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A parallel could be identified between the virtual reality of the theatre, as defined by Antonin Artaud in his essay Le théâtre et son double, and that which arises from the artistic universe of Maria Lai. Its “Double” is Sardinia with its history of thousands of years, whose very personal representation finds in the forms and types of her museum a captivating manifestation. The Stazione dell'Arte (Art Station) in Ulassai, with its archaic aura constitutes a small and poetic example of a contemporary museum which suggests reflections on some of the themes that are a part of the ethos of a museum: the symbiosis between museum and personality of the artist; the typological completeness of the museum building versus its articulated dispersion throughout the territory; the reciprocal interaction with the landscape and the cultural identity of the community in which it is inserted; and more generally, the relationship between contemporary artistic research, museology and architecture.

Coralligenous reefs are the main biogenic constructions of the Mediterranean Sea and they are considered indicators of the ecological quality of coastal systems and of “seafloor integrity” by the Marine Strategy Framework Directive. The two main coralligenous morphologies are the cliffs and platforms, the former developing in shallow waters (about 20–50 m) on vertical/subvertical rocky substrate and the latter built over horizontal substrates below 50 m depth also on detritic bottoms. The present study aims at assessing whether patterns of spatial variability and ecological quality of the coralligenous cliff assemblages reflect those of platform assemblages. At this aim, six geographic areas around Sardinia (western Mediterranean, Italy) were considered and, within each area, the structure of both the coralligenous cliffs and platforms was investigated by SCUBA and ROV methods, and their ecological quality was assessed by ESCA and CBQI indices, respectively. Overall, 20 morphological groups (seven macroalgae and thirteen invertebrates) were found but differences in community structure were evident both spatially and between systems, platforms vs cliffs. In fact, spatial variability in assemblages structure changed between the two morphologies across the areas. Moreover, a different spatial pattern in the ecological quality was found between platform and cliff assemblages. The results of the present study corroborate the individual peculiarity of coralligenous platforms and cliffs, highlighting the importance of the concurrent assessment of both systems in monitoring programs..

Il complesso rapporto tra educazione e tecnologia digitale può essere compreso se è chiaro il ruolo delle tecnologie nell’ecosistema di rete che abitiamo. Le tecnologie non sono strumenti o aiuti esterni al corpo umano, ma agenti di trasformazione delle nostre strutture mentali e corporee. Il concetto di fluidità computazionale aiuta a superare i limiti delle teorie relative al pensiero computazionale: il coding può essere visto a tutti gli effetti come una forma di espressione e di padronanza di un linguaggio, secondo un approccio incentrato sulla progettazione, il pensiero critico e la creatività. Lo scopo delle attività di coding non è imparare abilità e concetti base dell’informatica, ma l’espressione di se stessi attraverso ambienti di sviluppo creativo. Padroneggiare il coding aiuta a sviluppare il proprio pensiero, a sviluppare la propria espressività e a sviluppare la propria identità. La fluidità computazionale ha a che fare non solo con la comprensione dei concetti computazionali e delle strategie di risoluzione dei problemi, ma anche con la capacità di saper creare e sapere come esprimersi con le tecnologie digitali per contribuire attivamente alla società verso una piena cittadinanza digitale.

Abstract Background Recent evidence suggested a potential correlation between overweight and the efficacy of immune checkpoint inhibitors (ICIs) in cancer patients. Patients and methods We conducted a retrospective study of advanced cancer patients consecutively treated with anti-PD-1/PD-L1 inhibitors, in order to compare clinical outcomes according to baseline BMI levels as primary analysis. Based on their BMI, patients were categorized into overweight/obese (≥ 25) and non-overweight (

The present study examined the role of morality, competence, and attractiveness as perceived from faces in predicting hiring decisions for men and women. Results showed that for both female and male applicants, facial competence significantly predicted the hiring decision directly and indirectly, through the mediation of the overall impression. Decisions concerning female applicants were, however, significantly predicted by multiple dimensions—that is, facial morality, facial competence, and attractiveness—with the mediation of the overall impression. Facial competence was the only significant predictor of impression and, in turn, hiring decision about men. These findings resonate the motto Virtutem forma decorat, “Beauty adorns virtue,” painted by Leonardo da Vinci on the reverse side of the portrait of Ginevra de’ Benci, and suggest that women’s chances of getting a job are less than those of men whenever they do not show a moral and competent and attractive face.

This article addresses the translation of exhibition catalogues in the context of cross-medial communication by discussing a small corpus of multilingual texts. Multilingual art catalogues are a standardized genre, which collect academic, explanatory, and descriptive writings. These hybrid volumes pose problems related to semantic and communicative translation, terminology, specialized language, and emotive discourse by involving the visual. In a world where art is communicated with diverse media, publishers should reconsider the format of exhibition catalogues, as translation across media and languages can play a crucial role in marketing art and culture.

