1,721,026 research outputs found
Esercizi di analogia per Pompei
No full textThe contribution aims to investigate, in the field of architectural and urban composition, the process of forming the new architectural artefact when given through the compositional tool of analogy. The relationship between architectural composition and analogy is expressed in the latter’s affirmation as a logical fact capable of translating the shape of history through a circular movement whose peep is a return to things themselves. The analogy, as Ignasi de Solà-Morales
tates, allows for the assembly and articulation of a few permanent and unchanging elements that combine in a non-mechanical but compositional way to define the entire field of possible operations. The forms of a part of contemporary architecture – gathered under the name of rational architecture – are intimately linked to the forms of a past that belongs to us, and for this reason, they become intelligible and paradigmatic in their unfolding in continuity with history, translating – and necessarily betraying – the old masters. In particular, the analogy can intervene as a valid tool for analysis, interpretation, and choice of action by the architectural project with respect to the forms of the ancient. The new, through analogy, aspires to propose itself as an action measuring the vestiges of the ancient, establishing an unprecedented formal unity with the archaeological heritage and capable of conveying the latter in renewed urban and territorial dynamics. Suppose José Ignacio Linazasoro’s assertion regarding archaeological evidence is true, elevating them to the true inheritance of the past. In that case, the role of architectural composition can be the investigation of the profound meaning of this inheritance, as a patrimonium to be welcomed not only for its cultic value but, above all, for its cultural value, generalisable and therefore re-proposable in the contemporary through a procedure of structural and non-figurative analogy. The contribution, describing the results of a didactic experience, intends to refer to the ancient as a material for architectural composition, looking at archaeology as a “formal monument” at the same time as a material still capable of teaching, to seek in history and sedimentation of its traces the very reasons for compositional intervention
Cooperation in times of emergency and beyond: virtual, in silico and in vitro or in vivo wet labs for training innovators of sustainable development and improving Lifelong Learning opportunities
No full textXenopus laevis: model for cooperating to ecotoxicology studies
No full textEcotoxicology has emerged as a discipline that aims to identify and predict the effects caused by anthropogenic pollutants defined as emerging on ecosystems. Worrisome are engineered nanoparticles and microplastics found in many consumer products but also chemicals and drugs found in both marine and freshwater aquatic ecosystems. Although the in vitro study is supported by the authorities, continuing evidence indicates that in vivo testing is of extreme relevance in bioscience. X. laevis is a very relevant model for both environmental and biomedical studies (Carotenuto et al., 2016, 2020, 2021, 2022). It allows studies on gametogenesis and embryogenesis as well as on the juvenile and adult stages. Furthermore, compared to alternative models of invertebrates and vertebrates, it shows greater genetic homology and pathways that can be superimposed on mammals, including humans, so the data obtained can be easily translated (Takagi et al., 2013; Session et al., 2016; Tandon et al., 2017). The literature strongly suggests that Xenopus has all the characteristics required of a model organism for studies on bio-interactions and adverse effects of pollutants, also in the perspective of a safe development of new materials (Libralato et al., 2017).
