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    odelli digitali del terreno (DTM) ad alta risoluzione per il monitoraggio dei ghiacciai alpini – Digital Terrain Models of a high resolution for monitoring alpine glaciers

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    The aim of the research is the 3D reconstruction of a glacier surface thr ough the use of satellite stereoscopic images and Geographic al Information Systems (GIS). Th e project ‘s doubl e goal is to improve Digital Terrain Mod el (DTM) extraction techniques in morphologically highlycomplex areas and to obtain a high resolution DTM for studying, monitoring, and quant ifying the glacial resource. The ext raction of the high- resolution glacial surface DTM faces different challenges due to the ext reme physical variability of the surface. Glacier ice is a continuously moving deformable material that can locally genera te morphologically complex structures such as seracs and crevasses. These features show a seasonal variability linked to meteorological condi tions. An additional reason of compl exity is the presen ce of debri s (surface moraines) and snow cover: they can apparently alter the spatial shape of the glacier as well as its own elevation. The aim of the research is to identi fy a fast. .reproducible, and reliable method to support the traditional glacier survey and moni toring techniques. From the technolo gical point of view, we also want to verify the chances offered by new remote sensing acquisition systems and relevant elaboration software. Thi s first pa rt of the research has been of value in proving the reliability of the aerial and satellite images plane/ elevation data elaboration system, in checking the acquisition difficulties and costs, and in testing the utilization limits of the remote sensed data

    PROPOSAL FOR AN AUTO-UPDATING SNOWFALL MAP OF THE TRENTINE TERRITORY (EASTERN ALPS OF ITALY)

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    From the early 80s, the “Snow, Avalanches and Meteorology Office of Trento (Italy) Autonomous Province” (“Ufficio Neve,Valanghe e Meteorologia della Provincia Autonoma di Trento”), actually “Ufficio Previsione e Prevenzione” monitors the snowfall conditions and studies avalanches in the same territory; in particular, it manages a network of over 30 manual snow fields, plus about ten automatic measurement stations, added during the last 10 years, between 800 and 2750 meters (Fig. 1). Complete snow-meteorological measurements are daily performed (AINEVA-CAI Model 1) while automatic stations also measure the snow cover thickness, as well as classical meteorological parameters

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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