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Proposte di sviluppo e innovazione per il sistema delle startup italiane: il ruolo di InnovUp e il Scaleup Act: Proposte di sviluppo e innovazione per il sistema delle startup italiane
No full textL’articolo analizza lo sviluppo del sistema startup in Italia attraverso una revisione della letteratura, un confronto con il contesto europeo e un focus sulle novità legislative introdotte dallo Scaleup Act del 2024. Viene discusso il ruolo strategico di InnovUp e l’impatto economico delle startup innovative, con proposte per il potenziamento degli ecosistemi di innovazione glocali
Data strategies and development of trade in data: three policy approaches
No full textThe importance of data in the economy is no longer a debatable issue; it is taken for granted. Upon the recognition of this fact, many countries have been solving the problem of improving the quality and availability of data through the development of various models of data sharing for several years. Active academic and business discussions on data policy and governance have finally borne fruit: several jurisdictions have adopted national data strategies (or similar documents). However, does the existence of a data strategy at the national level indicate that the best conditions for the development of data trade and data markets have been created? How is the strategic approach conducted at the state level related to the actual availability of data to private businesses? Different jurisdictions define their data governance priorities differently, and the approaches outlined in the strategies are (or are not) reflected in subsequent “direct application” legislation. This article is devoted to a comparative analysis of strategic documents in the field of data governance of the European Union, United Kingdom, and Russia in the context of their interrelation with the laws that directly regulate the legal regime of various categories of data for commercial turnover. The first part of the paper will provide a brief overview of the data governance documents of the jurisdictions in question: the European Strategy for Data, the UK National Data Strategy, and the Russian national projects “Digital Economy” and “Data Economy,” with a focus on the differences in goal-setting and their potential impact on the further development of both data legislation and digital markets in general. In the second part of the paper, the EU, the UK, and Russia, respectively, will be analysed in relation to "tactical" legislation that has been adopted or is planned to be adopted in the wake of the said strategic documents. The comparative analysis will focus on those acts that address the regulation of data in commercial circulation, its accessibility for private business, and private business obligations related to data. In particular, the impact on the data market of the EU Digital Package will be discussed and the recently adopted Data Act will be contraposed with the provisions of a similar initiative of the UK Data Protection and Digital Information Bill 2. Also, this section will touch upon the issue of recognizing data as a legal object under the laws of the relevant jurisdiction and the existence of a general regulation applying as lex generalis to any data category. Finally, the last part of the article will be devoted to comparing the provisions defined at the strategic level with the changes made to regulating data in commerce. Considering this analysis, a policy model for data governance based on the balance of interests of three actors: state, businesses, and individuals, will be described. Based on this approach, an attempt will be made to determine the actual priorities of the legislator for each of the jurisdictions under consideration and their potential impact on the further development of the data markets in these areas. The article demonstrates that compared jurisdictions differ substantially in terms of the consequences of the chosen regulation path. While Russia may improve state services based on enhancing data availability, it does not aim to create a commercial market for data. Despite increasing data availability, the EU imposes restrictions on data holders. Extensive European regulation may impede data-driven businesses due to high compliance requirements. Conversely, both in the strategic documents and legislative proposal, the UK aims to create a business-friendly environment via precise and unburdensome regulation. Thus, the UK approach is the most effective for enhancing data trade
Ex-Ante Competition Regulation of Digital Markets: Rethinking Regulatory Autonomy under the Gats non-discrimination obligation
No full textIn light of the growing complexities of data-driven digital markets, traditional ex-post competition laws are often insufficient, prompting many jurisdictions to adopt ex-ante regulatory frameworks. This paper examines the compatibility of ex-ante competition regulations, such as the European Union’s Digital Markets Act (DMA), with the General Agreement on Trade in Services (GATS), focusing on the potential violation of national treatment and most-favoured-nation obligations. The paper critiques the Appellate Body’s narrow approach in Argentina–Financial Services, which limits the consideration of regulatory intent in the GATS non-discrimination analysis. It advocates for a broader approach that integrates regulatory purpose in assessing ‘likeness’ and ‘less favourable treatment’. The paper concludes that such a perspective would ensure that ex-ante competition regulations, like the DMA, can be justified under GATS without undermining fair competition, while allowing states to regulate digital markets effectively
Interview with Leon Ballin, program manager of the British food network Sustainable Food Places
No full textIntervista effettuata il 25 ottobre 2024, a cura di Egidio Dansero (Università di Torino), Riccardo Bruno (Politecnico di Torino) e Joel Solé Lamich (Università di Cordoba)
Modelli di razionalità scientifica nei commenti al De anima. Il caso di un anonimo ed inedito testimone del XIII secolo (ms. Firenze, BNC, Conv. Soppr. G.3.464, ff. 45ra-68vb)
No full textThe aim of the present work is to reconstruct the divisio scientiarium expounded in an anonymous and unpublished commentary on De anima preserved in ms. Florence, BNC, Conv. Soppr. G.3.464, ff. 45ra-68vb, and to place it within the 13th-century tradition. This will be done by comparing it with the divisiones presented in the prologues of other commentaries on De anima and in the accessus philosophorum circulating in the universities of the same period. The interest in the place of the scientia de anima in the hierarchy of the sciences and its characteristics is clearly evident at the beginning of this anonymous commentary, where the unknown master engages in a broader discussion of the epistemic status of the Aristotelian sciences
Lady Welby: Her Support for and Erasure from the Eugenics Movement
No full textAt the turn of the twentieth century, gender bias kept women’s role in the advancement of science subservient to male researchers and academics. The study of the involvement of women in various areas of science will cast a richer understanding of the development of those domains. One such women was Victoria Lady Welby, who is best known for creating the field of Significs, within the philosophy of language. She also initiated what grew into a consequential association with Sir Francis Galton and his idea of eugenics. Her deep involvement in this controversial area has not appeared in the historiography of eugenics. Her influence on Galton and eugenics was in a sense erased after her death and more recently denied in current chronicling of her Significs work. Employing her correspondence, this paper reveals Welby’s agreement with Sir Francis Galton’s eugenic ideas, and her significant contribution to its promotion. After placing her firmly within the eugenic camp the paper will address how she came to disappear from the eugenic story.
