161 research outputs found
Testori. Scrittura e figura
No full textThe first meeting between La Rivista di Engramma and Giovanni Testori focuses on two typical themes for the journal: writing and figure. Testori. Scrittura e figura is Engramma's portrait dedicated to Testori 100 years after his birth and 30 years after his death. It takes as its reference Willy Varlin's portrait of Testori chosen as the issue's cover. The issue includes a first part centred on Testori's writing: Chiara Pianca in “Quasi fudesse ecce homo de paese” writes an in-depth and detailed essay on the complex drafting of Ambleto. Alongside this, Luca D'Onghia in his article Lettera luterana su Edipus gives a possible identification of the “scarrozzante” king of Thebes. The remainder of the issue is dedicated to art and the figure. Primarily Testori. Figure dell'informe, by Arturo Mazzarella, which links Testori's thought to 20th-century aesthetic philosophy and the notion of formlessness. This is followed by Apostasia della carne. Fatica e liberazione della materia in Giovanni Testori e Francis Bacon, by Filippo Perfetti: a contribution that reveals some traits of Testori's and Bacon's conception of painting, and how pictorial matter is linked to human life and biology. Davide Dall'Ombra, with Nell'anno del libro su Giovanni Testori e Roberto Longhi, talks about the Testori-Longhi relationship through their exchange of letters, an anticipation that introduces his forthcoming publication Con Roberto Longhi. Lettere e scritti. 1951-1990. The section is closed by the republication of a writing by Giovanni Testori (for which we thank the Associazione Giovanni Testori, and in particular Giuseppe Frangi): Grünewald, il trionfo e la bestemmia. In its concluding part, the issue focuses on the theatrical version of “In exitu”. Here we give for the first time an edition of the reduction used by Testori on his novel for the script. Accompanying the text and the reader is Piermario Vescovo, author of a brief Nota, which briefly attempts to indicate the relevance and further possibility of interrogation of the theatrical script. The conversation “In piena luce, in piena ombra” is a dialogue between Franco Branciaroli, the actor for whom the text of "In exitu" was cut, and Piermario Vescovo. Maestro no, incipit and title of the interview conducted by Antonio Ria with Testori, closes (provisionally) this issue through the voice of its protagonist
Aristotle's Zoology and its Renaissance Commentators (1521-1601)
No full textAlmost neglected in the Middle Ages, Aristotle's libri de animalibus received increasing attention in the Cinquecento, and were often commented on by several professional Aristotelians. Dr. Perfetti reconstructs this commentary tradition: a parabola that goes from Pomponazzi's lessons on the De partibus animalium (held in Bologna, 1521-23) up to the publication of Cristoforo Guarinoni's Commentaria in primum librum De historia animalium, Frankfurt 1601, and includes other bright lights of the Aristotelian scene, such as Niccolo Leonico Tomeo, Agostino Nifo, Julius Caesar Scaliger, Simone Porzio, Francesco Vimercato, Cesare Cremonini, and Theodore Gaza. The author pays special attention to the peculiar techniques of analysis employed by each commentator and to the balance between philology, erudition, and natural philosophy. This study also provides a reading key that explains the reasons for this renewed interest for philosophical zoology in the first half of the century and explains why commentators transformed their use of Aristotle's zoology throughout the second half of the century, to reach, eventually, the extinction of exegesis per modum commenti
Ripensare l'esperienza musicale nell'epoca della rimediazione tecnologica
No full textIl saggio ripercorre il concetto di esperienza musicale in quanto esperienza estetica nella riflessione estetologica e musicologica del XX e del XXI secolo affrontandone gli snodi più significativi: la nascita dell'idea di autonomia dell'arte in Kant e Hegel, la riflessione di Adorno e quella più critica di Benjamin. Sostenendosi sulle più recenti posizioni di Shusterman in merito alla "fine dell'esperienza estetica" e sul concetto di "rimediazione" di Bolter & Grusin, l'autore esplora le novità tecnologiche che si sono consolidate nell'ultimo decennio e che hanno un impatto diretto sul concetto di esperienza musicale contemporaneo
