305,885 research outputs found
Per una lettura di Husserl e di Kant. Postfazione a E. Husserl, Kant e L'idea della filosofia trascendentale
No full textKant e la filosofia trascendentale
No full textI saggi qui raccolti attraversano momenti importanti della rilettura che, nell’arco di quasi trent’anni, Massimo Barale ha proposto della prospettiva trascendentale, rendendola asse portante della propria riflessione filosofica, centrale in volumi come Filosofia come esperienza trascendentale. Sartre (1977), Kant e il metodo della filosofia (1988). Muovendo dalla sua matrice kantiana, su cui ritorna più volte, mostrandone possibilità e punti critici, Barale indaga gli sviluppi della filosofia trascendentale nella fenomenologia di Husserl, nel pensiero di Heidegger, e si confronta con le ricerche più recenti della filosofia della mente e delle scienze cognitive
Linkage of biopsy, cancer, and population records aimed at the estimation of family risks in neoplasia: a pilot study
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LINKAGE OF BIOPSY, CANCER, AND POPULATION RECORDS AIMED AT THE ESTIMATION OF FAMILY RISKS IN NEOPLASIA - A PILOT-STUDY
Author(s): BARRAI, I (BARRAI, I); NENCI, I (NENCI, I); GUIDI, E (GUIDI, E); DELLACQUA, G (DELLACQUA, G); FORMICA, G (FORMICA, G); BARBUJANI, G (BARBUJANI, G); MARZOLA, A (MARZOLA, A); MARANI, G (MARANI, G); BARALE, R (BARALE, R); BERETTA, M (BERETTA, M)
Source: JOURNAL OF EPIDEMIOLOGY AND COMMUNITY HEALTH Volume: 45 Issue: 2 Pages: 107-111 DOI: 10.1136/jech.45.2.107 Published: JUN 1991
Times Cited: 1 (from Web of Science)
Cited References: 15 [ view related records ] Citation Map
Abstract: Study objective-The aim was to link individual demographic and medical records into sibships to obtain the sibling distribution of biopsies and cancers, and thereby calculate heritability and recurrence risks in families, thus aiding early diagnosis and prevention of cancers.
Design-The 157 823 individual records of the inhabitants of the town of Ferrara in Italy were automatically linked into 106 821 sibships. A 10% sample (10 842 sibships) was then extracted from the distribution of sibships and tabulated, for linkage to medical records.
Patients-The biopsy records at the Institute of Pathological Anatomy of the University of Ferrara were manually linked to cancer records and then to sibships. It was possible to construct the distribution of 2062 biopsies and of 829 cancers in sibships.
Results-From the distribution of biopsies and tumours in sibships, it was possible to estimate the incidence of tumours in the population (0.052) and in siblings of affected (0.083), and to apply to such distributions current methods for the estimate of heritability (h2 = 0.246) and of recurrence risks of tumours in sibships, age independent.
Conclusions-The study shows that the procedure resulting in the estimation of incidences and recurrence risks for tumours could be completely automated, and extended to whole populations and homogeneous subgroups in post industrial cultures
NFT e nuove opportunità per gli artisti (umani e non): l’esempio di Botto
No full textBotto è un robot-artista che fa arte da ormai più di due anni. La sua esistenza
non sarebbe stata possibile senza l’affermarsi degli NFTs in campo artistico. L’autonomia
della blockchain ha permesso al creatore di Botto, Mario Klingemann, di aumentare l’au-
tonomia del suo robot, rendendolo capace non soltanto di creare immagini, ma anche di
venderle online e di trasformare nel tempo il proprio modo di lavorare. Il saggio analizza
come questo è stato possibile, anche attraverso il riferimento a una recente collaborazione
di Botto, Flowering of ideas, realizzato con gli artisti umani Ryan Koopmans e Alice Wexe.Botto is a robot-artist who has been making art on his own for more than two years
now. His existence would not have been possible without the emergence of NFTs in the
artistic field. The autonomy of the blockchain has allowed the creator of Botto, Mario
Klingemann, to increase the autonomy of his robot, making it capable not only of creating
pictures, but also of selling them online and transforming his way of working over time.
The essay analyzes how this was possible, also through reference to a recent collaboration
by Botto, Flowering of ideas, created together with human artists Ryan Koopmans and Alice
Wexell
Latent Spaces: What AI Art Can Tell Us About Aesthetic Experience
No full textIn her book L’art victime de l’estétique, Carole Talon-Hugon criticizes the identification that has been made between art and aesthetics since the Eighteenth century. In this context, what the author calls “aesthetics” or “aesthetic experience” is essentially linked to the sphere of sensitivity, which becomes more and more isolated from that of good and truth. Art – this is the author’s thesis – progressively loses its link to good and truth as it becomes something that must just affect the senses. In this context, the author recalls that a central role was played by the growing importance of colour, in a process that led from Impressionism to abstract art. Throughout this evolution, according to Talon-Hugon, the intention of painting increasingly became an attempt to restitute “the purely visible impression,” isolated from any judgement or identification. In this paper, this thesis will be confronted with a new type of art, the art made through artificial intelligence. In particular, the focus will be on some artworks made through a kind of AI called GANs (generative adversarial networks). If one considers these pictures, one may notice that they share with some early Twentieth century paintings the fact that colour becomes somewhat independent from the outlines and drawing. Outlines are very blurred and the identities of the objects are not certain. Nevertheless, this type of colour in GANs pictures doesn’t demonstrate a denial of the task of identifying things. On the contrary, it is precisely concerned with the machine’s very attempt to classify objects. Moreover, even if we recognize in the AI our own attempts to classify and comprehend the world (the Ai as an “uncanny mirror” of ourselves), the AI remains nevertheless something other than ourselves. Therefore, the aesthetic pleasure when faced with these pictures implies the expectation not only of a possible knowledge, but also of a new relationship with an other. This will allow some considerations on the very notion of aesthetics itself
Arte e intelligenza artificiale. Be my GAN
No full textA fine 2018 un evento inaspettato si verifica presso la prestigiosa casa d’aste Christie’s: per la prima volta viene battuta, con grande successo, un’opera d’arte assistita dall’intelligenza artificiale, è Edmond de Belamy del collettivo francese Obvious. La sorpresa e lo sconcerto della stampa rivelano quanto possa essere problematica l’idea stessa di intelligenza artificiale per il mondo dell’arte. Pochi mesi dopo, anche Sotheby’s mette in asta un’installazione di Mario Klingemann, pioniere nell’utilizzo delle gan (Generative Adversarial Networks), le reti generative avversarie inventate nel 2014 dal giovane studioso Ian Goodfellow. Le opere che usano l’intelligenza artificiale suscitano un dibattito sfaccettato e di grande interesse. Questo volume raccoglie le voci di filosofi, artisti della scena internazionale, informatici, studiosi d’arte e di musica che si confrontano, ognuno in modi e prospettive differenti, su domande di fondo: che cos’è la creatività? Le macchine possono essere creative o la creatività è solo una caratteristica umana? Chi è l’artefice e chi lo spettatore? Il processo generativo di un sistema di intelligenza artificiale può essere qualificato come originale? Possiamo chiamare 'estetici'gli algoritmi delle gan che discriminano fra milioni di 'opere' generate da un computer?... Dalle pagine del libro, capitolo dopo capitolo, prende forma un panorama ricchissimo, anche dal punto di vista estetico, e di enorme fascino per chi ami percorrere le strade dell’arte, comunque imprevedibili
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