1,798 research outputs found
Interventions, Productions and Collaborations:the relationship between RAI and visual artists
No full textOn the 17th May 1952, before RAI Radiotelevisione Italiana Studios began their regular broadcast from Milan, the Spatialist painter and sculptor Lucio Fontana broadcast his own experimental ‘artwork’ on Italian television, beginning a fruitful relationship between RAI and visual artists. For some, it provided careers as designers and art directors, such as the painter Mario Sasso and the Arte Povera artist Pino Pascali, while for others, who were given unique access to RAI’s television apparatus, it was an opportunity to explore their own artistic experimentations with an expensive and exclusive medium, such as Carlo Quartucci and Gianni Toti. RAI also hosted seminal artists’ performances on screen including John Cage and Fabio Mauri. This article, based on documents and interviews collected during the Arts and Humanities Research Council funded project REWINDItalia, discusses these and other seminal cases as well as tracing and assessing the history of this fruitful and complex exchange between RAI and visual artists
Uno spettacolo di pittori. La scatola magica di Pietro Consagra, Lucio Fontana, Fabio Mauri e Giulio Turcato alla galleria Odyssia di Roma
No full textIl presente contributo ricostruisce per la prima volta lo spettacolo di proiezioni La scatola magica dei pittori Pietro Consagra, Lucio Fontana, Fabio Mauri e Giulio Turcato, tenuto alla galleria Odyssia di Roma, nel giugno 1961. In quello stesso anno, Franco Molina, sulle pagine della rivista “Sipario”, parla di “tre spettacoli astratti”, esempi di una nuova tipologia di allestimento scenico susseguitisi nel giro di soli tre mesi: Intolleranza 1960 del compositore Luigi Nono, dello scenografo Josef Svoboda e del pittore Emilio Vedova, su un’idea di Angelo Maria Ripellino (Teatro La Fenice di Venezia, dal 13 al 15 aprile); Collage spettacolo di Achille Perilli con musica di Aldo Clementi per l’Accademia Filarmonica Romana (Teatro Eliseo di Roma, dal 14 al 16 maggio); e infine La scatola magica, proiezioni di dipinti di Pietro Consagra, Lucio Fontana, Fabio Mauri e Giulio Turcato, con musiche di Gianfranco Maselli e Gino Marinuzzi jr (Galleria Odyssia di Roma, giugno). Lo spettacolo “astratto”, mediante l’interazione di pittura non figurativa e musica, trasfigura le connotazioni del luogo ospitante superando così la fruizione consueta dello spazio scenico oppure, nel caso di La scatola magica, dello spazio espositivo. Si crea un’opera d’arte totale intesa come esperienza sinestetica fatta di luci, suoni e strutture cinetiche per far vivere allo spettatore una diversa immersione visiva e fisica nella pittura e nella musica
Time domain nuclear magnetic resonance: a key complementary technique for the forensic differentiation of foam traces
No full textLucio Fauno: “Alli lettori”, in: Delle antichità della citta di Roma, raccolte e scritte da M. Lucio Fauno con somma brevità, et ordine, con quanto gli Antichi ò Moderni scritto ne hanno, Libri V. (Venezia 1548) (FONTES 13)
No full textAt the end of his book, 'Delle antichità della città di Roma' (Venezia 1548), the author, Lucio Fauno, appends a postscript in which he addresses his readers (“Alli Lettori”) concerning a then bitter controversy about the correct location of the Roman Forum. In contrast to a widely-held view that located the Forum between the Capitoline Hill and the Arch of Titus, Pirro Ligorio, and his friends, Gabriele Faerno and Benedetto Egio, advocated a position that relocated the Forum between the Capitoline Hill and the Palatine. This contradicted the prevailing consensus, as it was established in the Topographia Antiquae Romae (1534) of Bartolomeo Marliani. Fauno’s arguments refute the Ligorian postion, in defence of his own description of Roman topography provided in his book of the Antichità di Roma. In the course of time Ligorio’s relocation of the Forum proved to be wrong. In the discussion of ‘Lucio Fauno’, it is shown that this name is a pseudonym for the writer and antiquarian, Giovanni Tarcagnota of Gaeta (d. 1566)
Five Easy Pieces dedicated to Ludovico Quaroni
