An ontology-based approach to define and manage B2B interoperability

Electronic business surely represents the new development perspective for world-wide trade. Together with the idea of ebusiness, and the exigency to exchange business messages between trading partners, the concept of business-to-business (B2B) integration arouse. B2B integration is becoming necessary to allow partners to communicate and exchange business documents, like catalogues, purchase orders, reports and invoices, overcoming architectural, applicative, and semantic differences, according to the business processes implemented by each enterprise. Business relationships can be very heterogeneous, and consequently there are variousways to integrate enterprises with each other. Moreover nowadays not only large enterprises, but also the small- and medium- enterprises are moving towards ebusiness: more than two-thirds of Small and Medium Enterprises (SMEs) use the Internet as a business tool. One of the business areas which is actively facing the interoperability problem is that related with the supply chain management. In order to really allow the SMEs to improve their business and to fully exploit ICT technologies in their business transactions, there are three main players that must be considered and joined: the new emerging ICT technologies, the scenario and the requirements of the enterprises and the world of standards and standardisation bodies. This thesis presents the definition and the development of an interoperability framework (and the bounded standardisation intiatives) to provide the Textile/Clothing sectorwith a shared set of business documents and protocols for electronic transactions. Considering also some limitations, the thesis proposes a ontology-based approach to improve the functionalities of the developed framework and, exploiting the technologies of the semantic web, to improve the standardisation life-cycle, intended as the development, dissemination and adoption of B2B protocols for specific business domain. The use of ontologies allows the semantic modellisation of knowledge domains, upon which it is possible to develop a set of components for a better management of B2B protocols, and to ease their comprehension and adoption for the target users.

A comprehensive study of the 26th December 2004 Sumatra earthquake: possible implications on Earth rotation and investigations on the coseismic and postseismic stress diffusion associated with the seismic rupture

In this work a multidisciplinary study of the December 26th, 2004 Sumatra earthquake has been carried out. We have investigated both the effect of the earthquake on the Earth rotation and the stress field variations associated with the seismic event. In the first part of the work we have quantified the effects of a water mass redistribution associated with the propagation of a tsunami wave on the Earth’s pole path and on the length-of-day (LOD) and applied our modeling results to the tsunami following the 2004 giant Sumatra earthquake. We compared the result of our simulations on the instantaneous rotational axis variations with some preliminary instrumental evidences on the pole path perturbation (which has not been confirmed yet) registered just after the occurrence of the earthquake, which showed a step-like discontinuity that cannot be attributed to the effect of a seismic dislocation. Our results show that the perturbation induced by the tsunami on the instantaneous rotational pole is characterized by a step-like discontinuity, which is compatible with the observations but its magnitude turns out to be almost one hundred times smaller than the detected one. The LOD variation induced by the water mass redistribution turns out to be not significant because the total effect is smaller than current measurements uncertainties. In the second part of this work of thesis we modeled the coseismic and postseismic stress evolution following the Sumatra earthquake. By means of a semi-analytical, viscoelastic, spherical model of global postseismic deformation and a numerical finite-element approach, we performed an analysis of the stress diffusion following the earthquake in the near and far field of the mainshock source. We evaluated the stress changes due to the Sumatra earthquake by projecting the Coulomb stress over the sequence of aftershocks taken from various catalogues in a time window spanning about two years and finally analyzed the spatio-temporal pattern. The analysis performed with the semi-analytical and the finite-element modeling gives a complex picture of the stress diffusion, in the area under study, after the Sumatra earthquake. We believe that the results obtained with the analytical method suffer heavily for the restrictions imposed, on the hypocentral depths of the aftershocks, in order to obtain the convergence of the harmonic series of the stress components. On the contrary we imposed no constraints on the numerical method so we expect that the results obtained give a more realistic description of the stress variations pattern.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Farm tourism: a cross-country empirical study in Germany and Italy

