86,735 research outputs found
Serum leptin concentrations during the menstrual cycle in normal-weight women: effects of an oral triphasic estrogen-progestin medication.
No full textRole of proline 193 in the insulin receptor post-translational processing
No full textAims/hypothesis. A point mutation, P193L, in the insulin receptor alpha subunit, has been previously identified in a patient affected by an extreme form of insulin resistance due to reduced insulin binding. In our study we investigated the cellular mechanisms by which P193L substitution causes a reduction of insulin receptor numbers on the cell surface.Methods. Mutated insulin receptors have been generated and expressed in COS1 cells. Transcription as well as translation of P193L insulin receptor have been measured and compared with wild type insulin receptorResults. P193L insulin receptor is normally transcribed and progresses to the step of insulin proreceptor, which does not proceed to dimerization, resulting in the accumulation of the 210 kDa form. These findings suggest that the P193L insulin proreceptor is retained in the endoplasmic reticulum, where several molecular chaperones drive the folding of protein precursors. Therefore the interaction between mutated insulin receptor precursor and two endoplasmic reticulum resident chaperones (GRP78 and calnexin) were investigated. P193L insulin proreceptor co-immunoprecipitates with greater amounts of GRP78 and its interaction with calnexin is greatly delayed compared with wild type insulin receptor precursor, Co-transfection of wild type and mutated insulin receptors causes a considerable reduction of cell surface wild type insulin receptors,Conclusion/interpretation. P193 is critical for insulin propeceptor folding. The monomeric form of P193L insulin proreceptor is retained in the endoplasmic reticulum by a calnexin and GRP78 mediated mechanism that reduces mature insulin receptor expression on the cell surface
The economic burden of severe hypoglycemia: Two sides of the same coin. Comment on G. Veronese and Coll. Costs associated with emergency care and hospitalization for severe hypoglycemia
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Storytelling? Una narrazione a più voci
No full textNell’ambito dei Beni Culturali e dei musei, lo storytelling, capace di raccontare sollecitando sensibilità e ragione, consente di coinvolgere più facilmente il pubblico proponendo esperienze che possono trasformarsi in patrimonio di memoria personale o collettivo.
Le “storie che persuadono” perseguono numerosi obiettivi – politici, commerciali, di comunicazione e di marketing ma, quando lo storytelling si applica al museo o ai beni culturali, il narratore – museologo, architetto, curatore, mediatore, scrittore che sia – si assume un delicato compito di interpretazione della realtà secondo un punto di vista etico oltre che pragmatico.
Questa particolare dimensione narrativa ha assunto nel tempo sempre più spiccate caratteristiche internazionali: basti ricordare il fondamentale passaggio che ha portato da una concezione del Patrimonio come fondamentale espressione dell’identità di un popolo alla consapevolezza del suo valore universale secondo le già modernissime intuizioni di Quatremère de Quincy. Nel Novecento poi la Convenzione UNESCO per la protezione del patrimonio mondiale culturale e naturale, di cui proprio nel 2022 si celebra il cinquantenario, ha costituito una svolta ancora oggi imprescindibile per l’impulso istituzionale dato ad un diverso modo di concepire, e quindi di raccontare e di valorizzare, il Cultural Heritage.
Lo storytelling può adottare forme e strumenti complessi e talvolta complementari tra loro e il racconto - espositivo, verbale, visivo, digitale – indirizzato ad un singolo o a una intera comunità si può comporre grazie a molteplici elementi ed a tecniche che hanno avuto una loro evoluzione nel tempo. Un sistema narrativo che suscita empatia, eventualmente pace di coinvolgere spazi e corpi in una esperienza immersiva, permette di raggiungere risultati che integrano la tradizionale visita a musei e monumenti creando condivisione o coinvolgimento e talvolta rafforzando il senso di appartenenza ad una collettività. In questo modo lo storytelling partecipa alle sfide più attuali del Cultural Heritage riguardo all’inclusione, all’equità e alla sostenibilità, ma anche – secondo una dimensione più specifica – alla conservazione preventiva della cultura materiale o del paesaggio.
Anche la ricerca tecnologica ha contribuito a dare un nuovo impulso allo storytelling i cui scenari e orizzonti di intervento si sono largamente ampliati grazie agli audiovisivi e al digitale: sempre più spesso musei, siti archeologici o città d’arte raccontano se stessi, le proprie collezioni, il loro contesto urbano e antropologico anche grazie alla realtà virtuale e alla realtà aumentata, o a soluzioni tecniche ibride.
Coinvolgere il pubblico nelle sue molteplici e discordanti caratteristiche, invitando a condividere conoscenze, emozioni ed esperienze significa sottolineare il valore e l’autenticità delle cose e del loro allestimento, ma anche della Storia. La cultura, materiale o immateriale che sia, diventa così “elemento semioforo” che accompagna le persone verso l’intelligenza e l’interpretazione del dell’arte, o del passato archeologico, o storico e, grazie a queste, alla comprensione di sé e degli altri.