Canzoni, preghiere, danze. Psicofenomenologia dei CCCP
No full textThe present issue of Engramma (210) analyses the context, scope and aesthetics of the Italian punk group CCCP - Fedeli alla Linea, with the intention of involving scholars from different disciplines in order to outline, within a rigorous scientific framework, a psycho-phenomenology of CCCP as a “symptom” (in the Warburgian sense) and “connector” of a specific historical era. The starting point is the magnificent exhibition “Felicitazioni! CCCP - Fedeli alla linea 1984 - 2024” (Reggio Emilia, Chiostri di San Pietro, 12 october 2023-10 march 2024) to which the first section of this issue is dedicated. In the first contribution, Felicitazioni! Socialismo e schizofrenia. Note attorno alla mostra “Felicitazioni!, Francesco Bergamo addresses some of the main topics and possible interpretations of the exhibition “Felicitazioni! CCCP – Fedeli alla linea 1984-2024” in the monumental complex of the Chiostri di San Pietro in Reggio Emilia, homeland of the band. The exhibition is curated by CCCP themselves in collaboration with Stefania Vasques, who was interviewed in “È una questione di qualità”. Il progetto della mostra “Felicitazioni! CCCP – Fedeli alla linea 1984-2024” . Starting from “Felicitazioni!”, in CCCP. Felicitazione. Ovvero: il postmoderno spiegato agli anziani, Mario Farina constructs his writing by analysing the 'CCCP' device of memory, the phenomenon of nostalgia for something that never really existed, imbuing it with a deep and sharp theoretical reflection on the postmodern substance of the group.This section, dedicated to the band’s fortieth anniversary initiatives, concludes with Live in Berlin! CCCP in DDDR, Filippo Perfetti and Giulia Zanon’s account of the concerts CCCP gave in Berlin in February 2024. The contributions in this issue are organised in three sections: Canzoni (Songs), Preghiere (Prayers), Danze (Dances). The section Canzoni deals with what comes from outside. A series of writings that speaks of the context, i.e. those external conditions, be they historical or cultural, that allowed the CCCP to be born. The first contribution is by Luca Alessandrini, who in Reggio Emilia nella crisi della sinistra e delle sinistre negli anni Ottanta offers a historical reconstruction of the crisis of the Italian left, which occurred at a time when the world was undergoing radical change. In L’incontro mancato. I CCCP e Aldino Togliatti, Ivan Carozzi tells the story of Aldino Togliatti, son of the communist leader Palmiro Togliatti, who spent most of his life in a psychiatric hospital. Chiara Velicogna, inspired by the piece of the Berlin Wall exhibited in the “Felicitazioni!” exhibition, in Saluti da Pankow. A proposito del Muro di Berlino e dei suoi resti explores the material and visual aspects of the history of the Berlin Wall. Gian Piero Piretto, interviewed by Christian Toson, in CCCP e СССР. Il mito sovietico italiano, da Cavriago a Berlino recounts the metamorphosis that the myth of the Soviet Union has undergone in Italy, from the late 1970s and 1990s to the present day. The section Preghiere takes an introspective look at the Emilian group and their artistic process. Guglielmo Bottin’s essay Fedeli a Berlino. Influenze della Neue Deutsche Welle nel post-punk emiliano dei CCCP focuses on the influence of the Berlin cultural scene on CCCP’s music. Michele Rossi in “Smettila di parlare, avvicinati un po’”. Mi ami? dei CCCP – Fedeli alla linea analyses the song Mi ami?, a poetic collage Ferretti made from the 1979 Italian translation of Roland Barthes’ Fragments d'un discours amoreux. Michele Nastasi in “Lasciami così”. Luigi Ghirri e i CCCP – Fedeli alla linea, writes about Ghirri’s photographic campaign for the album Epica Etica Etnica Pathos, and