1,721,393 research outputs found
Nomadism of imagery and contemporary design culture
No full textWith its impromptu pervasiveness, image has taken on enormous strength today, mitigated only by its own "inflation" which can generate a sense of confusion. Thanks to the diffusion of images through the web, today's designers have a wealth of images at their disposal. The paper poses open questions, concerning how the designer's sensibility could be developed, focusing on the value of the image as a vital force for the project. On the basis of the revolutionary method of Aby Warburg, which freely links images from different contexts, places and times, the article investigates the effective and potential influence of the iconic turn on contemporary design research. Visual studies affirm the autonomous epistemological value of the image, recognize its deep surface and its strength as imagines agentes. Exploring this context, the article presents in its closing part an exhibition by Diego Cibelli, mixing ancient iconography and contemporary themes, digital and material technologies
Satellite radar interferometry and reflection seismic: an integrated geophysical study on the great Ancona Landslide
No full textZoom progressivo
No full text“Si conosce un oggetto solo quando se ne è fatta l’esperienza in quante più dimensioni è possibile” (W. Benjamin).
Design/cinema è un binomio che apre a numerose interpretazioni, un campo intricato di influenze e rimandi, cui ci si può avvicinare per cogliere le affinità più interessanti.
L’articolo utilizza come punto di partenza alcune categorie che Walter Benjamin attribuisce al cinema: riproducibiltà tecnica, esattezza analitica, capacità di ingrandire i dettagli, esplorazione del nuovo artificiale della metropoli, ricerca sui meccanismi della visione. Si indaga quindi il rapporto tra cinema e design, ipotizzando quattro principali chiavi di lettura:
- La tendenza dell’oggetto moderno a concepirsi come dinamico, a partire dalle idee futuriste, virando quindi verso la dimensione temporale, con la conseguente necessità per i progettisti di approntare nuovi mezzi di rappresentazione ed espressione, tra i quali appunto il film.
- I fattori che accomunano ontologicamente cinema e design, riguardanti quindi i loro rispettivi oggetti; ma anche le assonanze relative al tipo di sguardo che entrambi rivolgono al nuovo artificiale della modernità.
- Il cinema come metafora utile a capire il ruolo del design nell’età post-industriale, in quanto con l’implosione delle tradizionali scale del progetto e la smaterializzazione, la cultura del design deve approntare un nuova visione variabile, al pari di una cinepresa in grado di muoversi agilmente dal micro al macro.
- La permeabilità reciproca che i territori del cinema, del design, dell’arte, ma anche della letteratura, dimostrano alla propagazione di specifici temi, tra i quali si porta come esempio significativo il perturbante.
A confronto con lo sguardo della cinepresa legato ai regimi totalitari del Novecento, lo sguardo del design appare uno zoom progressivo non solo in senso ottico: una visione del mondo coerente con il suo ruolo civile e democratico, con una libera ricerca scientifica; attenta all’evoluzione dell’abitare e alla qualità delle cose quotidiane che, di solito, riguardano la nostra scala dimensionale.Design/cinema is a combination that opens up to numerous interpretations, an intricate field of influences and references, which can be approached to capture the most interesting affinities.
The article uses as its starting point some categories that Walter Benjamin attributes to cinema: technical reproducibility, analytical accuracy, ability to enlarge details, exploration of the new artificial of the metropolis, research on the mechanisms of vision.
The relationship between cinema and design is then investigated, assuming four main interpretations:
- The tendency of the modern object to conceive itself as dynamic, starting from futuristic ideas, thus turning towards the temporal dimension, with the consequent need for designers to prepare new means of representation and expression, including the film.
- The factors that ontologically unite cinema and design, therefore concerning their respective objects; but also the assonances regarding the type of gaze that both address to the new artificial of modernity.
- Cinema as a useful metaphor to understand the role of design in the post-industrial age, because with the implosion of traditional project scales and dematerialization, the design culture must prepare a new variable vision, like a camera capable of moving easily from the micro to the macro.
- The reciprocal permeability that the territories of cinema, design, art, but also literature, demonstrate to the propagation of specific themes; among these, the Freudian uncanny is taken as a significant example.
Compared to the camera's gaze linked to the totalitarian regimes of the twentieth century, the gaze of design appears to be a progressive zoom not only in the optical sense: a vision of the world consistent with its civil and democratic role, with free scientific research; attentive to the evolution of living and to the quality of everyday things that, usually, concern our dimensional scale
Iterative adaptive approach for unambiguous wideband radar target detection
No full textAccepted author manuscriptMicrowave Sensing, Signals & System
The Spread of the Japanese Beetle in a European Human-Dominated Landscape: High Anthropization Favors Colonization of Popillia japonica
Full text linkThe impact of invasive species is not limited to the loss of biodiversity; it also represents significant threats to agriculture on a global scale. The Japanese beetle Popillia japonica (native to Japan but an invasive agricultural pest in North America) recently occurred in the Po plain (Italy), one of the most cultivated areas in southern Europe. Thus, our aims were to identify (i) the main landscape predictors related to the occurrence of the Japanese beetle and (ii) the areas of potential invasion of the Japanese beetle in the two Northern Italian regions in which this invasive species currently occurs, Piedmont and Lombardy. Specifically, we combined Japanese beetle occurrences available in the citizen science online platform iNaturalist with high-resolution landscape predictors in an ensemble approach and averaged the results of Bayesian generalized linear and additive models developed with the integrated nested Laplace approximation (with stochastic partial differential equation). We found that the occurrence of the Japanese beetle was negatively related to the percentage of broadleaf forests and pastures, while it was positively related to sparse and dense human settlements as well as intensive crops. Moreover, the occurrence of the Japanese beetle increased in relation to the percentage of rice fields until a peak at around 50%. The Japanese beetle was likely to occur in 32.49% of our study area, corresponding to 16,000.02 km2, mainly located in the Po plain, low hills, and mountain valleys. We stress that the Japanese beetle is a high-risk invasive species in human-dominated landscapes. Thus, we strongly recommend that local administrations quickly enact pest management in order to reduce further spread
- …
