La función de la producción artística en la psicosis: el caso de Yayoi Kusama / A função da produção artística na psicose: o caso de Yayoi Kusama / The role of artistic production in psychosis: The case of Yayoi Kusama / La fonction de la production artistique dans la psychose: le cas de Yayoi Kusama

Este artículo analiza, en el caso de Yayoi Kusama, la relación entre psicosis y arte como modalidad de solución original que contempla un saber-hacer con el síntoma. Metodológicamente, se basa en el estudio del caso a partir de documentos bibliográficos y autobiográficos. Expondrá la función del arte para Kusama, arte "psicosomático" y "método terapéutico", tratamiento no metafórico frente a lo real de la sexualidad y la muerte pero que la ha salvado del suicidio.

Resumos Este artigo analisa, no caso de Yayoi Kusama, a relação entre psicose e arte como uma modalidade de solução original que contempla um saber fazer com o sintoma. Metodologicamente, baseia-se no estudo do caso a partir de documentos bibliográficos e autobiográficos. Ele apresentará a função da arte para Kusama, arte "psicossomática" e "método terapêutico", tratamento não metafórico contra o real da sexualidade e da morte, mas que a salvou do suicídio.

This article analyzes, in the case of Yayoi Kusama, the relationship between psychosis and art as a modality of original solution that takes into account the expertise with the symptom. Methodologically, it is based on a case study that used bibliographical and autobiographical documents. It presents the function of art according to Kusama, "psychosomatic" art and a "therapeutic method", a non-metaphorical treatment against the real of sexuality and death, but which saved her from committing suicide..

Cet article analyse, dans le cas de Yayoi Kusama, la relation entre la psychose et l'art comme une modalité de solution originale qui contemple un savoir-faire avec le symptôme. Méthodologiquement, il est basé sur une étude de cas à partir de documents bibliographiques et autobiographiques. Il présente la fonction de l'art selon Kusama, l'art «psychosomatique¼ et la «méthode thérapeutique¼, soit un traitement non-métaphorique contre le réel de la sexualité et de la mort, mais qui l'a sauvée du suicide.

Optimization of preparation process of ginsenosides Rh4 and Rk3 by response surface methodology / 中草药

Objective: To employ the response surface methodology (RSM) to optimize the preparation conditions for ginsenoside Rh4 (GRh4) and Rk3 (GRk3) using the yields as index. Methods: High temperature hydrolysis combined with RSM was used to prepare GRk3 and GRh4 from ginsenoside Rg1 (GRg1), and the reaction conditions were optimized at the same time. Results: The optimal preparation conditions of GRk3 and GRh4 were confirmed using Design Expert 7.1.6 software as followss: acid concentration of 0.02%, reaction temperature of 116.4℃, and reaction time of 2.22 h, respectively. Under the above conditions, the yields of GRk3 and GRh4 were 123.56 mg with conversion rate of 61.78%. Conclusion: The preparation conditions obtained from RSM optimization are suitable for large scale preparation of GRk3 and GRh4.

A realidade indistinguível / The indistinguishable reality / La realidad indistinguible

Os problemas psicanalíticos mais comuns requerem, não raro, os mais inusuais processos de demonstração. Este texto deve ser lido como uma ficção teórica, bem assim as pessoas, locais, situações, entidades e teorias mencionados, em que qualquer semelhança com figuras reais será mera coincidência, a menos que não o seja. De mais a mais, coincidência é quando duas realidades se encontram de maneira indistinguível.

The most common psychoanalytic issues often require the most unusual demonstration processes. This paper as well as the mentioned people, places, situations, entities, and theories should be read as a theoretic fiction, in which any resemblance to actual figures is purely coincidental, except if it is not. Moreover, coincidence happens when two realities meet each other in an indistinguishable way.

Los problemas psicoanalíticos más comunes requieren, a menudo, los procesos de demostración más inusuales. Este texto debe ser leído como una ficción teórica, así como las personas, locales, situaciones, entidades y teorías mencionados, en los que cualquier semejanza con figuras reales será una mera coincidencia, a menos que no lo sea. Por otra parte, coincidencia es cuando dos realidades se encuentran de manera indistinguible.

Body movement implied by static images modulates eye movements and subjective time estimation

The present study investigated the influence of body movement implied by artwork on time estimation and its relationship with eye movement. In Experiment 1, the participants were presented with static photographic images of Edgar Degas sculptures that implied different movements. The participants were asked to estimate their exposure times. Overestimation was found for the dancer who represented the greater movement. Eye movements were more directed to legs and arms in the ballerina that implied more movement, indicating more dynamic eye movements for this dancer, which was also overestimated. Experiment 2 further investigated whether this effect was specific to body representation or whether it was linked to the perceptual feature of the images. The participants were presented with drawings that mimicked global shapes (lines) of the Degas sculptures. Differences in time estimation were not obtained under this experimental condition. The results suggest an embodied perception of body movement that modulates eye movements and time estimation...

Além das projeções do artista: a interpretação freudiana circunscrita ao universo da obra / Beyond of artist projections: the freudian interpretation circumscribed to the universe of the work of art

“O Moisés de Michelangelo” (1914) apresenta um tipo de interpretação psicanalítica não autobiográfica. Diferentemente da análise de Leonardo da Vinci, Dostoievski e Christoph Haizmann, para sua interpretação em “O Moisés de Michelangelo” Freud prescinde da biografia do artista na elaboração de suas hipóteses, o que nos fornece subsídios para supor a existência de dois estilos de Freud na interpretação das obras de arte de maneira geral: a análise biográfica e a análise circunscrita ao universo da obra artística. Este artigo se propõe a discutir, em campo maior do que comumente se costuma denominar “psicanálise aplicada”, em que medida a crítica que tende a reduzir a interpretação psicanalítica da arte ao par complementar artista-obra opera certo reducionismo psicológico.

“The Moses of Michelangelo” (1914) present a kind of non-biographical psychoanalytic interpretation. Different from Leonardo da Vinci’s, Dostoievski’s and Christoph Haizmann’s analysis, in order to his interpretation in “The Moses of Michelangelo” Freud leaves the writer’s biography aside as to elaborate his hypotheses, which gives us contribution to suppose the existence of two styles in Freud’s interpretation of works of art in general: biographical analysis and an analysis circumscribed to the universe of the work of art. The present paper intends to discuss, within a major field than that which is commonly called “applied psychoanalysis”, how far does the criticism tends to reduce psychoanalytic interpretation of art to its complementary pair artist-artwork operates a slight psychological reductionism.