body, art, and madness in Arthur Bispo do Rosário's oeuvre based on the Freudian-Lacanian psychoanalytic theoretical reference, in dialogue with other fields of knowledge, drawing on the following interrogations: in what ways does psychoanalysis dialogues with the theme of art? What is the status of art in psychosis? How do psychotic individuals use art, through inventions, to deal with the body and stabilize their psychic suffering? In this regard, this paper discusses the status of art in psychoanalysis, brings some historical-philosophical contributions to the relationship between art and madness, and interprets his work in the light of Jacques Alain-Miller's propositions, to understand the ways in which the art produced by subjects in psychological distress can serve as a buffer to madness and favor how they deal with their bodies.

Resumen Este artículo analiza la relación entre cuerpo, arte y locura en la obra de Arthur Bispo do Rosario, por el referencial teórico psicoanalítico freud-lacaniano en diálogo con otros campos del saber, partiendo de los siguientes interrogantes: ¿De qué manera el psicoanálisis dialoga con la temática del arte? ¿Cuál es el estatuto del arte en la psicosis? ¿Cómo sujetos psicóticos hacen uso del arte, por la vía de las invenciones, a fin de tratar con el cuerpo y estabilizar su sufrimiento psíquico? Para ello, trazamos consideraciones sobre el estatuto del arte en el psicoanálisis, levantamos algunas contribuciones histórico-filosóficas sobre la relación arte y locura y apreciamos la obra de Bispo a la luz de las proposiciones de Jacques Alain-Miller, con miras a comprender los modos a través de los cuales el arte producido por sujetos en sufrimiento psíquico puede servir de amparo a la locura y favorecer la forma de cómo lidian con su cuerpo.

Résumé Cet essai étudie les relations le corps, l'art et la folie chez Arthur Bispo do Rosário à partir de la référence théorique psychanalytique freudienne-lacanienne, en dialogue avec d'autres domaines de connaissance, en s'appuyant sur les interrogations suivantes : de quelle manière la psychanalyse dialogue-t-elle avec le thème de l'art ? Quel est le statut de l'art dans la psychose ? Comment les individus psychotiques utilisent-ils l'art, à travers des inventions, pour faire face au corps et stabiliser leur souffrance psychique ? À cet égard, cet article discute du statut de l'art dans la psychanalyse, apporte quelques contributions historico-philosophiques à la relation entre l'art et la folie, et interprète son travail à la lumière des propositions de Jacques Alain-Miller, afin de comprendre comment l'art produit par les sujets en souffrance psychique peut servir de tampon à la folie et favoriser la façon dont ils font face à leur corps.

Leonardo da Vinci and the search for order in neuroscience.

Finding order in disorder is a hallmark of science and art. In the time of Leonardo da Vinci, the schism between science and art had yet to arise. In fact, Leonardo freely used scientific methods for his art and vice versa; for example, when he used his observations of turbulent, whirling water to guide his artistic imagination. Half a millennium later, a cornerstone of modern biology is the continuing search for order in dynamic processes. In neuroscience, the search has focussed on understanding complex spacetime brain dynamics. Recently, turbulence has been shown to be a guiding principle underlying the necessary information processing, supporting Leonardo's search for order in disorder. Here, we argue that Leonardo's seminal insights have ongoing relevance for modern neuroscience.

Collecting to understand: the art of children and the medical-pedagogical approach in twentieth-century Portugal.

In this essay I look at the art of children as a tool in the medical-pedagogical approach, as proposed by the founder of child psychiatry in Portugal, Vítor Fontes (1893-1979). First, the topic of the art of children is introduced, and the second part focuses on the model of medical pedagogy as it was practised in Portugal. The third and fourth parts present Fontes's own investigations on the drawings of children with intellectual disabilities under observation at the Instituto Médico-Pedagógico António Aurélio da Costa Ferreira (IAACF) in Lisbon. In the conclusion it is argued that Fontes contributed to the development of child psychiatry in Portugal by showing that children's art can mirror their cognitive and emotional development.

Count Ivan VIII Draskovic: a case of Graves' orbitopathy?

There is a possibility that Count Ivan VIII Draskovic (1740-1787), a member of one of the oldest and most famous Croatian noble families, had Graves' disease and suffered from a thyroid disorder. Our suspicions were aroused by certain data, including his personal history, his lifestyle, including use of tobacco and iodine, as well as stress, and, finally, two portraits. If he was affected by Graves' disease and orbitopathy, his poor health might have been a consequence of thyroid disease, which was further worsened by injury and tobacco use. Later spontaneous remission could have been induced by higher iodine intake and bed rest.

John King, the Bristol surgeon and friend of artists and poets.

The Bristol School of Artists developed between 1800 and 1840 and was a collaboration between professional and amateur artists, one of whom was Dr John King. King started his professional life in Bristol as assistant to Thomas Beddoes where one of his colleagues was Humphry Davy and the three of them worked in the Pneumatic Institute, attempting to cure tuberculosis with gases. King subsequently became a popular general practitioner in Clifton and his correspondence with patrons of art, romantic poets and his friends gives much information about the social life in Bristol in the early part of the 19th century.

'Pruning a genius': marginalia by Richard Dadd.

After falling into mental illness as a young man, the British artist Richard Dadd (1817-86) spent some 20 years as a patient at Bethlem Hospital in London. A rare example of his writings from these years survives in the form of marginalia in a copy of Lectures on Painting and Design by Benjamin Robert Haydon, held in the Morgan Library & Museum in New York. This article presents a transcription of the notes, along with an introduction setting them in the contexts of Dadd's career and his relationship with the senior staff at Bethlem.

The life and legacy of William Keiller (1861-1931), anatomist, artist and curator.

After graduating in medicine from the Edinburgh Extramural School of Medicine, William Keiller trained in obstetrics and became anatomy lecturer at the Edinburgh College of Medicine for Women, where he successfully devised and developed an anatomical curriculum. In 1891, Keiller was appointed as the Professor of anatomy at the state medical department of the University of Texas, at the age of 30. He built up a nationally recognised anatomy department, museum and teaching curriculum informed by his experience in Edinburgh. Keiller left the University of Texas Medical Branch at Galveston a rich legacy, including anatomical specimens and drawings.