through the narration of this experience constructs a comparison, both theoretical and spiritual, between Ghirri and CCCP. Also spiritual is the analysis of Giorgiomaria Cornelio, who in Ferretti o il ritmo dell’apostasia speaks of the messianic aspects of Giovanni Lindo Ferretti’s singing. The section Danze is about expression: the representations and images CCCP shows of itself. Alessandro Bratus in Ideologia come stile, stile come ortodossia. La costruzione di un immaginario spettacolare nel progetto artistico dei CCCP offers a detailed analysis of the CCCP in the way they embrace and reject what influences them on stage. Alessadra Vaccari in “La storia siamo noi”. Moda e cultura popolare in Annarella ‘benemerita soubrette’ offers a reading of the clothes Annarella designs, sews and wears, not only in terms of their aesthetic and stylistic bearing. This is followed by an interview with Diego Cuoghi Forma e sostanza. Le copertine dai CCCP al CSI, curated by Michela Maguolo, a dialogue with the architect and designer who has worked with the group since their last CCCP covers in the late 1980s. Lastly in Frammenti elettrici, Filippo Perfetti draws up a treatise on the hermeneutics of the moving image, based on suggestions triggered by video fragments tangentially dealing with CCCP and their cultural background
Biofeedback rehabilitative treatment of hemiplaegic patients. A microprocessor based electropneumatic platform
No full textA proposal of a computer based biofeedback trainer for rehabilitative applications on hemiplaegic patients
No full textFormation of TbPc2 Single-Molecule Magnets’ Covalent 1D Structures via Acyclic Diene Metathesis
No full textWe present here a reaction scheme to connect TbPc2 single-molecule magnets into 1D architectures using acyclic diene metathesis. To investigate the impact of the bonding through aliphatic chains on the magnetic properties of TbPc2, we isolate and characterize the dimeric species obtained as one of the products of the reaction. Remarkably, the
magnetic properties are only slightly modified after the formation of the bond between molecules, enlightening the great potential of this reaction scheme
Copyleft & internauti pirati. Editoriale di Engramma 222
No full textThis issue of Engramma, titled Copyleft & internauti Pirati, critically examines the contemporary state of digital resource accessibility, the economic and legal frameworks governing knowledge infrastructures, and advocates for the unrestricted dissemination of knowledge. The editorial introduces the pirate as a symbol of resistance against traditional legal confines, drawing upon Carl Schmitt’s The Nomos of the Earth. The issue opens with two contributions that outline the theoretical and militant framework. Peppe Nanni, in ©Tutti i diritti riservati. Proprio tutti?Per un diritto costituente, critiques the contradictions of copyright in digital spaces, calling for a foundational rethinking of law; Engramma Open Access. Aperta origine by the Engramma editorial board, outlines the journal’s long-standing commitment to genuine, non-institutional open access.The issue is then divided in three sections: “Invenzione”, “Chiusura”, “Apertura”. The Section “Invenzione” presents Riprodurre il patrimonio culturale. Quando l’abuso diventa (la) regola in which Mirco Modolo traces the historical control over artistic reproduction; Lorenzo Gigante in Per un’iconografia della noia. Dal Cinquecento al meme: i notai e la xilografia, tra appropriazione e trasgressione explores early visual appropriation by notaries as a proto-meme culture; Maurizia Paolucci in A Tale of Two Misfits. The Sabbath/Shabbat across William Hogarth’s A Harlot’s Progress Series examines copyright’s origins via Hogarth’s fight against pirate copies; Bernardo Prieto presents the volume Yan Thomas, Il valore delle cose, Quodlibet [2002] 2022 with critical glosses. The section “Chiusura” includes Giorgiomaria Cornelio’s No logo? Sul plagio e la vita dei segni, da Melania Trump ai magazzini criminali del Medioevo, a reflection on the irreducibility of signs to ownership; in Il