Needle-free liquid jet injectors are medical devices used to administer pharmaceutical solutions through the skin. Jet injectors generate a high-speed stream of liquid medication that can puncture the skin and deliver the drug to the underlying tissues. In this work, we investigated the feasibility of using liquid jet injectors to administer nanosuspensions, assessing the impact of the jet injection on their pharmaceutical and physicochemical properties. For this purpose, the model drug diclofenac was used to prepare a set of nanosuspensions, stabilized by poloxamer 188, and equilibrated at different pHs. The hydrodynamic diameter and morphology of the nanocrystals were analyzed before and after the jet injection across porcine skin in vitro, together with the solubility and release kinetics of diclofenac in a simulated subcutaneous environment. The efficacy of the jet injection (i.e., the amount of drug delivered across the skin) was evaluated for the nanosuspension and for a solution, which was used as a control. Finally, the nanosuspension was administered to rats by jet injector, and the plasma profile of diclofenac was evaluated and compared to the one obtained by jet injecting a solution with an equal concentration. The nanosuspension features were maintained after the jet injection in vitro, suggesting that no structural changes occur upon high-speed impact with the skin. Accordingly, in vivo studies demonstrated the feasibility of jet injecting a nanosuspension, reaching relevant plasma concentration of the drug. Overall, needle-free jet injectors proved to be a suitable alternative to conventional syringes for the administration of nanosuspensions.

Background: We investigate the role of family history of cancer (FHC) and diagnosis of metachronous and/or synchronous multiple neoplasms (MN), during anti-PD-1/PD-L1 immunotherapy. Design: This was a multicenter retrospective study of advanced cancer patients treated with anti-PD-1/PD-L1 immunotherapy. FHC was collected in lineal and collateral lines, and patients were categorized as follows: FHC-high (in case of cancer diagnoses in both the lineal and collateral family lines), FHC-low (in case of cancer diagnoses in only one family line), and FHC-negative. Patients were also categorized according to the diagnosis of MN as follows: MN-high (>2 malignancies), MN-low (two malignancies), and MN-negative. Objective response rate (ORR), progression-free survival (PFS), overall survival (OS), and incidence of immune-related adverse events (irAEs) of any grade were evaluated. Results: 822 consecutive patients were evaluated. 458 patients (55.7%) were FHC-negative, 289 (35.2%) were FHC-low, and 75 (9.1%) FHC-high, respectively. 29 (3.5%) had a diagnosis of synchronous MN and 94 (11.4%) of metachronous MN. 108 (13.2%) and 15 (1.8%) patients were MN-low and MN-high, respectively. The median follow-up was 15.6 months. No significant differences were found regarding ORR among subgroups. FHC-high patients had a significantly longer PFS (hazard ratio [HR] = 0.69 [95% CI: 0.48–0.97], p = .0379) and OS (HR = 0.61 [95% CI: 0.39–0.93], p = .0210), when compared to FHC-negative patients. FHC-high was confirmed as an independent predictor for PFS and OS at multivariate analysis. No significant differences were found according to MN categories. FHC-high patients had a significantly higher incidence of irAEs of any grade, compared to FHC-negative patients (p = .0012). Conclusions: FHC-high patients seem to benefit more than FHC-negative patients from anti-PD-1/PD-L1 checkpoint inhibitors.

This paper explores the intersection of art, technology, and human experience in the context of generative artificial intelligence (GAI). It examines the implications of GAI in artistic creation, emphasizing its role in expanding and transforming traditional artistic practices. Pireddu uses the exhibition I'm not a robot as a case study, highlighting how artists integrate GAI into their works to challenge and reinterpret the human condition through technology. Francesco D'Isa, Fabrizio Ajello, and Piero Fragola with Matteo Giampaglia utilize GAI to produce unique artistic expressions that blend digital and traditional media, questioning the boundaries between human and machine creativity. Pireddu delves into the phenomenological aspects of human-machine interaction, drawing on Merleau-Ponty's concept of the body as an expressive space and Varela's enactive cognition. He argues that GAI redefines the creative process, necessitating a new understanding of the artist's role and the agency of technological tools. This shift challenges traditional notions of authorship and authenticity in art. Furthermore, the article situates these artistic practices within a broader mediological framework, considering the socio-technical systems that shape contemporary culture. Pireddu reflects on the implications of post-mediality, where traditional media boundaries dissolve, and cultural production is increasingly mediated by software and algorithms. He highlights the critical role of artists in navigating and interpreting these changes, positioning art as a means to anticipate and adapt to technological and environmental transformations. In conclusion, The New Fables presents a nuanced analysis of the evolving relationship between art, technology, and human experience, underscoring the generative potential of AI in redefining cultural practices and knowledge creation. [ABSTRACT FROM AUTHOR]