747 research outputs found
Realtà e immaginazione nelle fotografie di Franco Grignani
No full textChe cos’è una fotografia? L’opera di Franco Grignani (1908-1999) sembra concepita per testare i limiti e individuare le crepe, le ambiguità e le sovrapposizioni della categoria del “fotografico”. Il ruolo della fotografia nella pratica dell’artista è fondamentale e generatore: in tutta la sua carriera Grignani ha condotto le ricerche sui meccanismi percettivi e sulla comunicazione nella vita “quotidiana” tenendo in grande considerazione il valore sociale dell’arte e pensando alla fotografia come lo strumento migliore per andare oltre i dati della realtà ipso facto percepibili. La lettura di una serie di opere e di scritti inediti ci rivela che l’autore “incubava” nella camera oscura immagini con lo scopo di sondare la realtà, di scavalcare gli stereotipi di un certo tipo di rappresentazioni le quali soffocano l’esperienza visiva dell’uomo moderno. Fotografie sperimentali che sollecitano l’intuito naturale e la percezione affinché l’uomo trasformi i dati reali in creatività. Si può quindi sostenere che la dimensione fotografica ebbe un’influenza talmente forte nel pensiero artistico di Franco Grignani che senza di essa gran parte della sua opera non esisterebbe.What is a photograph? The work of Franco Grignani (1908-1999) seems conceived to test the limits and detect the cracks, ambiguities and overlaps in the category of “photographic” art. The role of photography in the practice of the artist is fundamental and generative. Throughout his career Grignani led the research on the mechanisms of perception and communication in the life “everyday” considering the social value of art and photography as a tool in exploring the data ipso facto perceived reality. The reading of a series of works and unpublished writings reveals to us that the author “incubated” images in the darkroom in order to probe reality and override the stereotypes of a certain type of images that stifle the visual experience of modern man. Experimental photographs that stimulate natural intuition and perception so that man transforms real data into creativity. It is therefore arguable that the photographic dimension had such a strong influence in the artistic thought of Franco Grignani that without it most of his work would not exist
When You Doubt, Abstain: From Misclassification to Epoché in Automatic Text Categorisation
No full textThis paper describes how natural language processing and ontologies are exploited for automatic text categorisation. The approach introduced is part of the MANENT system, an infrastructure for integrating, structuring and searching Digital Libraries. The procedure of structural information extraction, and of the automatic classification of the records according to natural language understanding and theWordNet Domains taxonomy is discussed. A comparison between two versions of the classification algorithm is conducted and the improvements of the new approach are articulated. In particular, using semantic connections between words refines the classification results while reducing misclassification to non classification. © 2011 IEEE
Realtà e immaginazione nelle fotografie di Franco Grignani
No full textWhat is a photograph? The work of Franco Grignani (1908-1999) seems conceived to test the limits and detect the cracks, ambiguities and overlaps in the category of “photographic” art. The role of photography in the practice of the artist is fundamental and generative. Throughout his career Grignani led the research on the mechanisms of perception and communication in the life “everyday” considering the social value of art and photography as a tool in exploring the data ipso facto perceived reality. The reading of a series of works and unpublished writings reveals to us that the author “incubated” images in the darkroom in order to probe reality and override the stereotypes of a certain type of images that stifle the visual experience of modern man. Experimental photographs that stimulate natural intuition and perception so that man transforms real data into creativity. It is therefore arguable that the photographic dimension had such a strong influence in the artistic thought of Franco Grignani that without it most of his work would not exist
Realtà e immaginazione nelle fotografie di Franco Grignani
