2,243 research outputs found
Motion detection technology as a tool for cardiopulmonary resuscitation (CPR) quality improvement
No full textThe most popular method of training in basic life support and AED remains instructor-led training courses. Recent reviews provide good evidence to support alternative methods of training including lay instructors, self-directed learning (web, video, poster) and CPR feedback/prompt devices
Stochastic simulation algorithms for computational systems biology: Exact, approximate, and hybrid methods
No full textItaly 2Department of Computer Science, University of Pisa, Pisa, Italy Correspondence Luca Marchetti, The Microsoft Research— University of Trento Centre for Computational and Systems Biology (COSBI), Piazza Manifattura 1, 38068 Rovereto TN, Italy. Email: [email protected] | Corrado Priami1,2 | Luca Marchetti1 Abstract Nowadays, mathematical modeling is playing a key role in many different research fields. In the context of system biology, mathematical models and their associated computer simulations constitute essential tools of investigation. Among the others, they provide a way to systematically analyze systems perturbations, develop hypoth- eses to guide the design of new experimental tests, and ultimately assess the suitabil- ity of specific molecules as novel therapeutic targets. To these purposes, stochastic simulation algorithms (SSAs) have been introduced for numerically simulating the time evolution of a well-stirred chemically reacting system by taking proper account of the randomness inherent in such a system. In this work, we review the main SSAs that have been introduced in the context of exact, approximate, and hybrid stochastic simulation. Specifically, we will introduce the direct method (DM), the first reaction method (FRM), the next reaction method (NRM) and the rejection-based SSA (RSSA) in the area of exact stochastic simulation. We will then present the τ-leaping method and the chemical Langevin method in the area of approximate stochastic simulation and an implementation of the hybrid RSSA (HRSSA) in the context of hybrid stochastic-deterministic simulation. Finally, we will consider the model of the sphingolipid metabolism to provide an example of application of SSA to compu- tational system biology by exemplifying how different simulation strategies may unveil different insights into the investigated biological phenomenon
Solving dynamical inverse problems by means of metabolic P systems
No full textMP (Metabolic P) systems are a class of P systems introduced for modelling metabolic processes. We refer to the dynamical inverse problem as the problem of identifying (discrete) mathematical models exhibiting an observed dynamics. In this paper, we complete the definition of the algorithm LGSS (Log-gain Stoichiometric Stepwise regression) introduced in Manca and Marchetti (2011) for solving a general class of dynamical inverse problems. To this aim, we develop a reformulation of the classical stepwise regression in the context of MP systems. We conclude with a short review of two applications of LGSS for discovering the internal regulation logic of two phenomena relevant in systems biology
Rifiuti e società contemporanea. Arte, Storia e regole giuridiche.
No full textI saggi presenti nel volume riflettono quello che si potrebbe definire il "verso" della società dei consumi, cioè i rifiuti, il waste o il trash, che dir si voglia, considerati da diversi punti di vista: Elisabetta Marchetti analizza i pronunciamenti in materia della Chiesa cattolica individuando i fondamenti di una possibile "teologia dell'ambiente". Giuseppe Garzia analizza da un punto di vista giuridico il formarsi della nozione di rifiuto nel dibattito normativo partendo da un punto di vista estetico, mentre Gian Luca Tusini ridefinisce la loro presenza nell'arte del Novecento (e in questo scorcio del Duemila), cercando di discutere e sanare gli equivoci che la critica d'arte ha fino ad ora sedimentato
Depicting Motion in Static Images
No full textThis publication originates from and develops the author’s doctoral thesis. The topic it addresses – the depiction of motion in static images – implicitly runs through the entire tradition of aesthetics and the psychology of art, yet it has never been subjected to a systematic and rigorous analysis. This work aims to fill that gap. Across its three chapters, the author examines the nature of various static images that are commonly regarded as effective in suggesting motion: are these truly pictorial representations – that is, depictions – of such a property? The analysis of these images – from photographs capturing people in the midst of dynamic actions to Futurist paintings, from long-exposure photography to optical illusions of movement – not only allows this question to be addressed but also provides insights into the possibilities and limits of depiction, as well as the theories that attempt to account for it
