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Chaque année en France, environ 155 000 personnes sont hospitalisées à cause d'un traumatisme crânien-cérébral (TCC), qui résulte le plus souvent d'une chute ou d'un accident sur la voie publique. Les répercussions d'un TCC modéré à sévère sur la vie sociale, familiale et professionnelle d'un individu sont nombreuses et nécessitent une prise en charge longue et extrêmement complexe. Les TCC légers doivent également être étudiés avec beaucoup d'attention car ils s'associent fréquemment à un état de stress post-traumatique, et laissent parfois des séquelles durables. Cet ouvrage aborde les causes, les conséquences et les caractéristiques du TCC, tout en évaluant les parcours de soins proposés aux patients et les outils dont disposent les neuropsychologues et le personnel soignant. Traumatismes crânio-cérébraux est issu du forum annuel de la Société de neuropsychologie de langue française (SNLF), qui s'est tenu à Paris en décembre 2014. Il réunit les contributions de certains des meilleurs spécialistes francophones, ainsi que de deux anglophones de renom.
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This first retrospective monograph of American artist Sam Falls (b. 1984, San Diego; lives in Los Angeles) spans his work from his beginnings in the 2010s to his most recent exhibitions. Following the traditions of Minimalism and Land art, while pursuing a path toward abstraction, his oeuvre has undoubtedly been influenced by nature and the Los Angeles environment in which he lives. His photographs, paintings, public installations, and sculptures display a certain poetry and a rare immediacy. Previously a student of physics, linguistics, and aesthetics, he has long pursued a particular interest in the way in which natural phenomenon such as light, rain, and wind might impact his abstract paintings and sculptures. The idea of a sublime deterioration, a controlled and predicted change on materials ranging from steel to cloth as well as others, creates time-based and hybrid work that forces the viewer to consider not only the final image, but, most importantly, the process of its change. The book brings together new essays by Los Angeles-based writer and curator Trinie Dalton, French critic Donatien Grau, and School of the Art Institute of Chicago's professor of Contemporary Art History David Raskin, as well as a special portfolio conceived by the artist reflecting on his on-going practice of making artist's books.
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