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Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The contribution of Nietzsche's thought to the emergence of the concept of modern culture, art and the very concept of modernity, in a circular relationship of knowledge typologies, has been fundamental. His philosophy lies at the core of the new way in which music, theater and literature between the 19th and 20th centuries were reformulated as their finality. At the same time his reflections pointed to a new holistic way of understanding the meaning of being Human, in a tension towards annulling the boundaries between art and science, which is one of the distinguishing traits of the "new" culture in the transition between the 19th and 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Annuario di Antropologia is the property of Ledizioni-LediPublishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scienza & Politica is the property of University of Bologna, Department of Political & Social Sciences Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La genesi di Queimada, le suggestioni del ’68 e la parziale delusione di Pontecorvo di fronte ad alcune premesse in parte frustrate. La necessità di coniugare la narrazione al passato per parlare del presente. Ancora uno sguardo sul colonialismo. La contrapposizione tra i personaggi di William Walker di José Dolores, e tra i rispettivi interpreti: la preparazione accademica di Marlon Brando contro l’istintivo naturalismo di Evaristo Márquez. Il discorso sulla rappresentazione e sulla messa in scena, metaforizzato dalla duplice dicotomia Walker/Dolores e Brando/Márquez. Problemi distributivi con la United Artists. Un’accoglienza critica controversa e una tardiva rivalutazione.

Il presente contributo intende esplorare le potenzialità delle metodologie di Building Information Modeling (BIM) applicabili alle diverse fasi del processo edilizio, con specifico riferimento a linee guida e best practice di respiro internazionale che avvalorano flussi operativi virtuosi: la componente informativa, prevalentemente grafica in fase di progetto, si integra e si rinnova in formato prevalentemente alfanumerico, divenendo parte integrante dell’apparato gestionale e manutentivo dei manufatti. I casi studio sviluppati in collaborazione con il Servizio Edilizia e Logistica del Politecnico di Torino sostanziano tali procedure che, seppur ancora poco diffuse, traguardano obiettivi di interoperabilità: si illustrano approcci integrati di condivisione delle informazioni atti a definire una corretta programmazione degli interventi, applicabili dalla grande alla piccola scala, definendo strategie progettate per limitare l’attuazione di errate soluzioni.

These lines are devoted to observing the conditions by which the breakdown of the representational composition occurs through certain spatialization’s strategies of significance. We will begin by tracing a genesis concerning the intrinsic ambiguity of the trace or the signal, to attend then to the emergence of the opacity of the linguistic signs when the immediacy of the evidence is obstructed; finally we will dwell on how painting has contributed, in the modern conquest of its sovereignty, to obstruct the transparency of referentiality through the visualization of writing. The tricks of the god Hermes, the pages of Nietzsche on Truth and lie in Extramoral Sense and a few images "composed" by Magritte through figures and legends constitute the episodes that will be followed here. Queste linee sono dedicate all'osservazione delle condizioni in base alle quali la scomposizione della composizione rappresentazionale avviene attraverso le strategie di significatività di certe spazializzazioni. Inizieremo tracciando una genesi riguardante l'intrinseca ambiguità della traccia o del segnale, per assistere poi all'emergere dell'opacità dei segni linguistici quando l'immediatezza dell'evidenza è ostruita; infine ci soffermeremo su come la pittura abbia contribuito, nella conquista moderna della sua sovranità, a ostacolare la trasparenza della referenzialità attraverso la visualizzazione della scrittura. I trucchi del dio Hermes, le pagine di Nietzsche Su verità e menzogna in senso extra-morale e alcune immagini "composte" da Magritte attraverso figure e leggende costituiscono gli episodi che verranno seguiti qui.

This group meets the needs expressed by the relatives of severe psychiatric patients. It is based on the assumptions of the theories of social networks and the groupanalysis adapted to the reality of Rovereto Mental Health Facility. It is conducted by a non medic health-care workers team supervised by a psychiatrist as guarantor. It aims at changing mental illness representation in relatives of psychiatric patients. It is an open group, able to receive anytime new members in progress. It shows its effectiveness in pushing for change. [ABSTRACT FROM AUTHOR]

Copyright of Storia delle Donne is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lo spazio architettonico diventa il tessuto connettivo per la creazione di un protocollo finalizzato all’ottimizzazione della documentazione 3D del patrimonio culturale. La metodologia sviluppata e illustrata nel presente contributo pone come prioritarie le caratteristiche e le geometrie non convenzionali, uniche e complesse che identificano i beni culturali, evitando la segmentazione nell’acquisizione dei dati e facilitando l’accesso ai modelli 3D attraverso un approccio inclusivo. L’elaborazione del protocollo per l’ottimizzazione dei processi di acquisizione e gestione dei dati è parte del progetto INCEPTION - Inclusive Cultural Heritage in Europe through 3D semantic modelling, coordinato dal Dipartimento di Architettura dell’Università degli Studi di Ferrara e finanziato dalla Commissione Europea nell’ambito del programma Horizon 2020. Il progetto è attualmente in corso e sta affrontando le attività correlate al secondo anno di sviluppo. Le azioni future riguardano l’applicazione pratica della procedura di documentazione digitale olistica e del protocollo ottimizzato per l’acquisizione 3D di nove casi studio appartenenti a sei paesi europei tra i partner del progetto. I casi studio pilota in siti significativi per testare la procedura complessiva consentiranno di validare la metodologia di documentazione, gli strumenti attesi in termini di accesso e interazione con il modello 3D digitale e i diversi risultati prefigurati in termini di inclusività nella fruizione dei modelli semantici da parte di diverse tipologie di utenti

