11 research outputs found

    Nuovi indicatori statistici per la valutazione della digitalizzazione delle aziende zootecniche

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    The analysis of the evolution of the animal production sector shows that, over time, the integration of technology, instrumentation and all activities in the subsidiary sectors has taken place according to a truly global approach. This approach starts from the need to increase livestock production and includes the need to protect the environment, the human health and the animal welfare. The digital transformation involving specific sectors of livestock activity often plays an important role in the farm to fork strategy outlined by the European Union, especially concerning the environmental impact of supply chains. Modern and efficient management of livestock farms will make possible to achieve in a faster way the Sustainable Development Goals linked to the 2030 Agenda of the Organization of United Nations (UN). Most Member States have made progress in digital transformation, while the adoption rate of advanced digital technologies such as artificial intelligence (AI) and big data remains low. It is necessary to increase the spread of connectivity infrastructures, in particular the 5G, essential for highly innovative services and applications. Digital skills are another important area where Member States need to make more progress. The Digital Divide (or gap between those who use IT and those who do not due to lack of infrastructure and/or skills) is increasingly an obstacle to digital transformation. In the agricultural sector, it is essential to understand the impacts of the ongoing digital transformation on the dynamics of the livestock sector. In particular, traditional indicators for evaluating farms may not be sufficient. Traditional indicators for evaluating livestock farms have typically focused on measures of productivity and cost-effectiveness. For example, an agricultural business may be highly productive and profitable, but may not be fully exploiting the benefits of digitalization. To address this issue, new statistical indicators have been developed that can provide information on the level of digitalization and potential areas for improvement in livestock operations. The objective was to evaluate more precisely the current state of the digitalization of livestock farms in Italy with a “readiness” Index by analyzing and comparing the various statistical surveys produced by Istat. For instance if a farm collects large amounts of data but does not analyze it effectively, this may indicate a need to improve data analysis tools or training of farm staff. Similarly, if a farm uses digital technologies to collect data but does not integrate it into business management decisions, this may suggest a need for better communication and collaboration between different departments or staff on the farm. By identifying these areas for improvement, livestock sector or in general the agricultural one can be helped to optimize the use of digital technologies and improve overall operational efficiency. Another benefit of using simpler statistical indicators to evaluate digitalization on farms is that they can help promote transparency and accountability. By providing a more complete picture of the extent to which agricultural businesses use digital technologies, these indicators can help raise trust among stakeholders. This is especially important given the growing emphasis on sustainability and ethical farming practices. By demonstrating their commitment to digitalization, livestock farms can show that they are making progress to improve their operations and reduce their environmental impact. In conclusion, the development of more modern and more easily calculable indicators compared to more complicated statistical techniques difficult to access to a user not expert in data analysis are a valuable tool to ensure the long-term sustainability and success of livestock operations in the digital era

    Quanta carne si mangia in Italia? Stima del consumo pro capite reale con il metodo innovativo della detrazione preventiva delle perdite

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    How much meat do you eat in Italy? Estimated real per capita consumption with the innovative method of the prior deduction of losses. Using the same procedures for calculating Food Balance Sheets (FBS), a method of estimating the actual consumption of meat in Italy was developed, which was named the method of prior loss deduction. The method is based on the prior deduction of all losses (processing losses, scraps and wastes), which occur between the production of carcasses and consumption, from the national availability of carcasses and meat products imported and exported. The estimate envisages two phases: the first consists in the transformation of the availability of carcasses and meat products of the various animal species in consumable meat by means of conversion coefficients; the second provides for the subtraction by the latter of the waste at distribution and of the scraps and wastes at consumption. With regard to the first phase, the conversion coefficients of carcasses of domestic production and of the various categories of meat products imported and exported in consumable meat were determined. By means of these coefficients, it is possible to obtain the fresh meat actually available for consumption, regardless of how (raw, cooked, transformed into salami, present in mixed food preparations, canned food etc.) and where (home, restaurants, fast food, canteens, communities, street foods etc.) it will be consumed. Regarding the second phase, fixed percentages of deduction for retail waste and for consumer scraps and waste have been defined. Compared to the classic method of FBS, which expresses an apparent consumption in equivalent carcass weight, the method of the prior deduction of losses provides the real consumption of fresh meat. 24 The new method exploits all the advantages of FBS for the calculation of apparent meat consumption, but eliminates the great disadvantage of the enormous overestimation of consumption compared to actually ingested meat. The actual consumption is a more suitable index to monitor the nutritional status of the population, to study the relationship between meat consumption and human diseases and for implementing nutrition education programs. The method of prior loss deduction allows obtaining an estimate of the actual per capita consumption of meat similar to that obtained with Individual Dietary Surveys (IDS), but without having to resort to complex organization and the high costs of the latter. The method was used to calculate the actual consumption of meat in Italy in the six-year period 2010-2015. The results obtained indicate that a resident in Italy currently consumes on average 104 g per day of meat, equal to 728 g per week and 38 kg per year. The real per capita consumption of so-called red meat amounts to 75 g or 69 g per day depending on whether or not it includes milk-fed calf, lamb and kid. These amounts do not exceed the recommended threshold of the most important international research organizations to prevent the risk of contracting cancer. Real consumption data reduces the alarm on excessive consumption of meat in Italy triggered by sensationalist advertising campaigns based on apparent consumptions, which overestimate the amount of meat actually ingested by more than twice as much

