1,720,997 research outputs found
L. Marmo, II Diritto internazionale e la distinzione tra diritto [tubblicn e privâto
No full textL. Marmo, II Diritto internazionale e la distinzione tra diritto [tubblicn e privâto. In: Revue internationale de droit comparé. Vol. 11 N°3, Juillet-septembre 1959. p. 618
L. Marmo, II Diritto internazionale e la distinzione tra diritto [tubblicn e privâto
No full textL. Marmo, II Diritto internazionale e la distinzione tra diritto [tubblicn e privâto. In: Revue internationale de droit comparé. Vol. 11 N°3, Juillet-septembre 1959. p. 618
Assessment of damage to people and buildings as consequence of hydrogen pipeline accidents
Full text linkHydrogen is increasingly considered a valid alternative to traditional fuels, which are gradually being more and more depleted. It is defined as “the energy carrier of the future” and so, as such, it must be produced. Several hydrogen production technologies are widespread and they involve both traditional and innovative sources. After its production, the hydrogen must be made available for use and, so, it must be transported from the production site to the utilization site. One of the most common ways to transport considerable quantities of gaseous hydrogen is through pipelines.
Since hydrogen is considered a “no safe” fuel due to its physical properties, the consequences of an accidental release must be investigated, to preserve the safety of people and facilities located in the surrounding area of a possible accidental event involving pipelines.
Hydrogen disperses into the air very easily, being lighter than air, but if it is released in a confined space can result in an explosion. The hazards of the hydrogen-air mixture are related to the wide flammability range and the low minimum ignition energy. Furthermore, hydrogen burns with an invisible flame and so it is very difficult to suddenly identify the presence of danger.
Based on these considerations, it results that a failure of pipeline conveying gaseous hydrogen can pose severe risks.
The aim of this study is to evaluate damage to people and buildings involved in high-pressure hydrogen pipeline explosions and (jet) fires and, to this scope, a probabilistic risk assessment procedure is proposed.
The annual probability of damage to people and to buildings exposed to an extreme event is calculated as the product of the conditional probability of damage given by a fire or an explosion and the probability of occurrence of the fire/explosion as consequence of pipeline failure.
The consequences of hydrogen pipeline accidents are estimated through different tools: the SLAB integral model is used to define the gas dispersion, the TNO Multi-Energy Method to evaluate the overpressure and impulse generated from the explosions and Pressure-Impulse diagrams to evaluate damage to buildings. The flame length is calculated through the SLAB model by considering the length at which the hydrogen concentrations of 4% (lower limit flammability) is reached.The point source model is employed to estimate the radiative heat flux generated by jet fire with the radiant fraction calculated through the empirical correlation proposed by Molina et al. (2007).
Finally, the Probit equations are used to calculate damage to people, both in the case of an explosion and a jet fire. The characteristic quantities of the two accidental events investigated, overpressure and impulse in the case of the explosions and radiative heat flux in the case of jet fires, are considered as causative variables.
Reinforced concrete buildings and tuff stone masonry buildings are taken into consideration to estimate the effect of overpressure and impulse caused by an explosion.
Direct and indirect damage on the people are investigated to define the effects of consequence of explosions and jet fires.
The probabilistic procedure proposed can represent a useful tool in the design of a new hydrogen distribution network and in risks assessment for existing ones
La fotografia nel racconto d'attualità in "L'Illustrazione" (1929-1930)
Full text linkIl testo analizza il rapporto fotografia e testo nel rotocalco "L'Illustrazione" pubblicato dall'editore Rizzoli. In particolare si analizzano gli anni 1929 e 1930 quando è particolarmente attivo come redattore e collaboratore Cesare Zavattini
Figure dell’assenza. L’immagine privata contro le politiche della sparizione forzata
No full textIl saggio si focalizza su un particolare fenomeno della cultura visuale contemporanea, ampiamente dibattuto a livello internazionale: la fotografia come strumento di rivendicazione politica e giudiziaria in seguito ai crimini perpetrati in uno stato di terrore. Al tramonto delle dittature militari, molte opere di artisti latino-americani hanno cercato di dare espressione in diversi modi al dolore collettivo e alle lacerazioni sociali causate dalle politiche di sequestro e sparizione di massa. Da un lato, infatti, questa pratica mediale della memoria si fondano principalmente su un’estetizzazione dell’assenza, ovvero una riflessione dedicata allo spazio svuotato dalla presenza di un corpo. Dall’altro, le strategie creative per affrontare il trauma culturale mirano a denunciare politicamente il diniego alla sepoltura quale mezzo usato per perpetrare nel tempo lo stato di terrore. L’annichilimento del corpo della vittima e l’ostruzione al rito funebre inducono i familiari a fare esperienza dell’immagine privata come se fosse l’unico strumento per celebrare il proprio lutto. In altre parole, la stessa natura indicale della fotografia corrobora il valore di reliquia riposto in un ritratto, che non può essere posato sulla tomba del caro estinto. Allo stesso tempo, questa pratica sociale mantiene vivo il desiderio di riumanizzare la vittima a fronte della possibilità, anche remota, che di essa ne rimangano solo pochi, frammentari resti. Attraverso l’analisi di quattro casi, ciascuno basato sul riuso e la ricontestuallizzazione di foto di famiglia - Buena Memoria di Marcelo Brodsky (1996); Arqueología de la ausencia di Lucila Quieto (2000-2001); Ausenc'asdi Gustavo Germano (2006), Fotos tuyas di Inés Ulanovky (2006) - si cercherà di comprendere come l’estetica del privato/familiare si traduca letteralmente nella rappresentazione di un passato traumatico e violento
Cinema fotografato : Film neorealisti e cultura fotografica del dopoguerra italiano
No full textIl fotografo di scena e il direttore della fotografia nel cinema italiano del secondo dopoguerra
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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