The use of this amphibian in the laboratory, offers some advantages: 1) eggs can be obtained almost all along the year by injecting females with gonadotropic hormones and in vitro fertilization is easy to perform; 2) the ease of manipulating of gametes, embryos and adult; 3) the direct visualization of organs morphogenesis; 4) the relative ease of manipulating of gene expression and genetic engineering (Takagi et al., 2013; De Marco et al., 2017) 5) the genome have been completely sequenced (Session et al., 2016) and has a high percentage of homology with that of humans; 6) the availability of Xenopus genetic and genomic data to study genes, gene families and gene networks, including ESTs (expressed sequence tags) (Sczyrba et al., 2005), 7) UniGene clusters continually update genomic sequences for the use of technologies as RNA-Seq (Amin et al., 2014) and quantitative proteomics (Sun et al., 2014). Furthermore, the National Xenopus Resource (NXR), the European Xenopus Resource Centre (EXRC), and other stock centers, have an increasing resource of transgenic lines; 8) the possibility to use techniques for modifying gene expression (morpholino) (Takagi et al., 2013; De Marco et al., 2017), and genome editing techniques like the CRISPR/Cas9 system (Naert et al., 2020). The possibilities offered by X.laevis are an excellent link to undertake cooperation in the study of one of the most challenging environmental aspects, the activity of pollutants on biota including humans
Ispirazioni mediterranee
No full textStarting from a reflection on the meaning of being a “migrant”, the proposal for a monument in memory of the massacre of the 368 migrants that occurred near the shores of Lampedusa on 3 October 2013, is re-signified in the more general idea of a monument to human reason, and thus to man himself, indistinct by race or origin. The monument is thus conceived first and foremost to reveal itself as a human work whose purpose is to welcome and celebrate man. In this sense, taking up a theme dear to the Enlightenment architecture, the proposal is in the first instance a possible response in formal terms to the theme of the architectural-figurative monument. Starting from a shapeless original mass, the figure of the monument is revealed through a process of roughing typical of sculptural art, “taking off” – to use Michelangelo’s words – the superfluous so as to liberate from the intact and monolithic block a shape that already exists in potential, carrier the human ratio that produced it.A partire da una riflessione sul significato dell’essere “migrante”, la proposta di un monumento in memoria della strage dei 368 migranti avvenuta in prossimità delle coste di Lampedusa il 3 ottobre 2013, si ri-significa nell’idea più generale di un monumento alla ragione umana, e quindi all’uomo in sé, indistinto per razza o provenienza. Il monumento è quindi pensato anzitutto per rivelarsi in quanto opera umana il cui fine è accogliere e celebrare l’uomo. In questo senso, riprendendo un tema caro all’architettura dell’Illuminismo, la proposta si configura in prima istanza come una possibile risposta in termini formali al tema del monumento architettonico-figurativo. A partire da un’informe massa originaria, la figura del monumento si disvela mediante un procedimento di sbozzatura tipico dell’arte scultorea, “levando” – per usare le parole di Michelangelo – il superfluo di modo da liberare dal blocco intonso e monolitico una forma già esistente in potenza, portatrice della ratio umana che l’ha prodotta
Ritorno al futuro. Forme di memoria per Rosarno
No full textLo scritto ripercorre l'esperienza didattica del Laboratorio di Progettazione 3C 2020-21, impostata come ricerca a diverse scale, necessaria a mettere a fuoco e calibrare significato e potenzialità dell’“abitare l’esistente” relativamente al caso studio proposto dal coordinatore dei Laboratori del terzo anno Giovanni Multari, e condiviso con i colleghi di corso.
La proposta didattica si pone nel solco di una tradizione specificatamente italiana del progetto urbano che lega l’azione progettuale (modificazione dell’esistente) alla nozione di appartenenza.
Nell'esito finale, ridotti ai principi compositivi fondamentali, e ricomposti in 6 manifesti di città analoghe, i progetti ritrovano l’origine archetipica legata al tema dell'abitare e mostrano un’intrigante consistenza di rovine, ovvero di Forme di Memoria capaci nel tempo di orientare il riconoscimento delle ragioni dei luoghi e dei loro rapporti reciproci. I sei lavori rappresentano altrettanti scenari per la città di Rosarno in cui l’abitato di Case Nuove può ritrovare un ruolo specifico e non marginale. Si tratta di proiezioni di un futuro possibile perché saldamente ancorato alle ragioni della Memoria ma misurato sulle aspettative e la complessità del presente. Solo apparentemente visionari i progetti infatti colgono potenzialità di trasformazione dei siti, attuabili anche in fasi distinte, fissando univocamente i rapporti relazionali ma restando duttili ad esigenze funzionali mutevoli nel tempo
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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