    Per Vincenzo Camuccini ritrattista

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    La produzione ritrattistica di Vincenzo Camuccini, ricca ma difficile da definire per la mancanza di informazioni attendibili e nella maggior parte dei casi di rare riproduzioni fotografiche, viene esaminata dall'autore, consentendo una migliore conoscenza di uno dei protagonisti della pittura accademica romana del primo Ottocento. Al catalogo dei ritratti noti dell'artista, qui ricostruito secondo una nuova lettura, è stato possibile aggiungere due tele di piccolo e medio formato, rappresentanti rispettivamente un doppio ritratto dei fratelli Enrico e Alfonso Caetani di Sermoneta e un'effigie del più giovane Alfonso Caetani, già attribuita a Tommaso Minardi. Il legame tra l'artista e la famiglia Caetani di Sermoneta ha permesso di comprendere la svolta di Camuccini verso lo stile pacato e composto di Anton Raphael Mengs e Pompeo Batoni, portando la tradizione ritrattistica romana del XVIII secolo verso la nuova immagine di un'umanità legata tra sentimenti e morale. Tradotto con www.DeepL.com/Translator (versione gratuita)The portrait production of Vincenzo Camuccini, rich but difficult to define due to the lack of reliable information and in most cases of rare photographic reproductions, is examined by the author, enabling a better knowledge of one of the protagonists of the academic Roman painting in the early nineteenth century. To the catalog of known portraits of the artist, reconstructed here according to a new reading, it was possible to add two small and medium format canvases, respectively representing a double portrait of the brothers Enrico and Alfonso Caetani di Sermoneta and an effigy of the younger Alfonso Caetani, already attributed to Tommaso Minardi. The link between the artist and the Caetani family of Sermoneta has made it possible to understand Camuccini’s turning point towards the calm and composed style of Anton Raphael Mengs and Pompeo Batoni, leading the Roman portrait tradition of the 18th century towards the new image of a humanity bound between feelings and morals

    Towards Digital Farming: Exploring Technological Integration in Agricultural Practices of a sample of Italian livestock farms.

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    Despite the rapid rise of digital technologies in agriculture, their application remains more prominent in crop farming than in the livestock sector. Recognizing this gap, our study explores the current state and determinants of digital technology adoption across Italian livestock farms, examining key factors and broader trends in the industry. Using national agricultural census, and national statistical programme data, we applied a logistic regression model to assess the likelihood of adoption of technology. Findings reveal that large ruminant farms, particularly dairy cattle and buffalo, are more likely to integrate digital tools like decision support systems, cloud services, and monitoring devices. In contrast, meat cattle, small ruminants, and pig farms lag. Key determinants include broadband connectivity, ownership structure, education, and age, with additional factors influencing specific technology categories. Our results establish a foundation for future policy and investment, underscoring the need to build digital infrastructure and promote an inclusive model

    La rocca di Civita Castellana: ‘misure’ e ‘stima’ di una fortezza in forma di palazzo

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    Attraverso l'analisi del computo metrico elaborato tra la fine del secolo XV e l'inizio del XVI in merito ai lavori apportati alla Rocca di Civita Castellana, il saggio ipotizza l'attribuziion dei lavori di ingegneria e di architettura che caratterizzano l'aspetto della Rocca, trovando nella figura di Antonio da Sangallo Il Vecchio il principale responsabile-progettista.The studies and the analyses of an ancient document (written between the end of the XVth and the beginning of the XVIth century) gave the opportunity to find the real author of the architectural and engineering works in the Fortress. The name of Antonio da Sangallo the Elder c ame out as the designer of such a sorprendent architectural solutions for the so-called "Cortile d'Onor" at the end of the XVth centu