No full textThe first edition of this book was published in Italian in 1989, about two years after the death of Ludovico Quaroni; this edition in English is addressed mainly to non-Italian scholars with an interest in modern architecture in Italy. Given the imperfect parallel between musical and literary composition, therefore, in this book an intimate intellectual atmosphere prevails, which reveals the author’s skill in creating a narrative and also in engaging in a type of critical writing that is rarely undertaken by architect-intellectuals. The five episodes in the book cover almost thirty years, from 1958 to 1987, which were years that remained deeply preserved in the author’s memory. The literary form of the pieces gives all of them a common structure: they are dialogues; usually consisting of brief exchanges of few words, spoken or written, between the author (Lucio Barbera) and Quaroni. In one of them – Charisma – the dialogue takes place between Quaroni and a larger chorus. In another – Elective Misunderstanding – we have a double dialogue at a distance, a trio, if we return to the musical metaphor, between Quaroni, Lodovico Barbiano di Belgiojoso and Barbera. The last piece is a longer conversation by Quaroni on himself; a taking stock and a valediction. On the frontispiece, Barbera gives a clear indication of his intentions: “For students of Architecture who are well-educated and for architects interested in getting to know better a Master of their trade”
A method based on time domain nuclear magnetic resonance for the forensic differentiation of latex gloves
No full textLatex gloves are employed by felons who want to avoid shedding fingermarks or biological traces, and are sometimes discarded on the crime scene or nearby. Comparison between the gloves found at the crime scene and those seized in the suspect's premises can provide useful information to investigators. This paper proposes the use of 1H time domain nuclear magnetic resonance (TD-NMR) as a method for performing such a comparison. Two parameters can be quantified by this technique: the proton weight fraction, which is correlated to the chemical nature and formulation of the material, and the relaxation time T2, which is a measure of polymer chain dynamics. Both these features can be ultimately associated to differences in raw materials, formulation and processing of the gloves, thereby offering a means to discriminate items which are indistinguishable by visual examination. TD-NMR, without sample preparation and preserving the integrity of the specimen, allows differentiating 88% of the possible pairs of samples in a population of 20 latex gloves. TD-NMR data are complementary to those coming from thermal analysis
Toward a new paradigm in open economy modeling: where do we stand?
No full textThis paper provides a selective, up-to-date survey of the recent, fast-growing literature on new open economy macroeconomics. Lucio Sarno begins with a review of the seminal paper in this literature, describing the baseline model proposed therein. He then covers a number of variants and generalizations of the baseline model involving the allowance for nominal rigidities, pricing to market, alternative preference specifications, and alternative financial markets structures. The author also discusses the recent stochastic extensions of these models, especially focusing on their implications for the link between risk and exchange rates and on new directions for the relevant literature.Econometric models ; Macroeconomics
Per una rilettura del prologo di Marziano Capella
No full textIl "De nuptiis Philologiae et Mercurii" di Marziano Capella si apre con un doppio prologo in versi e in prosa. Nella prosa l’autore è interrogato dal figlio sul significato dell’inno che ha appena recitato e che il giovane attribuisce a esercizio di un perdigiorno. Il verbo con cui questa attività viene bollata è, nella tradizione manoscritta, il neologismo greco γυμνολογίζεις che potrebbe essere interpretato sulla base di un altro neologismo, γυμνολογία, termine che compare nelle dispute teologiche sulla natura umana e/o divina del Cristo.Martianus Capella’s "De nuptiis Philologiae et Mercurii" opens with a double prologue, written in verse and in prose. In the prose section, the author is questioned by his son about the meaning of the hymn he has just recited and which the young man considers to be the creation of an idler. The verb with which this kind of activity is defined is, in the manuscript tradition, the Greek neologism γυμνολογίζεις, which could be interpreted on the basis of another neologism, γυμνολογία, a term which appears in the theological disputes on the human and/or divine nature of Jesus
- …
