325 research outputs found
Design and Development of an acoustic positioning system for a cubic kilometre underwater neutrino telescope
No full textEn los últimos años los telescopios submarinos de neutrinos han cobrado una mayor importancia ya que consisten en un nuevo y único instrumento para observar el Universo. Los neutrinos son partículas sin carga e interactúan muy débilmente con la materia que les rodean, pueden escaparse fácilmente de la fuente que los ha producidos y llegar a La Tierra sin ser desviada por los campo magnético y sin interactuar con otras partículas. Esto implica que los neutrinos pueden traer informaciones astrofísicas que otros mensajeros no pueden aportar y abrir una potencial ventana hacia el Universo. Por otro lado, su baja interacción con la materia impone la necesidad de construir un detector de grandes dimensiones del orden de 1 km3 utilizando volumen de agua o hielo y con muchos sensores ópticos para detectar esta interacción de neutrino de alta energía. Un método para detectar neutrinos es a través de la luz Cherenkov emitida por el muon generado después de una interacción de neutrino. Esta partícula, al atravesar el detector con una velocidad superior a la luz en el medio, genera una débil luz azulada llamada radiación de Cherenkov que es detectada por una red de sensores ópticos (fotomultiplicadores). El tiempo de llegada de la luz a los fotomultiplicadores puede ser utilizado para reconstruir la traza del muon y consecuentemente del neutrino que lo ha producido. La precisión en la reconstrucción de la traza del muon depende de la precisión en la medida del tiempo de llegada de la luz y en la precisión en de la posición de los sensores ópticos en el detector. Por esta razón, en telescopios submarinos es necesario un sistema de posicionamiento acústico (APS) capaz de monitorizar el movimiento de los sensores ópticos con una precisión de ~10 cm. Los estudios realizados están enmarcados dentro de las actividades de calibración de posicionamiento acústico en dos colaboraciones europeas para el diseño, construcción y operación de telescopios submarinos de neutrinos en el MediterLarosa ., G. (2012). Design and Development of an acoustic positioning system for a cubic kilometre underwater neutrino telescope [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/16877Palanci
Contrada Culunnedda (Ustica, PA)
No full textUstica è un’isola vulcanica posizionata a circa 40 km dalla costa di Palermo e si trova a ovest dell’arco eoliano, a circa 100 km dalla più vicina isola di Alicudi. L’occupazione dell’isola risale al Neolitico medio, quando Ustica diviene probabilmente un centro di snodo per scambio e lavorazione dell’ossidiana di Lipari. L’occupazione durante l’età del Rame è attestata non solo nelle grotte San Francesco e Azzurra, sul versante meridionale dell’isola, ma anche nel Piano dei Cardoni, con materiali dell’età del Rame iniziale e media. L’isola è sicuramente abitata tra la fine del Bronzo medio e il Bronzo recente, come testimoniato dall’importante presenza del Villaggio fortificato dei Faraglioni. Le fasi tra la fine dell’età del Rame e gli inizi dell’età del Bronzo sono invece meno note, con pochi rinvenimenti sparsi per l’isola e la presenza di tombe a grotticella nella parte sommitale della cd. Culunnedda, sulla dorsale orientale di M. Guardia dei Turchi. In questa contrada, in seguito al ritrovamento fortuito da parte di un cacciatore, Giovanni Mannino e Vito Ailara, conoscitori dell’isola e ispettori onorari della Soprintendenza di Palermo, esplorarono nel 1979 alcune tombe a grotticella con pozzetto di accesso laterale, per un totale di 4 celle funerarie (A, B, C e D). Queste conservavano al loro interno solo pochi materiali (pozzetti delle celle A, C e D), mentre la tomba B era del tutto priva di resti archeologici, fatta eccezione per qualche frammento di ossa non determinabile. Un’altra struttura, non segnalata dagli autori nella pubblicazione e parzialmente erosa, si trova poco più a Est e viene qui definita tomba E. La struttura delle tombe è costituita da un pozzetto di ingresso di circa cm 50-70 di profondità e una cella emisferica di circa 1/1.20 m di diametro. Gli studiosi attribuirono le sepolture alla “facies di Capo Graziano” per la presenza di frammenti ceramici con linee incise verticali parallele. Grazie al supporto del Museo Archeologico Regionale “A. Salinas”, sono stati ridisegnati e fotografati i materiali raccolti alla fine degli anni ’70, per potere interpretare meglio il contesto e inserirlo nel più ampio quadro delle dinamiche basso-insulari del Tirreno alla fine dell’età del Rame
Acoustic position calibration of the KM3NeT neutrino telescope