No full textChe cos’è una fotografia? L’opera di Franco Grignani (1908-1999) sembra concepita per testare i limiti e individuare le crepe, le ambiguità e le sovrapposizioni della categoria del “fotografico”. Il ruolo della fotografia nella pratica dell’artista è fondamentale e generatore: in tutta la sua carriera Grignani ha condotto le ricerche sui meccanismi percettivi e sulla comunicazione nella vita “quotidiana” tenendo in grande considerazione il valore sociale dell’arte e pensando alla fotografia come lo strumento migliore per andare oltre i dati della realtà ipso facto percepibili. La lettura di una serie di opere e di scritti inediti ci rivela che l’autore “incubava” nella camera oscura immagini con lo scopo di sondare la realtà, di scavalcare gli stereotipi di un certo tipo di rappresentazioni le quali soffocano l’esperienza visiva dell’uomo moderno. Fotografie sperimentali che sollecitano l’intuito naturale e la percezione affinché l’uomo trasformi i dati reali in creatività. Si può quindi sostenere che la dimensione fotografica ebbe un’influenza talmente forte nel pensiero artistico di Franco Grignani che senza di essa gran parte della sua opera non esisterebbe.What is a photograph? The work of Franco Grignani (1908-1999) seems conceived to test the limits and detect the cracks, ambiguities and overlaps in the category of “photographic” art. The role of photography in the practice of the artist is fundamental and generative. Throughout his career Grignani led the research on the mechanisms of perception and communication in the life “everyday” considering the social value of art and photography as a tool in exploring the data ipso facto perceived reality. The reading of a series of works and unpublished writings reveals to us that the author “incubated” images in the darkroom in order to probe reality and override the stereotypes of a certain type of images that stifle the visual experience of modern man. Experimental photographs that stimulate natural intuition and perception so that man transforms real data into creativity. It is therefore arguable that the photographic dimension had such a strong influence in the artistic thought of Franco Grignani that without it most of his work would not exist.ope
MANENT: An Infrastructure for Integrating, Structuring and Searching Digital Libraries
No full textDigital Libraries represent the commitment of research communities to preserve authoritative and well structured sources of knowledge, and to share archival organisations, methods and resources thanks to systems relying on standard metadata formats. This chapter describes some natural language processing techniques exploited for automatically extracting structural information from documents stored in Digital Libraries, based on the exposed metadata. The most prominent results achieved in this area are surveyed and discussed. As an example of an infrastructure for integrating, structuring and searching Digital Libraries based on natural language processing and semantic web techniques, we discuss the MANENT system. MANENT is a working prototype offering services of Digital Library content management and record classification and retrieval. It is hosted on a server at the Computer Science Department of Genova University and, starting from 2011, it will become publicly available. 475,000 records drawn from 138 repositories that all over the world expose OAI-PMH services have been downloaded, stored, and their automatic classification is under way. © 2011 Springer-Verlag Berlin Heidelberg
Semantic Annotation and Tagging in the KP-LAB environment: mining the learning and knowledge dynamics
No full textSemantic Annotation and Tagging in the KP-LAB environment: mining the learning and knowledge dynamics
No full textReply to 'Comment on' gravity and the Poincare group'
No full textIn the first order form, the model considered by Strobl presents, besides local Lorentz and diffeomorphism invariances, an additional local non-linear symmetry. When the model is realized as a Poincar\'e gauge theory according to the procedure outlined in Refs.[1,2], the generators of the non-linear symmetry are responsible for the ``nasty constraint algebra''. We show that not only the Poincar\'e gauge theoretic formulation of the model is not the cause of the emerging of the undesirable constraint algebra, but actually allows to overcome the problem. In fact one can fix the additional symmetry without breaking the Poincar\'e gauge symmetry and the diffeomorphisms, so that, after a preliminary Dirac procedure, the remaining constraints uniquely satisfy the Poincar\'e algebra. After the additional symmetry is fixed, the equations of motion are unaltered. The objections to our method raised by Strobl in Ref.[3] are then immaterial. Some minor points put forward in Ref.[3] are also discussed
Threshold bound states and zero modes of fermions in a selfdual Chern-Simons vortex background
No full textThe existence of bound states at the mass threshold and zero modes for fermions interacting with a self-dual Chern-Simons vortex (i.e., a classical solution of the Chern-Simons Abelian Higgs model without the Maxwell term) is investigated. We develop a procedure that allows one to find all the regular solutions of the interacting Dirac equation at the mass threshold. We show, on one hand, that in the minimal coupling zero modes and bound states at threshold do not exist and, on the other hand, that, by adding to the fermion Lagrangian two different types of Higgs-fermion interactions, such modes can be generated for specific values of the coupling constants
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