PROBLEM In the last few years farm tourism or agritourism as it is also referred to has enjoyed increasing success because of its generally acknowledged role as a promoter of economic and social development of rural areas. As a consequence, a plethora of studies have been dedicated to this tourist sector, focusing on a variety of issues. Nevertheless, despite the difficulties of many farmers to orient their business towards potential customers, the contribution of the marketing literature has been moderate. PURPOSE This dissertation builds upon studies which advocate the necessity of farm tourism to innovate itself according to the increasingly demanding needs of customers. Henceforth, the purpose of this dissertation is to critically evaluate the level of professionalism reached in the farm tourism market within a marketing approach. METHODOLOGY This dissertation is a cross-country perspective incorporating the marketing of farm tourism studied in Germany and Italy. Hence, the marketing channels of this tourist sector are examined both from the supply and the demand side by means of five exploratory studies. The data collection has been conducted in the timeframe of 2006 to 2009 in manifold ways (online survey, catalogues of industry associations, face-to-face interviews, etc.) according to the purpose of the research of each study project. The data have been analyzed using multivariate statistical analysis. FINDINGS A comprehensive literature review provides the state of the art of the main differences and similarities of farm tourism in the two countries of study. The main findings contained in the empirical chapters provide insights on many aspects of agritourism including how the expectations of farm operators and customers differ, which development scenarios of farm tourism are more likely to meet individuals’ needs, how new technologies can impact the demand for farm tourism, etc. ORIGINALITY/VALUE The value of this study is in the investigation of the process by which farmers’ participation in the development of this sector intersects with consumer consumption patterns. Focusing on this process should allow farm operators and others including related businesses to more efficiently allocate resources.

Procedures of quality control and data analysis of multi-site ground-based observations for the absolute flux calibration of Gaia

The Gaia space mission is a major project for the European astronomical community. As challenging as it is, the processing and analysis of the huge data-flow incoming from Gaia is the subject of thorough study and preparatory work by the DPAC (Data Processing and Analysis Consortium), in charge of all aspects of the Gaia data reduction. This PhD Thesis was carried out in the framework of the DPAC, within the team based in Bologna. The task of the Bologna team is to define the calibration model and to build a grid of spectro-photometric standard stars (SPSS) suitable for the absolute flux calibration of the Gaia G-band photometry and the BP/RP spectrophotometry. Such a flux calibration can be performed by repeatedly observing each SPSS during the life-time of the Gaia mission and by comparing the observed Gaia spectra to the spectra obtained by our ground-based observations. Due to both the different observing sites involved and the huge amount of frames expected (≃100000), it is essential to maintain the maximum homogeneity in data quality, acquisition and treatment, and a particular care has to be used to test the capabilities of each telescope/instrument combination (through the “instrument familiarization plan”), to devise methods to keep under control, and eventually to correct for, the typical instrumental effects that can affect the high precision required for the Gaia SPSS grid (a few % with respect to Vega). I contributed to the ground-based survey of Gaia SPSS in many respects: with the observations, the instrument familiarization plan, the data reduction and analysis activities (both photometry and spectroscopy), and to the maintenance of the data archives. However, the field I was personally responsible for was photometry and in particular relative photometry for the production of short-term light curves. In this context I defined and tested a semi-automated pipeline which allows for the pre-reduction of imaging SPSS data and the production of aperture photometry catalogues ready to be used for further analysis. A series of semi-automated quality control criteria are included in the pipeline at various levels, from pre-reduction, to aperture photometry, to light curves production and analysis.

La produzione drammatica dei fratelli Figueroa y Córdoba, con edizione critica di "Mentir y mudarse a un tiempo"

Diego e José de Figueroa y Córdoba furono due fratelli drammaturghi, attivi nella seconda metà del XVII secolo, che praticarono assiduamente la scrittura in collaborazione. Nel tentativo di rivalutare questi autori ingiustamente dimenticati dalla critica odierna, il presente lavoro si propone di offrire uno studio introduttivo alle figure e al teatro dei due fratelli. Nella prima parte, si offre un profilo biografico dei fratelli Figueroa, riunendo le seppur scarse notizie che possediamo sulla loro vita, in modo da inquadrarne le personalità all’interno degli ambienti letterari dell’epoca. Ci si concentra, poi, sul corpus, proponendo una panoramica delle commedie scritte da Diego e José, dando di ciascuna una breve sinossi e un rapido inquadramento all’interno dei generi tipici del teatro aureo, e segnalando gli eventuali problemi di attribuzione. Si accenna, infine, alla collaborazione dei fratelli nella scrittura di molte delle loro commedie, avanzando alcune ipotesi sulla tecnica compositiva. La seconda parte è costituita da un repertorio bibliografico del teatro “maggiore” dei due fratelli, in cui si descrivono analiticamente tutti gli esemplari conosciuti delle comedias dei Figueroa. Ogni descrizione si completa con una lista delle biblioteche in cui l’esemplare è conservato, lista compilata attraverso la consultazione di cataloghi, cartacei e on-line, delle principali biblioteche con fondi di teatro spagnolo del Siglo de Oro. Infine, la terza parte è dedicata all’edizione critica di una delle commedie scritte in collaborazione da Diego e José: Mentir y mudarse a un tiempo, condotta usando come testo base un manoscritto probabilmente autografo. L’edizione si completa di un apparato critico, con analisi dei testimoni, stemma codicum e registro delle varianti. Precede l’edizione uno studio generale introduttivo all’opera.