No full text[EN] KM3NeT is a future neutrino telescope with a volume of several cubic kilometres at the bottom of the Mediterranean Sea. It will be composed of at least 300 vertical structures of several hundred metres length, named detection units (DU), anchored on the seabed and kept vertical with a buoy. The DU will host optical sensors able to detect the faint Cherenkov light emitted in the deep sea by charged particles originating from collisions of the neutrinos with nuclei in the sea water or the rock below. A precise knowledge of the optical sensor positions relative to each other, not worse than 20 cm, is needed for an accurate reconstruction of the charged particle tracks. Since the marine currents cause movements of the DUs and thus a displacement of the optical sensors of up to several tens of metres from their nominal positions, an Acoustic Positioning System (APS) is necessary to monitor their positions in deep sea. The KM3NeT APS will be composed of acoustic transceivers at fixed positions on the sea floor and acoustic receivers (hydrophones) along each DU. The hydrophone positions are determined by triangulation using the travel times of acoustic signals between emitters and receivers. This paper presents the acoustic positioning system designed for KM3NeT and in particular the innovative technologies used for transducers, electronics, and signal processing. (C) 2012 Elsevier B.V. All rights reserved.This work has been supported by the Ministerio de Ciencia e Innovación (Spanish Government), project references FPA2009-13983-C02-02, ACI2009-1067, AIC10-D-00583, Consolider-Ingenio Multidark (CSD2009-00064). It has also been funded by Generalitat Valenciana, Prometeo/2009/26, and the European 7th Framework Programme, Grant no. 212525.Larosa, G.; Ardid Ramírez, M.; KM3NeT Consortium (2013). Acoustic position calibration of the KM3NeT neutrino telescope. Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment. 718:502-503. https://doi.org/10.1016/j.nima.2012.11.176S50250371
La riforma (ancora in cantiere) della magistratura onoraria e la decisione della Consulta n. 41/2021: la partecipazione degli ausiliari nei collegi d’appello “sarà” costituzionalmente illegittima
No full textTaking into account the outcomes of the sentence no. 41/2021 of Italian Constitutional Court, which declared the incostincency of the legislation that introduced the “auxiliary judges” in the appeal
courts, the Author reflects on the current role of the non professional judges, in a general context of law-making’s and case-law’s interest on the subject. The Author analyzes also the decision-making process adopted by the Court which led to the “manipulation” of the temporal effects of the decision upholding the question of constitutional inconsistency
Marsico G., Valsiner J. (2018). Is there any reason for suffering—for science in psychology? In G. Marsico & J. Valsiner, J. (2018). Beyond the Mind: Cultural Dynamics of the Psyche. (pp. 49-52), Charlotte, N.C. USA: Information Age Publishing;
No full textPart I includes texts about the current state of affairs in psychology, and of the emergence of the new area—cultural psychology—that turns out to be older than psychology itself. The sentiments expressed in these two papers seem to represent the doubts their author has about the future of psychology as a science
Spunti per il dibattito sul Regolamento (UE) 2017/625: armonizzazione normativa e atti delegati
No full textIn this work the Author examines the legislative technique used by the European Parliament in the regulation 625 of 2017 which entrusts the instrument of delegation with the integration of important parts of the same and highlights how this technique removes the European legislator from the aim pursued rationalization and simplification of the global regulatory framework by integrating the rules relating to official controls, currently located in specific sectors, in a single regulatory framework relating to official controls
Il Messale di Gjon Buzuku: la lingua materna nella prassi liturgica albanese
No full textMeshari ‘The Missal’ (1555) is the first known printed book in Albanian. It is a translation from the Latin of the Catholic Missal, made by the ecclesiastical Gjon Buzuku. The only known copy extant is preserved in the Apostolic Library of the Vatican in Rome. It is missing the frontispiece and the first 16 pages, so the title and place of publication of the work are not known. The place the book was printed is thought to be Venice. The Meshari contains texts of prayers, rituals, catechetical texts and the liturgies of the main holidays. All we know about the author is from the book’s colophon written by Buzuku himself in Albanian. In the colophon, he explains the reasons that led him to divulge the Christian doctrine using the language of its land. The time in which The Meshari appeared was of great cultural decay for Albania, a land where frictions have been consumed between Catholicism and Orthodoxy, and where Christian and Muslim civilizations were one against the other. Buzuku offers to the people of Albanian believers to approach the Sacred scriptures through their language. Since the use of Latin was far from the understanding of Albanian people, Buzuku translated the divine Word in order to allow that it was comprehensible to the Albanian Christians
Andrej Belyj. Sinfonia (2-a, la drammatica). E il tempo scorreva senza sosta...