    A WORK BY GIOVANNI SERODINE FROM THE STROSSMAYER GALLERY

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    During restoration work on the picture » Tuition in Drawing« from the Strossmayer Gallery of the Yugoslav Academy of Sciences and Arts in Zagreb, there was discovered in 1957 a signature in the form of monogram with the interwoven letters IS. The author is of the opinion that formal , stylistic and typological reasons link this object of art wit h Rome at the beginning of the 17t h century, ancl that the Jan Steen attribution is not acceptable, under which name t he work hacl been int roclucecl into the i n ver tor y o f t h e Ga l ler y af ter t he cliscovery of t h e initials. I n analysing thi s picture, the author establish a t y pological similarity of the olcl man's f igure wit h the same f igure on th e ma s ter' s e s tablished autographs ent i t lecl »Call of Zebeclee's Sons« f rom Ascona, » Elemosina of St . Lovro« f r om Sermoneta and other wo r ks. He f i nds a n analogy also i n t h e characteristic creation of t h e l i ght ef fects by means of light ochre on a d ar k b r own backgrouncl. By means of sharp contrastsb between light and shaclows are stressecl the plastic values of the nearest volumes, whilst one specific chiaroscuro results in a static character of the forms. The impasto on Serodine's pictures as well as on the Zagreb wor k shows the characteristic cluality of smooth and pasty surfaces. In the f igure of the old man one encounters the technique of elongated patches of a paint that clecomposes the painted surfaces into relief particles, while the volume of the f ingers is formecl by r ing-like parallel coatings of a l ight ochre on a dark brown base. On the other hancl, when painting the youthful f igure, the master placed the paint on the canvas in a t h in, almost t ransparent coating, thussuggesting in an excellent manner the h esh tension of the skin ancl the purity of the complexion. The copper-brown colour of the olcl man's complexion is in contrast with the greyish-yellow tonality of the ep!clermis wi t h the greenish-grey shadows on the f ace of the boy. To the author especially characteristic i s the s;ill-life in the picture »Tui t ion in Drawing«, which complements ancl closes up the composition in an excellent way. Besicles the scu!pture of the nakecl boy what catches our eye i s something !hat i s of tent imes founcl in Serocline's pictures: the l i vely ancl lovcI surface of t h e w h i t e p a r chment, e ither i n t h e f o r m o f rotulus, a f ree leaf or o pen pages of a book. T hese p lanes, together with the cletai's of the crumplecl clrapery of the sleeves, k erchief or the l ike clraw most of the l ight f rom t he master's brush ancl represent the loudest note of the counterpoint l ight-shacle. The typical pasty facture of t hese phosphorescent surfaces is part of Serodine's painting expression,which includes also the Zagreb work of ar t int o the aetist's numerically humble opus. The author believes that the established analogies clictate the clating of t h e p i c t ure »Tuition i n Dr awi ng« i n t o t h e p e r ioct 1 619 — 1625, i. e, int o the per iod of t h e making of t h e a l tar compositions for the Church San Lorenzo fuori le mura at Rome. The lack of accord between the discovered signature IS and the actual initials of the Italian name Giovanni Serodine — GS — is explained by the Latin inscription of the master's name, who on the pi cture » Elemosina of St . L o v r o « si g ned h imsel f t h u s : IOANNES SERODENUS F

    Nobiltà di dame del sr. Fabritio Caroso da Sermoneta, libro, altra volta, chiamato Il ballarino. Nuouamente dal proprio auttore corretto, ampliato di nuoui balli, di belle regole, & alla perfetta theorica ridotto: con le creanze necessarie à caualieri, e dame. Aggiontoui il basso, & il soprano della musica: & con l'intauolatura del liuto à ciascun ballo. Ornato di vaghe & bellissime figure in rame ...

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    In this significant manual detailing late-Renaissance Italian court dance, dancing master Caroso redefines and, in some cases, corrects information found in his first treatise, Il ballarino (1581). The manual gives rules for sixty-eight steps and contains specific choreographies for forty-nine dances. Many dances are preceded by full-page illustrations and each dance is provided with appropriate music written in Italian lute tablature and/or mensural notation. This manual was reissued in 1630 under the title, Raccolata di variji balli.Title within engraved architectural border ornamented with vignettes of instrumentalists, a portrait of the author, etc. Head- and tailpieces; initials. The illustrations consist of 10 full-page engravings by Giacomo Franco; 8 of them, figures of dancers, occur from 2 to 7 times each.Part 2 has special half-title: Della Nobilta di dame ... libro secondo, nelquale s'insegnano varie sorti di balletti, cascarde, tordiglione, passo e mezzo, pauaniglia, canario, & gagliarde ...The music, through p. 148, is in both tablature and ordinary notation; throughout the rest of the book, in tablature only.Second edition; 1st edition published 1581 under title: Il ballarino. A reissue of the 2d edition, entitled "Raccolta di varij balli fatti in occorenze di nozze, e festini" appeared in 1630.Page 200 misnumbered 100