The representation of the city is read through the desire, the need, the celebration. "Place complex" par excellence: aggregation, concrete, planned and at the same time dissociating, fickle, disintegrated. The urban sites are an ever actual and stimulating theme for the representation and the generated "files" sometimes can assume unusual sizes and drawings can be compared on very different levels.In this issue of DISEGNARECON are intertwined readings of utopian and heterotopic cities according to the city's dichotomy between heaven and hell; stratified cities able to show its thickness through historical documents and old maps; possible cities determinated by certain projects and ideas for the their development; perceived cities through signs, suggestions, landscapes, real cities animated by the concreteness of programs, the executions, the chronicles

Urban landscapes that exist in the expression of an imaginative sequence define their shape through the digital representation. These hyperreal dimensions, combine imagination and representation as constituents a new reality, which follows the utopian, suprematist and constructivist theories, where the two-dimensional dynamics is transformed into an infinite space in which the imagination creates new forms. Although interpretations of the urban landscape film, put in place a correspondence between reality and virtuality, into the modeling of spatial movements, from which do not arise contraries, but only interdependencies. It is a particular type of representation that takes shape via the digital in motion and provides new tools for urban representation.

Photography is a form of writing. Like other forms of representation, describs and reveals: drawing traces, writing uses signs, photography uses pictures. All of them contribute to the staging of reality. The work of Filippo Romano is based on the belief that photography is an investigative tool of the social, physical and immaterial reality. Showing and doubting, wondering and asking why. Filippo Romano goes through the places, the cities, the landscape, studies history, architecture, the way of life of those who live in it, trying to fully understand and represent them, through his eyes, more open and readable. The photographer remains in fact a "tuned person " for which it is very difficult to representing the complexity. What matters, in the end, is to represent. An idea of city, more than a real city, and places where identities often blend together.

Lina Bo Bardi designed three rural settlings in Brazil; they was unbuilt but defined with clear geometric shapes: the circle and the square. The first project, in 1951, was an urban plant constituted by the same type of low-cost houses and by two ‘undefined’ buildings; the second project, in 1965, had a morphological system formed by circular lots in which, in the “astroidi” curves, were smaller circular lots; the third project is based on the principle of circular lots on which insist square shape houses. The representation, into relationship between drawing and design, offers the history and the criticism new images of cities with digital models building episodes of the architectural history.

Un disegno di John Hejduk è l'occasione per riflettere sul rapporto tra ideazione, rappresentazione e realizzazione dell'opera di architettura, seguendo i ragionamenti del maestro americano. Attraverso i mezzi che le sono propri, walls, roofs, boundaries, l'immagine architettonica ha la capacità di evocare e richiamare il senso profondo di situazioni inattese, “rinfrescare” la nostra visione delle cose contro il pericolo dell'automatizzazione. Ne esce un quadro in cui, nel circolo creativo che coinvolge artefice e fruitore, la realtà dell'architettura contribuisce per la sua parte al progetto di “fabbricazione del mondo”. / A drawing by John Hejduk is an opportunity to reflect on the relationship between the creation, representation and realisation of a work of architecture, following the reasoning of the American maestro. Through its own means - walls, roofs, boundaries - the architectural image has the capacity to evoke and invoke the profound sense of unexpected situations, to "refresh" our vision of things against the danger of automation. What emerges is a scenario in which, in the creative circle involving maker and spectator, the reality of architecture contributes to its part in the project of "manufacturing the world"

Con questo lavoro si cerca di ricostruire il processo di costruzione letteraria cui è stata sottoposta la figura del filosofo Talete all’interno della letteratura greca lungo i secoli, in particolare dalle Storie di Erodoto sino all’opera di Plutarco. Talete è un personaggio centrale nella cultura greca arcaica, ma dalle fonti è visto come un sofός, versatile ed eclettico, capace di interagire con le civiltà dell’oriente asiatico con cui entra a contatto in Asia Minore. È a partire dalla speculazione filosofica di IV secolo, in particolare da Platone ed Aristotele, che avviene una svolta culturale del modo concepire la figura del Milesio. Egli diventa il primo filosofo, colui che per primo ha condotto un’indagine sulla natura del Principio. Tale caratterizzazione influirà sia sulla letteratura specialistica successiva, cioè quella dossografica, che farà di Talete il primo filosofo della storia, sia sulla letteratura in genere che vedrà nel Milesio il primo dei sette sapienti della cultura greca arcaica.

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ItQuesto saggio indaga le conseguenze che, nel mutato contesto del progetto contemporaneo del design, implica la forte convergenza della disciplina del progetto nei temi legati all'interaction design. L'evidenza di questo mutamento mette in luce come nell'iter progettuale il ruolo centrico del disegno e della rappresentazione è messo in crisi da una trasformazione dei contenuti del progetto. Il rapporto tra il progetto dell'interfaccia e il product design, la dematerializzazione dei feedback tattili e visivi, la sempre più diffusa digitalizzazione delle superfici di interazione degli oggetti, mostrano come il design del prodotto non è immune alla trasformazione che ha cambiato i media della comunicazione negli ultimi dieci anni e gli strumenti della rappresentazione si devono adeguare per poter prefigurare una sempre maggior complessità del percorso progettuale.EnIn the changing context of contemporary design, this essay explores the consequences entailed by the significant convergence of the discipline of design towards the themes relative to action design. The evidence of this change highlights how the central role of drawing and representation in the design process is challenged by the transformation in the contents of design. The relationship between the design of the interface and product design, the dematerialization of tactile and visual feedback, the increasingly widespread digitalization of the interaction surfaces of objects, prove that product design is not immune to the transformation that has changed communication media over the past ten years and the tools of representation must adapt to maintain the capacity to prefigure the growing complexity of the design process.