730 research outputs found
Editorial: The metabolic challenges of immune cells in health and disease
No full textCopyright: © 2015 Frezza and Mauro. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.CM is supported by the British Heart Foundation Fellowship FS/12/38/29640. CF is funded by the UK Medical Research Council
La donna fantasma : immagini del petrarchismo filmico
No full textAnche se la forza e la vastità delle influenze petrarchesche nel cinema debbono talvolta essere cercate e trovate con la pazienza certosina dell'entomologo o dello studioso di metafore, Gino Frezza rintraccia significative e ineludibili presenze delle figure poetiche petrarchesche nella tradizione filmica del cinema classico e in quello moderno e contemporaneo. Il rapporto fra l'opera di Petrarca e il cinema si rivela, seppure in filigrana, nella cruciale, enigmatica, valenza di un crocevia culturale non secondario, ricorrente, denso di sorprese. Prima Frezza ripercorre come Petrarca, nelle rime del Canzoniere, trama la difficile, complessa, interfaccia fra rima e immagine, dimensione della scrittura e configurazione visiva, e come, per tale interfaccia, si imponga la figura della Donna nei termini di una immagine ad alto coefficiente fantasmatico. Poi l'autore illustra la permanenza dei temi poetici del Petrarca in un ambito di produzioni filmiche appartenenti ad autori ed epoche del Novecento che, con l'opera del poeta italiano, non hanno rapporti espliciti né affiliazioni o vicinanze metaforiche. Ecco dunque la «donna fantasma» petrarchesca trasformarsi nelle fisionomie filmiche della donna-quadro e della donna-specchio, della donna-statua, della donna-ricordo e, infine, della donna-idea. L'analisi delle influenze petrarchesche nel cinema si conclude ascrivendo al poeta italiano trecentesco l'origine più lucidamente consapevole di una teoria delle lacrime, che non a caso e molto spesso coprono d'improvviso gli occhi degli spettatori di cinema. Le lacrime spettatoriali -una esperienza insieme fisica e lirica, manifesta e intima- corrispondono alle lagrime petrarchesche, a fronte della vanità terrena dei mortali.The strength and magnitude of Petrarch's influence on cinema must sometimes be sought out with the Carthusian patience of the entomologist or like the study of metaphors. Nevertheless, Gino Frezza retraces the significant and unavoidable presence of Petrarchan poetic figures in the film tradition of both classic and modern, contemporary cinema. The connection between the work of Petrarch and the cinema is revealed, though delicately, in the crucial, enigmatic strength of an early, recurrent cultural crossroads, thick with surprise. Like Petrarch, Frezza first retraces the rhymes of the Canzoniere, plotting the difficult, complex interface between rhyme and image, the dimensions of writing and visual configuration, and how, for such interface, the figure of the Woman was imposed as a highly ghost representation. The author then illustrates the continuity of Petrarch's poetic themes in a film production environment pertinent to authors and periods from the 10th Century which, with the work of the Italian poet, bore no explicit relation nor metaphoric affiliation or similarity. It was here, therefore, that the Petrarchan «ghost woman» was transformed into the cinematic physiognomies of the portrait-woman, mirror-woman, statue-woman, memory-woman and, finally, the idea-woman. The analysis of Petrarchan influences on cinema is concluded by crediting the 4th Century Italian poet with the most lucidly conscious origin of a theory of tears, which very often, and not unintentionally, covers the eyes of cinema audiences. Spectator tears -an experience both physical and lyrical, open yet intimate- are significant of Petrarchan tears, relating to the earthly pride of mortals
A proposal for the digital storage and sharing of remotely sensed archaeological data
No full textCurrently Internet is one of the instruments more effective than transmission of the data and seems to set off to become one of the channels privileges of information’s diffusion. Through outline of standard communication, its architecture guarantees the compatibility of dialogue between the different site that they shape the net, concurring the sharing of experiences, services, computer science resources and exceeding the physical distance between the customers. The knowledge of the enormous potentialities of Internet has capacities to develop a plan to us that previews the realization of an informative system in net based on a DBMS (Data Base Management System), that is, a distributed system that it allows to record, to update and to extract information from a database of vertical air photographs of the Tuscany, managed from an interactive graphical interface.