    Il ballarino di M. Fabritio Caroso da Sermoneta, diuiso in due trattati; nel primo de' quali si dimostra la diuersità de i nomi, che si danno à gli atti; & mouimenti, che interuengons ne i balli: & con molte regole si dichiara come debbano farsi. Nel secondo s'insegnano diuerse sorti di balli, & balletti sì all' vso d'Italia, come à quello di Francia, & Spagna. Ornato di molte figure. Et con l'intauolatura di liuto nella sonata di ciascun ballo, & il soprano della musica alla maggior parte di essi. Opera nuouamente mandata in luce ...

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    This manual is one of the most important documents detailing late-Renaissance Italian court dance. Dancing master Fabritio Caroso (died 1605) describes fifty-four steps, provides rules for style and etiquette, and contains specific choreographies for eighty dances, most of which are designed for one couple. Many dances are preceded by full-page illustrations and each dance is provided with appropriate music notated in Italian lute tablature. Fabritio Caroso is also the author of an additional dance manual, Nobiltà di dame (1600; 1605).Head- and tail-pieces; initials.Vol. 2 has title: Trattato secondo del Ballarino ... nel quale s'insegnano varie sorti di balletti, cascarde, tordiglione, passo e mezo, pauaniglia, canario, & gagliarde all' vso d'Italia, Francia, & Spagna

    Bassani e l’omosessualità

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    In this essay the author analyzes the presence of homosexuality, as well as its symbolic equivalents of injured or diminished virility, in Giorgio Bassani’s narrative. In this direction, the most significant texts are considered The Gold Rimmed Glasses (where the tragic hero is an homosexual), Behind the Door and The Heron, but also the figure of Alberto (and somewhat of the protagonist and narrator) in The Garden of the Finzi-Contini and of Barilari in One night in ‘43 are the subject of thematic interpretation. The author claims that homosexual identity is not investigated itself and ontologically legitimized by Bassani, but takes the value of a metaphor for exclusion, even a violent one, as the one that struck, at the same time, Jewish identity after the enactment of Racial Laws in Italy. From this point of view, the doubt on the “conformity” of his own sexuality, the fear this sexuality would meet the regime’s propaganda stereotypes, or (in Behind the Door) the liberating projection of these stereotypes on an antagonistic character and alter ego seem to inhabit the protagonists of the aforementioned novels and short stories and produce, with their diverted or evaded questions, the agony of false consciousness.In questo saggio l’autore analizza la presenza dell’omosessualità, nonché dei suoi equivalenti simbolici della virilità lesa o diminuita, nella narrativa di Giorgio Bassani. In tale direzione, i testi bassaniani più significativi vengono considerati Gli occhiali d’oro (in cui il tragico protagonista è un omosessuale), Dietro la porta e L’airone, ma anche la figura di Alberto (e, in parte, dello stesso protagonista) nel Giardino dei Finzi-Contini e quella di Barilari in Una notte del ’43 sono oggetto di interpretazione tematica. L’autore del saggio cerca di mostrare che l’identità omosessuale non è da Bassani indagata in sé e legittimata ontologicamente, ma assume un puro valore di metafora dell’esclusione, anche violenta, quella che parallelamente colpì l’identità ebraica dopo l’emanazione delle leggi razziali in Italia. Secondo questa angolazione di lettura, il dubbio sulla “conformità” della propria sessualità, il timore di un’omologazione di essa agli stereotipi della propaganda di regime o (in Dietro la Porta) la proiezione liberatoria di questi ultimi su un personaggio antagonistico / alteregoico, sembrano abitare i protagonisti dei romanzi e dei racconti succitati e produrre, coi loro interrogativi deviati o elusi, i tormenti della falsa coscienza

    Hepatitis C virus infection in the Middle East and North Africa “MENA” region: injecting drug users (IDUs) is an under-investigated population

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    Purpose: Investigation of the injecting drug users (IDUs) population is becoming extremely critical and timely in light of the recent evidence that IDUs now act as the core of hepatitis C virus (HCV) epidemics in developed countries. The purpose of this article, therefore, is not only to review the epidemiology of HCV in the Middle East and North Africa (MENA) region, but also to see whether IDUs were adequately studied and whether harm reduction strategies to be applied for their protection have been set. Methods: A literature review was carried out of articles published within the last decade on HCV infection. Results: The gathered data showed that the population of IDUs is severely under-investigated throughout the whole region, possibly due to religious and cultural impediments. 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