Aura, sguardo e intersoggettività
No full textIl saggio prova a ripensare la nozione benjaminiana di “aura” attraverso la riflessione di G. Didi-Hubermann e D. Costello. Lo scopo non è quello di distinguere tra opere d’arte auratiche e post-auratiche (o non-auratiche), ma quello di ripensare il problema della percezione estetica nell’epoca della riproduzione tecnica. In particolare, Costello e Didi-Hubermann mettono in evidenza la relazione tra “aura” e “soggettività”: da un lato, la natura intersoggettiva (ed etica) di un’esperienza “autentica” (cioè auratica); dall’altro lato, la presenza oggi dell’aura nel “gioco di sguardi” tra il (soggetto-)opera e il (soggetto-)spettatore. Le opere d’arte sono infatti caratterizzate da una “duplicità” o “trascendenza” estetica – sono allo stesso tempo dentro e fuori il mondo” – che permette loro di resistere alla reificazione in merce riproducibileThis essay tries to rethink Benjamin’s notion of “aura” through the consideration of two authors such as G. Didi-Huberman and D. Costello. The aim is not to distinguish between auratic and postauratic (or non-auratic) works of art, but to rethink the problem of aesthetic perception in the age of mechanical reproduction. More specifically, Costello and Didi-Huberman point out the relation between “aura” and “subjectivity”: on the one hand, the intersubjective (and ethical) nature of an “authentic” (i.e., auratic) experience; on the other hand, the presence of the aura nowadays in the “interplay of gazes” between the (subject-)work and the (subject-)spectator. Works of art are indeed characterized by a “two-fold” or aesthetic “transcendence” – they are at once both inside and outside my world – which enables them to resist the reification into reproducible commodit
Il non-luogo dell’arte contemporanea
No full textSecondo Peter Osborne l’arte contemporanea è un concetto normativo in grado di garantire l’autonomia dell’arte. Da questo punto di vista l’arte contemporanea è arte “postconcettuale”, perché al giorno d’oggi la distinzione tra arte/non-arte deve essere pensata come una pratica teorica riflessiva (concettuale). La forma dell’opera d’arte contemporanea è una paradossale unità distributiva dello spazio-tempo. Inoltre, la natura immateriale e digitale delle pratiche artistiche richiede che la dimensione autonoma dell’arte sia pensata in termini di “non-luoghi”. Da questo punto di vista, il carattere radicalmente distributivo dell’unità dell’opera e il carattere globalmente transnazionale dello spazio artistico sono i segni primari dell’arte contemporaneaAccording to Peter Osborne contemporary art is a normative concept capable to secure the autonomy of art. From this point of view contemporary art is “postconceptual” art, because nowadays the art/non-art distinction has to be thought as a theoretical reflexive (conceptual) practice. The form of contemporary artwork is a paradoxical distributive unity of space-time. Furthermore, the immaterial, digital nature of the artistic practices needs that the autonomous dimension of art has to be thought in terms of “non-places”. From this point of view, the radically distributive character of the unity of the work, and the globally transnational character of the art space are the primary markers of contemporary ar
Guardare il romanzo. Luca Ronconi e la parola in scena
No full textLuca Ronconi amava ripetere che tutto può diventare teatrao anche un romanzo naturalmente. Le edizioni teatrali di opere come Il Pasticciaccio (1996) o I fratelli Karamazov (1998) fino ai più recenti allestimenti dei romanzi di H. James e W. Gombrovicz, sono l'esempio concreto di un tetaro non solo capace di teatralizzare la letteratura ma anche desideroso di ridefinire i confini del proprio sguardo. Non ci sono adattamenti né riscritture alla base di questi lavori, ma una profonda ricerca in cui regista, attore e spettatore si trovano costretti a ripetere in maniera del tutto nuova l'esperienza estetica della lettura di un libro. 'Guardare il romanzo' diventa un esercizio intellettualee un ulteriore passo avanti nel costantetentativo di Ronconi di indagare il teatro
Immagini, ancora
No full textAttraverso Wittgenstein, Adorno e Belting, il saggio prova a ripensare il rapporto di “presenza/assenza” tra immagine e mezzo artistico. La natura irreale dell’immagine non è riducibile al suo medium e tuttavia si può manifestare soltanto attraverso un supportoThrough Wittgenstein, Adorno and Belting, this essay tries to rethink the “presence/absence” relationship between image and artistic medium. The unreal nature of the image is not reducible to its medium but yet can only be manifested through a suppor
- …