The DBMS is already, for its nature, an instrument that considers the data like one on hand common resource of an organization of various customers, satisfying in this way the more and more obvious requirement of spreading and sharing of the acquaintances. Indispensable property of every DBMS are, in fact:
the recording, the organization and the management of the data, according to criteria that answer directly to the necessities of the context in which it is developed.
the spread and the sharing - the customers must be able to approach to one data bank that can be consulted second opportune modalities
the reliability, therefore the system capacity to conserve the content of the DBMS through rescue functions and restoration.
the privacy, guaranteed through mechanisms of authorization and shapes of control.
It must be, moreover, efficient, that is necessarily able to carry out the operations employing with of resources - space and time - permissible for all the customers, and effective, in a position to rendering the activities of the customers productive.
A DBMS is substantially one layer software that insert between the true and own customer and data. Thanks to this intermediate layer the customer and the applications not approach the data therefore as they are registered effectively, that is to their physical representation, but of it they see only one logical representation. That allows to an elevated degree of independence between the applications and the physical memorization of the data. Thanks to these characteristics the applications that are developed can count on one sure, reliable and generally scalable source given.
Such property are favorable for applications that use Internet like infrastructure and that they have therefore obvious problems of emergency and scalability. The choice of to insert the DBMS in the net has been, moreover, encouraged from the opportunity to widen in considerable way its attitude to the transmission and usability of the information. The net is a system that puts on hand of the public, in the tightest times, the various acquaintances and therefore allows to consult the documentation and to render it object of critics and interpretations; moreover simple and immediate verification gives to the protection organs the advantage of one. The insertion of the data bank in Internet admits, moreover, the access to the information to a net of customers is capillary diffused in the territory, extending the spreading of the knowledge also to who is not one specialist in the archaeological field. It allows, moreover, the 'popolamento' of the DBMS in real time from not fixed emplacements and you dislocate in various points; concurring the different breaking in experiences in the same data bank, rendering them immediately that can be consulted, and accelerating the process of communication and exchange of the acquaintance
Interaction. A case of ‘epistemological exaptation’ in life sciences
No full textThe concept of interaction is crucial in current life sciences due to its wide use in various fields such as genetics, epigenetics, biomedicine, and epidemiology. Nevertheless, the meaning of the term is ambiguous and its use is subject to criticism. Its generality and cross-disciplinary use could lead to conceiving it as abstract or metaphorical and in epidemiology was object of debate for 40 years. This work aims to outline a preliminary historical-epistemological analysis tracing the scientific background of the concept of interaction. Specifically: it will discuss how the notion of interaction was grounded in early 20th century physics and Gestalttheorie, and then moved into the field of biology; therefore, common patterns in the various definitions of interaction and the epistemological space they have produced through their respective historical correspondences will be pointed out. This is what the author defines the «epistemological exaptation» of the concept of interaction
Lo specchio della trasparenza. La metafora come strumento concettuale tra scienza e cultura e il caso dei neuroni specchio
No full textThe author examines the visual-motor hypothesis of the ‘mirror neuron mechanisms’, and highlights how the term ‘mirror’ is metaphorically used in this field to account for an instantaneous and evident understanding of the action performed by the others. By contrast, by the analysis of the ‘culture of the mirror’– focused on the crossover between philosophy, literature and psychology – ‘understanding the other’ is shown as non-linear, discontinuous and controversial.
