Eduard Kraft Torrent

Eduard Kraft principal research topic is the anatomical and physiological basis of functional recovery processes and the rehabilitation of neurological patients. He is also interested in the neural mechanisms of reasoning, problem solving and executive functions in patients with neurodegenerative disorders, focal lesions and aging. Current studies are focused on reorganization of the representation of cortical and subcortical areas and the effect of interventions in the functional recovery. Another focus is the functional anatomy of executive functions (working memory, problem solving) in neurodegenerative disorders and focal brain lesions. Research involves patients with stroke, neurodegenerative disorders (e.g. Parkinson´s disease, Amyotrophic lateral sclerosis), complex regional pain syndrome, but also patients with focal brain lesions (for instance, frontal brain tumors).

In 1997–1999 he was granted a Research Fellowship at the NMR Center (now Martinos Center for Biomedical Imaging) at the Massachussetts General Hospital and Harvard Medical School (Boston), where he spent two years working with Kenneth Kwong and Bruce Jenkins. Descargar juegos para pc 1 link full en espaol comprimidos mega. Eduard Kraft is Member of the German Society of Neurology, of the International Movement Disorders Society and of the Organization for Human Brain Mapping.

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The latest of Krasznahorkai’s full-length works to be translated into English, Seiobo There Below is a confrontation with the vast, and therefore with vulnerability. In each of its seventeen chapters, the novel describes a process of artistic creation, from the making of Russian icons and the reconstruction of the Ise Shrine in Japan, to the attribution of Italian Renaissance paintings and the carving of Noh masks. Krasznahorkai’s erudition is staggering, but the way he relates the choosing of the wood for the shrine, or the restoration of a canvas, is so attentive and so modest that is sidesteps pedantry entirely, and instead participates in the very concentration it describes.

The chapters are numbered according to the Fibonacci sequence, in which each number is the sum of the two before it, and indeed, Seiobo There Below compounds and reinforces itself ever more rapidly, its scope soon defying human proportions. The artworks Krasznahorkai describes are not only objects, but vessels of a sacred impulse: they are body and soul.

The protagonists of the novel — artists, academics, and vagabonds — seek out these works, yearning for transcendence, and are instead crushed by terrifying facts: first, the fact of the work’s existence, its material undeniability, and second, the fact of its radical spiritual loneliness. More often than not, the encounter with art and/or the sacred ends in existential disaster. These former channels to the gods have been closed; they have become nearly empty signifiers. In the chapter “Where You’ll Be Looking,” for example, a guard at the Louvre wants nothing more than to spend eight hours a day looking at the Venus de Milo. But he knows that the statue. The tension between order and chaos has been central to all of Krasznahorkai’s books available in English, Satantango, The Melancholy of Resistance, and War and War.

In Seiobo There Below, this tension takes on its most moving and elegant form. Entropy, for Krasznahorkai, is the ultimate destiny of the universe, and art is necessarily in its service.

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Many characters in the novel are initially attracted by an artwork and the sacred force within it and compelled toward it, only to be overwhelmed by its presence, and then, in the attempt to retreat, paralyzed or annihilated. Some become forces for evil: one chapter is ominously titled “A Murderer is Born”; in another, an artist carves a theatre mask, never understanding that “what his hands have brought into the world is a demon, and that it will do harm.”. The demonic is the shadow of the sacred, and Krasznahorkai does not let us forget it. He is no stranger to darkness; his work is famously bleak. But with Seiobo There Below, he reminds us of an observation of John Berger’s, once made in relation to Goya: “The despair of the artist is often misunderstood. It is never total. It excepts his own work.” In Krasznahorkai’s case, it excepts not only his own work, but also that of countless others, named and unnamed, from both the east and the west.