Keywords: Victoria Lady Welby, Francis Galton, Eugenics, Significs, Gender Bia
Supereroi e "supermusic" tra cinema e televisione: Uno sguardo storico-analitico
No full textThe article explores the concept of supermusic, introduced by Stefani and Marconi (1992) and later developed by Philip Tagg, as a melodic and timbral category closely linked to the representation of heroism in music.
Rooted in late-Romantic melodrama and symphonic poems (Strauss, Holst, Wagner), supermusic found its full consecration in cinema with John Williams, who reinterpreted late-Romantic symphonic models and set the standard for comic book film scores, after early experiments in the 1940s with Superman and Captain Marvel shorts. In the 1980s and 1990s, Danny Elfman marked a turning point with Batman (1989), introducing darker and more unstable harmonies, while still drawing on the rhythmic drive of supermusic. Since then, film scores have oscillated between continuity (Alan Silvestri’s Avengers) and reinvention (Hans Zimmer’s The Dark Knight trilogy and Man of Steel).
Television, by contrast, long avoided supermusic, favouring songs or styles aligned with contemporary trends (funk, rock, pop), except for Superman-related productions. Only in the 1990s, with Batman: The Animated Series, and later with 21st-century superhero shows, did cinematic sonorities consistently appear on the small screen.
In conclusion, supermusic functions as a sonic code conveying power, heroism, and “seriousness,” marking not only characters but also the budget and target of the productions. While it once separated cinema from television and adult audiences from children, today it coexists with a variety of musical languages, expanding its spectrum without losing its core identity.L’articolo analizza il concetto di supermusic, introdotto da Stefani e Marconi (1992) e ripreso da Philip Tagg, come categoria melodica e timbrica strettamente connessa alla rappresentazione dell’eroismo in musica.
Tale linguaggio, nato dal melodramma e dal poema sinfonico tardo romantico (Strauss, Holst, Wagner), dopo i primi esperimenti musicali legati ai cortometraggi di Superman e Captain Marvel negli anni ’40, trova la sua consacrazione al cinema con John Williams, che ne reinterpreta i modelli e definisce lo standard per la musica dei cinecomic. Negli anni ’80 e ’90, Danny Elfman segna una svolta con Batman (1989), proponendo una scrittura più cupa e instabile, ma pur sempre riconducibile al paradigma supermusicale grazie alla componente ritmica. Da allora, le colonne sonore dei cinecomic si muovono tra continuità (Alan Silvestri con Avengers) e rielaborazione (Hans Zimmer, come nella trilogia di The Dark Knight o in Man of Steel).
Parallelamente, la televisione ha a lungo evitato la supermusic, optando per canzoni o stili legati alle mode del tempo (funk, rock, pop), a eccezione delle produzioni su Superman. Solo dagli anni ’90, con Batman: The Animated Series e successivamente con le serie del nuovo millennio, le sonorità cinematografiche approdano stabilmente anche sul piccolo schermo.
In conclusione, la supermusic si configura come codice sonoro che esprime potenza, eroismo e “serietà”, connotando non solo i personaggi ma anche il budget e il target delle produzioni. Se in passato distingueva il cinema dalla televisione e il pubblico adulto da quello infantile, oggi essa convive con linguaggi diversi, ampliando il proprio spettro senza perdere la sua funzione identitaria
“The Last Lamentation”: Fuga, Partitura, Intermezzo, Aria, Notturno
No full textCrossing Borders: Ernesto De Martino and the Arts.Attraverso i confini: Ernesto De Martino e le arti