In the analysis of the ‘metaphor of the mirror’, as an ordinary and cultural object, examples of the process of understanding the other can be found outlined in their complexity, which seemed to have been eluded in the neuroscientific account
A HOST-MEDIATED ASSAY WITH MUSSELS - DETECTION OF MUTAGENIC SUBSTANCES IN THE VENICE LAGOON
No full textA marine host-mediated assay for the detection of mutagenic compounds in polluted sea waters
No full textUncompromising Empiricism Once Again : Big Data and the Case of Numerical Taxonomy
No full textBig Data are not rough data or mere tools. They foreshadow epistemological
and ethical changes and raise issues as to the nature of knowledge and the
categorization of reality. In this paper, we aim to analyse the so-called “data
science” from a historical and epistemological perspective. We will first consider
how, in the name of a new and uncompromising empiricism, a reconfiguration
of the traditional view of causality in science is claimed on the basis
of data analytics. Secondly, we will investigate a historical antecedent of the
current debate by comparing these claims with the ones raised by Numerical
Taxonomy, or Phenetics, in the second half of the twentieth century. This will
allow us to highlight how the opposition between knowledge-driven science
and data-driven science resurfaces in the debate about Big Data science
La donna fantasma : immagini del petrarchismo filmico
No full textAnche se la forza e la vastità delle influenze petrarchesche nel cinema debbono talvolta essere cercate e trovate con la pazienza certosina dell'entomologo o dello studioso di metafore, Gino Frezza rintraccia significative e ineludibili presenze delle figure poetiche petrarchesche nella tradizione filmica del cinema classico e in quello moderno e contemporaneo. Il rapporto fra l'opera di Petrarca e il cinema si rivela, seppure in filigrana, nella cruciale, enigmatica, valenza di un crocevia culturale non secondario, ricorrente, denso di sorprese. Prima Frezza ripercorre come Petrarca, nelle rime del Canzoniere, trama la difficile, complessa, interfaccia fra rima e immagine, dimensione della scrittura e configurazione visiva, e come, per tale interfaccia, si imponga la figura della Donna nei termini di una immagine ad alto coefficiente fantasmatico. Poi l'autore illustra la permanenza dei temi poetici del Petrarca in un ambito di produzioni filmiche appartenenti ad autori ed epoche del Novecento che, con l'opera del poeta italiano, non hanno rapporti espliciti né affiliazioni o vicinanze metaforiche. Ecco dunque la «donna fantasma» petrarchesca trasformarsi nelle fisionomie filmiche della donna-quadro e della donna-specchio, della donna-statua, della donna-ricordo e, infine, della donna-idea. L'analisi delle influenze petrarchesche nel cinema si conclude ascrivendo al poeta italiano trecentesco l'origine più lucidamente consapevole di una teoria delle lacrime, che non a caso e molto spesso coprono d'improvviso gli occhi degli spettatori di cinema. Le lacrime spettatoriali -una esperienza insieme fisica e lirica, manifesta e intima- corrispondono alle lagrime petrarchesche, a fronte della vanità terrena dei mortali.The strength and magnitude of Petrarch's influence on cinema must sometimes be sought out with the Carthusian patience of the entomologist or like the study of metaphors. Nevertheless, Gino Frezza retraces the significant and unavoidable presence of Petrarchan poetic figures in the film tradition of both classic and modern, contemporary cinema. The connection between the work of Petrarch and the cinema is revealed, though delicately, in the crucial, enigmatic strength of an early, recurrent cultural crossroads, thick with surprise. Like Petrarch, Frezza first retraces the rhymes of the Canzoniere, plotting the difficult, complex interface between rhyme and image, the dimensions of writing and visual configuration, and how, for such interface, the figure of the Woman was imposed as a highly ghost representation. The author then illustrates the continuity of Petrarch's poetic themes in a film production environment pertinent to authors and periods from the 10th Century which, with the work of the Italian poet, bore no explicit relation nor metaphoric affiliation or similarity. It was here, therefore, that the Petrarchan «ghost woman» was transformed into the cinematic physiognomies of the portrait-woman, mirror-woman, statue-woman, memory-woman and, finally, the idea-woman. The analysis of Petrarchan influences on cinema is concluded by crediting the 4th Century Italian poet with the most lucidly conscious origin of a theory of tears, which very often, and not unintentionally, covers the eyes of cinema audiences. Spectator tears -an experience both physical and lyrical, open yet intimate- are significant of Petrarchan tears, relating to the earthly pride of mortals
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