No full textAndrej Belyj (1913-1914), esordisce nel 1902 con un’opera che inaugura in Russia il genere letterario della sinfonia. Nell’introduzione a Sinfonia (2-a, la drammatica) Belyj spiega che l’opera «ha tre significati: uno musicale, uno satirico e uno ideologico-simbolico». Dal «significato musicale», che porta l’autore a «dividere la sinfonia in parti, le parti in frammenti e i frammenti in versi (frasi musicali)», nasce il genere misto di prosa e poesia di cui Belyj si serve per enfatizzare il contenuto mistico, satirico e grottesco dell’opera, che caratterizzerà poi anche Pietroburgo. Nella Seconda sinfonia}Belyj prende di mira i gruppi di mistici che andavano formandosi all’inizio del Novecento a Mosca e Pietroburgo, citando esplicitamente o raffigurando velatamente personaggi reali del mondo della letteratura, dell’arte e della filosofia, come Vladimir Solov’ev (1853-1900), Dmitrij Merežkovskij (1865-1941) e altri. Motivi strettamente autobiografici vengono così presentati sotto forma di immagini grottesche e iperboliche, alternate a momenti di estremo lirismo. Al «significato musicale» è legata anche la particolare scansione del tempo in cui si dispiega la trama dell’opera, che inizia con il lento trascorrere di un’intera giornata e accelera poi nel passare dei mesi e delle stagioni per ritornare, ciclicamente e drammaticamente, al punto di partenza. Questo procedimento artistico è ben sintetizzato in uno dei leitmotive dell’opera: «E il tempo scorreva senza sosta, e nello scorrere del tempo si rifletteva l’Eternità brumosa». Andrei Bely (1880-1934), poet, novelist, theorist and literary critic of the Russian Symbolist movement, author of the famous novel in rhythmic prose Petersburg (1913-1914), made his literary debut in 1902 with a work introducing in Russia a new literary genre, the symphony. In the introduction to The Dramatic Symphony, Bely explains that the work «has three meanings: a musical meaning, a satirical meaning, and a symbolic ideological meaning». The «musical meaning» inspires the author in splitting the Symphony «into parts, the parts into fragments, and the fragments into verses (musical phrases)», thus creating a new literary genre, which combines prose and poetry, and emphasizes the mystic, satirical and grotesque content of the work. This mix of prose and poetry is also typical of the novel Petersburg. In the Dramatic Symphony Bely was targeting groups of mystics operating in the early 1900’s in Moscow and Saint Petersburg. He openly mentions or covertly alludes to actual protagonists of the literary, artistic and philosophical Russian society: Vladimir Solovyov (1853-1900), Dmitry Merezhkovsky (1865-1941) and others. Strictly autobiographical themes are presented in form of grotesque and hyperbolic images, alternating with moments of great lyrical tension. The «musical meaning» is also linked to the particular conception of time through which the plot of Bely’s Symphony is developed. At the beginning, a whole day passes by very slowly; then time speeds up and the plot goes through several months and seasons. At the end of the work we are back to where we started, like in a dramatic cycle. This method is well summarized in one of the leitmotive of the work: «And the time flowed without stopping, and the passage of time reflected the Eternity misty».</p
Marsico, G., Brandelli Costa, A., (2023). The Journal’s Growth: The Role of the Associate Editors, Trends in Psychology. 10.1007/s43076-023-00296-6
No full textIt is always with great happiness that we announce the growth of our journal. Based
on Springer annual report, since 2020, the journal has doubled the number of articles
accepted for publication. Also, the number of accesses to the full texts of published
articles increased by almost three times. The journal has also seen an increasing
diversity in terms of geographic regions for both the submissions received and
the accesses, with author and readers from all the continents. This is the result of the
collective efforts of our associate editors, along with the Brazilian Society of Psychology and the Springer Team
I piccoli padiglioni universitari progettati da Enrico Mandolesi a Cagliari
No full textBetween 1962 and 1964, Enrico Mandolesi designed three small pavilions for the University of Cagliari: the Great Models Pavilion for the Institute of Construction 377 377 Antonello Sanna, Giuseppina Monni, Emanuela Quaquero I PICCOLI PADIGLIONI UNIVERSITARI PROGETTATI DA ENRICO MANDOLESI A CAGLIARI Science, the Pavilion for the Institute of Hydraulics and the Institute of Genetics. In all cases, the “pictorial” dimension, placing on the same level the warm tones of the clinker and the neutral one of the reinforced concrete, shows the author’s firm belief that all the materials have the same relevance. This is a lesson that Mandolesi learns from Mario Ridolfi, precursor of the Italian realism that abolishes the hierarchy between structural elements and finishes and declares that the creative idea of architecture lies in the precision of details. In the Great Models Pavilion for the Institute of Construction Science he chose to create a new volume connected to preexisting buildings with a small building. The horizontal and vertical windows declare the non-structural nature of the envelope made of bricks. A cultured design approach that uses the paradigm of the Illinois Institute of Technology by Mies van de Rohe. The Institute of Genetics is a building composed of two small volumes articulated on two levels and hinged to an independent stairway with a square plan. In this case, on a formal level, the basic principle is the horizontality that Mandolesi pursues at every level of detail. The author applied a combined solution that includes solid brick walls and a steel structure that connects to the frames of the fixtures. Both cases represent an accurate narration of construction stories that uses the combination of different materials, classic elements and modern solutions, the rough surfaces of reinforced concrete and the smooth ones of brick strips
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