Il testo individua la dimensione metodologica alla base dell’intero volume e indica come tra continuità e rottura e storiche, metodologiche, tecnologiche la ricerca abbia cercato di ritrovare elementi di una trama che dal XIX secolo ad oggi ha collegato la creazione dell’artista, dell’artigiano e del designer al pubblico anche grazie a processi di identificazione e di racconto oppure di afasia e di cancellazione che hanno avuto conseguenze rilevanti non solo sulla fruizione delle collezioni ma anche sulla loro tutela o sul loro restauro, in fondo sulla composizione stessa dell’immagine del patrimonio. Si è operato una sorta di circolo smetto di cose che ha evidenziato relazioni perlopiù complesse, non solo tra esperienze individuali e collettive, tra celebrazione dell’identità nazionale e riconoscimento di un valore universale, ma anche tra memoria e oblio. Il testo sottolinea come la dimensione narrativa possa assumere a seconda di tempi e luoghi caratteri diversi: espositiva, verbale, digitale ed anche come si sviluppi secondo piani complementari
Art and technology as tools for creating inclusive and sharing spaces
No full textDigital Art was born at the turn of the 1960s and 1970s within science and technology laboratories at universities in the United States, and then came to Europe.
It is during these years of experimentation that the movement evolved into the multiple fields of practice and languages that still characterize it today.
Despite more than fifty years of activity and research, Digital Art only began to attract attention from a wider audience in the new millennium, moving out of a niche context (Galansino & Tabacchi, 2022).
The event that led to the change and the (re)discovery of Digital Art was in fact a Christie's auction, when Mike Winkelmann's work made of NFTs was sold for $69.3 million. It was only on March 11, 2021 (Galansino & Tabacchi, 2022). As is happens very often with contemporary art, if an artwork is sold by an auction house, such as Christie's and Sotheby's, which carry the status, quality, and potential buyers, then the artwork obtains added value and extensive media coverage (Thompson, 2017).
In recent years, the art world has shifted its focus towards Digital Art resulting in a significant increase in the sales of NFTs works, the creation of the metaverse, and other related developments.
Using digital technologies and interactive media, the phenomenon has challenged traditional concepts of artwork, artist, and audience (Paul, 2015) and, not least, the definition of appropriate spaces for the production and enjoyment of works.
In recent decades, Digital Art has undergone significant changes due to the use of constantly evolving tools and technologies.
It is defined as fluid art, constantly changing precisely because the technologies and society in which it operates are also constantly changing (Paul, 2015).
Digital artists have always searched and created art in "wrong places”, outside the art world, but rather on the web, in laboratories, in scientific and technological research facilities (Quaranta, 2010).
As the place of investigation changes, the artist's tools, stimuli, means of production inevitably change.
Additionally, the places of creation, preservation and display of digital works may change as well.
Thanks to the powerful connectivity of the Internet, artists are now able to create and foster genuine communities by way of networking. This often involves a system where the artwork can be exchanged freely, without the need for monetary transactions. These exchanges are typically facilitated through websites, email lists, and other alternative spaces.
This new paradigm marks a departure from traditional art sales practices and enables artists to connect with each other and a wider audience in a more open, collaborative, and inclusive way.
Digital Art was born with the idea of being characterized by free and accessible sharing to everyone. This characteristic represents the anti-institutional spirit of the internet.
However, it is worth noting that this spirit is ephemeral and reflects the aesthetics and technologies of the internet itself (Tribe & Jana, 2006).
It raises the question of what has caused the recent surge of interest in the digital world among the artistic and cultural communities. This growth has resulted in the establishment of more research and dissemination centers, festivals, and museums.
Over the past few years, there has been a significant shift in the art world, with many traditional institutions embracing the digital medium.
As a result, numerous art galleries have emerged, serving as a bridge between the public and digital art. These galleries aim to showcase works that explore the intersection of technology and art, often featuring interactive installations, digital sculptures, and immersive experiences.
The rise of these galleries has enabled artists working in digital media to reach a wider audience, while also providing visitors with an opportunity to engage with cutting-edge artworks that challenge their perceptions and expand their horizons.
This paper aims to provide a comprehensive overview of the contemporary artistic and digital landscape as it is about the physical spaces where works of art are created, produced, and shared.
Mapping research centers, production facilities, and other community hubs in Europe, the purpose is to explore how physical spaces can aid in the design and execution of projects, as well as foster community building while engaging with the local area and various user groups, such as Young Adults. The goal is to create inclusive spaces that promote cultural participation, becoming an intersection between creativity, art, innovation, and technology for the benefit of the local community.
As part of the research, a series of interviews were conducted with artists, curators, and professionals who specialize in the field of digital culture.
The purpose of these interviews is to gain a comprehensive understanding of the various approaches and needs that arise during the different stages of conception, prototyping, and creation of Digital Art.
The contribution proposes an analysis of the contemporary digital art scene, starting from historical research that can illustrate the key moments of Digital Art, from its inception to the very recent developments.
Helped by the mapping of major international research and dissemination centers, the aim is to better understand how artists and their works are involved within these institutions with the goal of establishing common guidelines that can help in the enjoyment of internal spaces dedicated to the creation of their art.
The proposal aims to investigate new types of spaces related to the creation of digital art with particular attention to the predisposition of these places to transform into inclusive and sharing spaces by going to create on the one hand a virtual and global network, but, using space, also a physical and local platform, stimulating experimentation, interaction and continuous updating.
A double level of community between real and virtual that can stimulate the public both interest in art and in science and technology.
To support this research, interviews will be conducted with artists, curators, and professionals working in the field of digital culture
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