potere segreto. Wikileaks e la digitalizzazione dell’informazione Alessandro Visca interviews Stefania Mauriz about WikiLeaks, Assange, and freedom of information; Museums and the Enclosure of the Public Domain in the Digital Age by Douglas McCarthy denounces digital restrictions by museums on public domain art; Barbara Pasa in Piracy Shield, diritto d’autore e monopoli intellettuali: il caso italiano reconstructs Italy's anti-piracy system as reinforcing monopolies and limiting cognitive justice; in Note su alcune aperture giurisprudenziali al principio del “libero utilizzo” e sugli effetti nelle culture del riuso, Alessia Brandoni explores the jurisdictional horizons supporting creative reuse and transformative citation. In the section “Apertura”, Copyright e Copyleft nell’era dell’intelligenza artificiale. Scenari tecnologici e risposte normative, by Alessandro Del Ninno, analyzes how AI challenges outdated copyright frameworks; Contro il copyright. Pirateria, disobbedienza civile e creatività collettiva by Francesco D’Isa defends piracy and civil disobedience as collective cultural practices; Christian Toson and Elizaveta Kozina present Anna, the Universal Library, presenting Anna’s Archive, the project of a universal digital library; Per una liberazione della retorica dell’archivio. Verso una pratica dell’immagine come relazione is a dialogue with the artist Alessandro Gagliardo on rethinking the archive as a space of relation, not preservation. The “Dalla cambusa” appendix presents a selection of exemplary texts, with a particular focus on open access and copyleft: Corrispondenza con un editore, the epistolar exchange between the International Situationist and the publisher Feltrinelli; Guerilla Open Access Manifesto by the American scholar and activist Aaron Swartz; Elogio de la piratería by the Bolivian film critic Mauricio Souza Crespo; and 10 tesi sull’archivio by the pad.ma collective. This issue of Engramma is dedicated to the memory and work of Aaron Swartz
Pensare l’esperienza musicale
No full textQuesto libro nasce da un dialogo a più voci: da una parte musicisti e musicologi dell'Istituto Superiore di Studi Musicali "Luigi Boccherini" di Lucca, dall'altra studiosi (perlopiù filosofi) dell'Università di Pisa e dell'Higher School of Economics di Mosca. Gli autori hanno risposto all'invito a pensare l'esperienza musicale proponendo saggi che si dispongono lunghe due linee tematiche principali: la musica come lavoro plastico sulla temporalità e gli aspetti performativi della musica come arte incarnata e realizzata nell'interazione sociale
Nuove risorse per l’Università e la ricerca (a cura di)
No full textIl volume contiene il risultato di una ricerca diretta ad indicare gli strumenti organizzativi per le Università e la ricerca e contiene i seguenti contributi I: Il ricorso alla forma societaria; Gestione dei servizi in forma societaria; La gestione dei servizi universitari nelle forme del Diritto Privato (Luca R.Perfetti); Limiti e potenzialità nella valutazione dell'efficacia e dell'efficienza dei servizi pubblici (Paolo Polidori); L'outsourcing dei servizi informatici e del facility management (Alessandro Baucero); La valorizzazione delle partecipazioni detenute da enti pubblici; la valorizzazione delle partecipazioni societarie degli enti pubblici e delle Università (Luca R.Perfetti). - II: La finanza di progetto; Inquadramento giuridico della finanza di progetto e sua applicazione all'amministrazione (Giuseppe Manfredi). - III: Dismissioni, valorizzazioni e cartolarizzazioni; Modalità di valorizzazione del patrimonio immobiliare pubblico: le cartolarizzazioni e i fondi immobiliari ad apporto pubblico (Stefano Vincenzi, Giulio Rolandino); La dismissione degli immobili pubblici e politiche di bilancio (Gennaro Terracciano). - IV: Sponsorizzazioni e finanziamenti; Finanziamenti BEI per l'Università (Eugenio Leanza); I vantaggi per l'impresa privata che investe in cultura (Michela Bondardo); Intervento (Anna Carli); Il rapporto tra Università e Impresa (Paolo Camillini)
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