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Bridging ESG and the Circular Economy: Advancing corporate sustainability through the updated R-Hierarchy and Circularity Scoring Model
No full textThis paper explores the relationship between Circular Economy (CE) and Environmental, Social, and Governance (ESG) frameworks—a connection that remains ambiguous in both academic literature and practical application. This lack of clarity hinders corporate accountability and progress toward sustainability goals. To address this, we examine how CE and ESG intersect by integrating relevant theories and practical approaches. We identify key strategic overlaps across diverse CE and ESG indicators and frameworks, demonstrating how each can inform and strengthen the other. We begin by outlining foundational theories and current practices in both CE and ESG, then explore how their integration can enhance organisational alignment and accountability, particularly in the environmental dimension of ESG. To support this synergy, we propose an updated 10-R framework for qualitative reporting, incorporating new dimensions such as Regeneration (e.g., Rewilding and Restoration) to reflect biodiversity considerations. Additionally, we introduce the Circularity Scoring Model (CSM) to assess organisational CE performance concerning ESG objectives quantitatively. Our findings suggest that embedding CE principles into accounting and investment practices can highlight opportunities for improvement, such as transitioning to renewable energy, sourcing alternative materials, extending product lifespans, enhancing repairability, minimising waste, and increasing use of recycled or regenerative resources
Plastic Baroque
No full textThis essay introduces the concept of Plastic Baroque. Baroque, both as a concept and as performance, revised its manifestations, limits and socio-cultural capital as it came to find a place in twentieth-century aesthetics. These re-appropriative ways where Baroque is ornate, overwhelming, bizarre, heterodox, fluid, make for its introduction into the compelling domain of the plastic arts, intended as the domain of artworks made of plastics. Baroque’s exemplarity is its plasticity. It exceeds the historical specificity, the periodic signature and the designative stamp into an expression that through an experimental and appropriative course marks its transition from the Neo-Baroque to what I call the Plastic Baroque. It is about bringing into play the idea of the Baroque in its plasticity – the fluidity of borders, the dynamicity of representation and the transgressions of traditions – and the extent to which contemporary plastic art, in turn, can be qualified as Baroque.This essay introduces the concept of Plastic Baroque. Baroque, both as a concept and as performance, revised its manifestations, limits and socio-cultural capital as it came to find a place in twentieth-century aesthetics. These re-appropriative ways where Baroque is ornate, overwhelming, bizarre, heterodox, fluid, make for its introduction into the compelling domain of the plastic arts, intended as the domain of artworks made of plastics. Baroque’s exemplarity is its plasticity. It exceeds the historical specificity, the periodic signature and the designative stamp into an expression that through an experimental and appropriative course marks its transition from the Neo-Baroque to what I call the Plastic Baroque. It is about bringing into play the idea of the Baroque in its plasticity – the fluidity of borders, the dynamicity of representation and the transgressions of traditions – and the extent to which contemporary plastic art, in turn, can be qualified as Baroque.This essay introduces the concept of Plastic Baroque. Baroque, both as a concept and as performance, revised its manifestations, limits and socio-cultural capital as it came to find a place in twentieth-century aesthetics. These re-appropriative ways where Baroque is ornate, overwhelming, bizarre, heterodox, fluid, make for its introduction into the compelling domain of the plastic arts, intended as the domain of artworks made of plastics. Baroque’s exemplarity is its plasticity. It exceeds the historical specificity, the periodic signature and the designative stamp into an expression that through an experimental and appropriative course marks its transition from the Neo-Baroque to what I call the Plastic Baroque. It is about bringing into play the idea of the Baroque in its plasticity – the fluidity of borders, the dynamicity of representation and the transgressions of traditions – and the extent to which contemporary plastic art, in turn, can be qualified as Baroque
Ecological Plasticity. Forming Affective Morphologies, with a Case Study on Olfaction
No full textWe introduce the concept of ecological plasticity and develop it through the case study of human olfaction. Extending the model of plasticity to the ecological discourse, we define ecological plasticity as a principle of systemic relationality according to which an agent takes on a form by interacting with a complex affective reality while, reciprocally, giving it a form. The concept of form is here conceived as a synthetic unity that encapsulates the possibilities of existence, sensibility and interaction of an agent immersed in a complex world of other agent-forms. An agent is always aesthetically and affectively immersed in a complex or ecological system: a body is that which is affected and assumes form within a complex affective reality, which is, in turn, co-formed in this process. This perspective, in contrast with static morphology, contributes to configuring a dynamic eco-affective ontology, as body forms are experientially and affectively renegotiated in loops of co-individuation, impeding a clear distinction between activity and passivity, subject and