Poder, patriarcado e (r)existência: notas sobre uma experiência sensível e crítica entre mulheres na academia / Power, patriarchy and (r)existence: notes on a sensitive and critical experience among women in the academy / Poder, patriarcado y (r)existencia: notas sobre una experiencia sensible y crítica entre las mujeres en la academia

Neste artigo são apresentados processos, materialidades e reflexões que envolvem a criação de uma instalação artística, desenvolvida pelas autoras do trabalho provocadas pelos silenciamentos que marcam corpos plurais. As autoras foram mobilizadas pela intencionalidade do exercício de "colocar corpo" para a ação constante de des(colonizar)patriarcalizar a si mesmas e a vida, e pelo desejo de criar na conexão entre mulheres. A obra foi alicerçada com base em suas histórias e narrativas, por meio da materialidade expressa nos elementos visuais incorporados às peças da instalação, com o objetivo de questionar as violências visíveis e invisíveis advindas de processos hegemônicos de poder e de dominação do patriarcado, do colonialismo e do capitalismo neoliberal. O convite é para a experimentação e a fruição de alguns tensionamentos e expressões que refletem formas possíveis de (r)existência.(AU)

In this article, processes, materialities and reflections involving the creation of an artistic installation are presented, developed by the authors of the work caused by the silencing that mark plural bodies. The authors were mobilized by the intentionality to exercise "giving body" to the constant action of de(colonizing) patriarchalize themselves and life itself, and by the desire to create in the connection among women. The manuscript was based on its stories and narratives, through the materiality expressed in the visual elements incorporated into the installation's pieces, with the objective of questioning the visible and invisible violence arising from hegemonic processes of power and domination of patriarchy, colonialism and neoliberal capitalism. The invitation is to experiment and enjoy some tensions and expressions that reflect possible forms of (r)existence.(AU)

En este artículo son presentados procesos, materialidades y reflexiones que involucran la creación de una instalación artística, desarrollada por las autoras, provocadas por los silenciamientos que marcan cuerpos plurales. Las autoras se movilizaron con la intención del ejercicio de "poner cuerpo" para la acción constante de des(colonizar)patriarcalizar a sí mismos y a la vida, y con deseos de crear desde la conexión entre mujeres. La obra se basó en sus historias y narrativas, a través de la materialidad expresada en los elementos visuales incorporados en las piezas de la instalación, con en lo objetivo de cuestionar las violencias visibles e invisibles resultante de los procesos hegemónicos de poder y dominación del patriarcado, del colonialismo y del capitalismo neoliberal. La invitación es a experimentar y disfrutar de algunas tensiones y expresiones que reflejan posibles formas de (r)existencia.(AU)

Neurological diseases in famous painters.

Visual art production involves multiple processes including basic motor skills, such as coordination of movements, visual-spatial processing, emotional output, sociocultural context, and creativity. Thus, the relationship between artistic output and brain diseases is particularly complex, and brain disorders may lead to impairment of artistic production in multiple domains. Neurological conditions may also occasionally modify artistic style and lead to surprisingly innovative features in people with an initial loss of creativity. This chapter focuses on anecdotal reports of various neurological disorders and their potential consequences on works produced by famous or well-established artists, including Carl Frederik Reutersward, Giorgio de Chirico, Krystyna Habura, Leo Schnug, Ignatius Brennan, and many others.

Focal cerebral lesions and painting abilities.

Focal lesions such as strokes significantly affect painting production in the vast majority of artists. In particular, painters, when they resume painting, show changes in their painting style. In exceptional cases, there may be an apparent improvement in style, but in most cases, the changes represent nothing short of deterioration. This, however, varies according to the hemisphere affected. Painters with left-hemisphere lesions tend to show an inability to deal adequately with perspective and also tend to use simplified colors with fewer nuances. One often witnesses an evolution toward simpler, often "naïve" techniques, and at times rigid geometric repetitive features. Painters with right-hemisphere lesions also become unable to represent tridimensionality. In addition, their figures are often drawn in very summary fashion, with lack of coordination between volumes and space and a chromatic impoverishment; their main problem, however, is visuospatial, leading to neglect of the left side of the canvas.

Artistic creativity, artistic production, and aging.

This chapter reviews the changes produced by age on various aspects of artistic painting, particularly creativity and actual production. Aging in trained painters is often accompanied by a decline in creativity, which in turn is due to the cognitive decline related to aging. It has been argued, however, that aging does not cause a decline, but only changes in style and content. The two views are not mutually exclusive, and we present examples illustrating both aspects. We also show that, in addition to cognitive changes, impairment of sensory organs, especially vision, and of the bones and joints, may also produce marked changes in an artist's production and style. We conclude by showing that finding ways to induce creativity in persons who do not consider themselves artists can be a way of stimulating creativity and contribute to successful aging.

The neural circuitry of visual artistic production and appreciation: A proposition.

The nondominant inferior parietal lobule is probably a major "store house" of artistic creativity. The ventromedial prefrontal lobe (VMPFL) is supposed to be involved in creative cognition and the dorsolateral prefrontal lobe (DLPFL) in creative output. The conceptual ventral and dorsal visual system pathways likely represent the inferior and superior longitudinal fasciculi. During artistic production, conceptualization is conceived in the VMPFL and the executive part is operated through the DLFPL. The latter transfers the concept to the visual brain through the superior longitudinal fasciculus (SLF), relaying on its path to the parietal cortex. The conceptualization at VMPFL is influenced by activity from the anterior temporal lobe through the uncinate fasciculus and limbic system pathways. The final visual image formed in the visual brain is subsequently transferred back to the DLPFL through the SLF and then handed over to the motor cortex for execution. During art appreciation, the image at the visual brain is transferred to the frontal lobe through the SLF and there it is matched with emotional and memory inputs from the anterior temporal lobe transmitted through the uncinate fasiculus. Beauty is perceived at the VMPFL and transferred through the uncinate fasciculus to the hippocampo-amygdaloid complex in the anterior temporal lobe. The limbic system (Papez circuit) is activated and emotion of appreciation is evoked. It is postulated that in practice the entire circuitry is activated simultaneously.