object. Those concepts are illustrated and crafted with reference to olfactory perception, as olfaction discloses an embodied and reciprocal field of co-affection. Via the perception of smells, bodies make sense of their environment, and this shaping cannot take place without the same bodies being touched, affected, and thus renegotiated.We introduce the concept of ecological plasticity and develop it through the case study of human olfaction. Extending the model of plasticity to the ecological discourse, we define ecological plasticity as a principle of systemic relationality according to which an agent takes on a form by interacting with a complex affective reality while, reciprocally, giving it a form. The concept of form is here conceived as a synthetic unity that encapsulates the possibilities of existence, sensibility and interaction of an agent immersed in a complex world of other agent-forms. An agent is always aesthetically and affectively immersed in a complex or ecological system: a body is that which is affected and assumes form within a complex affective reality, which is, in turn, co-formed in this process. This perspective, in contrast with static morphology, contributes to configuring a dynamic eco-affective ontology, as body forms are experientially and affectively renegotiated in loops of co-individuation, impeding a clear distinction between activity and passivity, subject and object. Those concepts are illustrated and crafted with reference to olfactory perception, as olfaction discloses an embodied and reciprocal field of co-affection. Via the perception of smells, bodies make sense of their environment, and this shaping cannot take place without the same bodies being touched, affected, and thus renegotiated.We introduce the concept of ecological plasticity and develop it through the case study of human olfaction. Extending the model of plasticity to the ecological discourse, we define ecological plasticity as a principle of systemic relationality according to which an agent takes on a form by interacting with a complex affective reality while, reciprocally, giving it a form. The concept of form is here conceived as a synthetic unity that encapsulates the possibilities of existence, sensibility and interaction of an agent immersed in a complex world of other agent-forms. An agent is always aesthetically and affectively immersed in a complex or ecological system: a body is that which is affected and assumes form within a complex affective reality, which is, in turn, co-formed in this process. This perspective, in contrast with static morphology, contributes to configuring a dynamic eco-affective ontology, as body forms are experientially and affectively renegotiated in loops of co-individuation, impeding a clear distinction between activity and passivity, subject and object. Those concepts are illustrated and crafted with reference to olfactory perception, as olfaction discloses an embodied and reciprocal field of co-affection. Via the perception of smells, bodies make sense of their environment, and this shaping cannot take place without the same bodies being touched, affected, and thus renegotiated
Investigation on Open Badge and market
No full textThis document investigates the transformative role of Open Badges and Blockchain technology in the educational sector, focusing on the University of Turin's (UniTo) "Premialità 2023" project. It discusses the development of a digital credential ecosystem using the Bestr platform, which employs Blockchain to ensure the transparency, security, and portability of academic credentials. The study highlights how digital credentials, particularly Open Badges, streamline the validation of skills and competencies and significantly contribute to social mobility and inclusivity. By providing a verifiable and accessible means of recognizing formal and informal learning, these technologies empower individuals from diverse backgrounds, enhancing their employability and participation in the workforce. Furthermore, the case study of UniTo showcases the potential of digital badges to bridge the gap between academic achievements and market needs, promoting a culture of continuous learning and adapting education to modern societal demands
An Established Experience. A Conversation on the City Deal Initiative in the Netherlands
No full textIntervista effettuata il 10 ottobre 2024, a cura di Riccardo Bruno (Politecnico di Torino)
Feeding Sustainable Cities Association - Boosting food transition in Portugal since 2018
No full textWith: Paula Silva and João Pratas – Alimentar Cidades Sustentáveis Associação - ACSA ; Cecilia Delgado - CICS.NOV
Reason Tried by Fire: The Rota Alphabetalis and Other Logical and Mnemonic Devices in the Pseudo-Lullian Alchemical Codicillus
No full textThis article explores the Codicillus, a pivotal yet understudied text within the pseudo-Lullian alchemical corpus, dating back to the mid-fourteenth century. The aim is to present the conceptual development of the alchemical doctrine contained in the work by elucidating its key logical and mnemonic devices. These include the three alchemical principles (material, demonstrative and operative), the division of the opus in four stages, the so-called ‘science of middles and extremes’, and an alphabetical wheel of the elements. Through this analysis, the Codicillus emerges as a remarkable instance of operational rationality in medieval experimental science, as well as an early application of the ‘Art of Memory’ to alchemy
Product responsibility and environmental impact in ecodesign: legal perspectives on consumer protection and sustainability
No full textThis contribution explores the evolving relationship between ecodesign and consumer protection within the EU legal framework, in light of the adoption of Regulation (EU) 2024/1781. By introducing binding sustainability criteria at the product design stage, the Regulation not only advances the environmental agenda of the Union but also reshapes the substance and scope of consumers' contractual rights. The paper first outlines the regulatory foundations of ecodesign and of consumer law, analysing their respective sources, objectives, and mechanisms. It then investigates the points of intersection between the two fields — particularly in relation to the obligation to inform, the notion of product conformity, and the fight against greenwashing — as well as the areas of divergence, highlighting differences in regulatory logic, enforcement structures, and personal scope. The study further considers how ecodesign strengthens consumer rights in both substantive and procedural terms, including the effectiveness of remedies and the empowerment of consumer choice. Particular attention is given to the role of national contract law in operationalising ecodesign obligations, as well as to the future implications for private international law, especially concerning overriding mandatory rules and jurisdictional coherence. Two additional dimensions are examined in depth: first, the potential impact of ecodesign standards on producer liability, both contractual and tortious, especially where misleading environmental information or unsafe product features are involved; second, the progressive emergence of sustainability as a general principle of contract interpretation, potentially guiding the reconstruction of parties’ intent and the integration of contractual duties in light of broader EU policy goals. The article concludes that ecodesign is not merely a technical discipline, but a structural component of an emerging European law of sustainable contracts, requiring deeper integration between private law and regulatory governance
Traduzioni di poesia nel secondo dopoguerra: Un metodo per la storia letteraria
No full textLa sezione Il tema di questo terzo numero di «ri.tra» è dedicata alle traduzioni di poesia nel secondo dopoguerra in Italia, fino agli anni Sessanta (anche se con alcune incursioni negli anni Trenta e i primi anni Quaranta). I vari articoli presenti traggono spunto, approfondendoli, da alcuni degli interventi presentati in occasione del Convegno omonimo, svoltosi il 5 e il 6 febbraio 2024, presso l’Università degli Studi di Torino, con il patrocinio del Dipartimento di Studi Umanistici e del gruppo di ricerca LTit – Letteratura tradotta in Italia. Ispirati nel loro complesso alla sociologia della letteratura di Pierre Bourdieu, non si limitano a descrivere l’attività traduttiva del dopoguerra, ma – sia attraverso casi specifici che visioni di insieme – offrono un metodo per la storia letteraria, una proposta per andare oltre il doppio essenzialismo della storiografia: quello del pantheon-catalogo di autori rappresentativi della cultura della nazione e quello del testo come oggetto reificato di esegesi.
The thematic section of this third issue of «ri.tra» is devoted to poetry translations in Italy in the post-World War II period, up to the 1960s (with some forays into the 1930s and early 1940s). The articles included draw upon and develop papers presented at the conference of the same name, held on February 5–6, 2024, at the University of Turin, under the auspices of the Department of Humanities and the research group LTit – Letteratura tradotta in Italia (Translated Literature in Italy). Collectively inspired by the sociology of literature as developed by Pierre Bourdieu, the contributions do not merely describe post-war translation activity. Rather, through both specific case studies and broader overviews, they propose a methodology for literary history—a framework for moving beyond the dual essentialism characteristic of traditional historiography: that of the national pantheon-catalogue of authors deemed representative of a nation's culture, and that of the text as a reified object of exegesis
Ricezioni antiermetiche: La linea realista nella poesia straniera tradotta negli anni Trenta
No full textIl saggio esplora alcuni casi di ricezioni antiermetiche di poesia straniera nelle riviste italiane degli anni Trenta, con particolare riferimento al dibattito critico-teorico e alla selezione dei poeti tradotti in «Circoli», «Letteratura» e «Campo di Marte». Si individuano – pur all’interno di un panorama in cui predomina ancora la linea della poesia pura – le modalità attraverso le quali modelli alternativi iniziarono ad entrare in Italia già prima della polemica antiermetica del dopoguerra. Vengono analizzati i casi della poesia statunitense, con esempi dalla poesia afroamericana, e della ricezione della poesia spagnola contemporanea, dai quali emerge la volontà di esplorare le possibilità offerte da modelli stranieri provenienti da aree fino a quel momento considerate marginali, al fine di proporre una modalità di poesia centrata sulla chiarezza del dettato e sulla rappresentazione della realtà.
The paper explores several instances of anti-hermetic reception of foreign poetry in Italian magazines of the 1930s, with particular reference to the critical-theoretical debate and to the selection of poets translated in Circoli, Letteratura, and Campo di Marte. It identifies how alternative models began to enter Italy even before the postwar anti-hermetic polemic emerged, albeit within a context in which the pure poetry tradition still predominated. The analysis also examines American poetry — illustrated by examples from African-American writers — and the reception of contemporary Spanish poetry. From this analysis emerges a desire to explore the possibilities offered by foreign models from areas previously considered marginal, in order to propose a mode of poetry centered on clarity of expression and the representation of reality