Testing future weak lensing surveys through simulations of observations

Weak lensing experiments such as the future ESA-accepted mission Euclid aim to measure cosmological parameters with unprecedented accuracy. It is important to assess the precision that can be obtained in these measurements by applying analysis software on mock images that contain many sources of noise present in the real data. In this Thesis, we show a method to perform simulations of observations, that produce realistic images of the sky according to characteristics of the instrument and of the survey. We then use these images to test the performances of the Euclid mission. In particular, we concentrate on the precision of the photometric redshift measurements, which are key data to perform cosmic shear tomography. We calculate the fraction of the total observed sample that must be discarded to reach the required level of precision, that is equal to 0.05(1+z) for a galaxy with measured redshift z, with different ancillary ground-based observations. The results highlight the importance of u-band observations, especially to discriminate between low (z < 0.5) and high (z ~ 3) redshifts, and the need for good observing sites, with seeing FWHM < 1. arcsec. We then construct an optimal filter to detect galaxy clusters through photometric catalogues of galaxies, and we test it on the COSMOS field, obtaining 27 lensing-confirmed detections. Applying this algorithm on mock Euclid data, we verify the possibility to detect clusters with mass above 10^14.2 solar masses with a low rate of false detections.

Accesorios de indumentaria del regnum visigodo temprano (siglos V-VI)

Los accesorios metálicos de indumentaria constituyen uno de las fuentes materiales principales para aproximarse a la realidad social, cultural y económica de la población del Mediterráneo tardoantiguo. En el caso de los hallazgos de los siglos V y VI procedentes de la Península Ibérica y del suroeste de Francia, numerosos problemas de documentación han impedido extraer y desarrollar todo su potencial, tanto en lo referente al encuadre tipológico y cronológico de estos objetos como en la consiguiente fase interpretativa. Se hacía necesario acometer un nuevo estudio monográfico que actualizara el panorama de la investigación. El trabajo cataloga, data y clasifica tipológicamente más de cuatro millares de fíbulas y accesorios de cinturón recuperados en casi medio millar de yacimientos localizados en los actuales Portugal, España, Andorra y Francia. El resultado permite aproximarse a las áreas de producción y modalidades de circulación y utilización de cada uno de los tipos individualizados. Una veintena de indumentarias distintas, definidas por combinaciones de distintos tipos de accesorios en contextos funerarios, ha sido identificada. Parte de éstas constituye la base principal de un sistema cronológico organizado en seis fases distintas que cubren una cronología situada aproximadamente entre las últimas décadas del siglo IV y las últimas décadas del siglo VI. La investigación acomete asimismo el análisis de la implantación de los accesorios y de las indumentarias relacionadas con ellos en el paisaje tardoantiguo de Hispania y la Galia. El resultado permite reconstruir secuencias regionales de evolución indumentaria y establecer relaciones entre diversas tipologías de contextos funerarios y habitativos y los tipos de indumentaria previamente definidos. Los resultados permiten renovar la mirada sobre este tipo de objetos y el lugar que ocuparon en la vida cotidiana de muchos de los habitantes del regnum visigodo temprano.

A multifrequency study of the Lockman Hole region: preparing for a LOFAR deep survey

In this thesis, we have presented two deep 1.4 GHz and 345 MHz overlapping surveys of the Lockman Hole field taken with the Westerbork Synthesis Radio Telescope. We extracted a catalogue of ~6000 radio sources from the 1.4 GHz mosaic down to a flux limit of ~55 μJy and a catalogue of 334 radio sources down to a flux limit of ~4 mJy from the inner 7 sq. degree region of the 345 MHz image. The extracted catalogues were used to derive the source number counts at 1.4 GHz and at 345 MHz. The source counts were found to be fully consistent with previous determinations. In particular the 1.4 GHz source counts derived by the present sample provide one of the most statistically robust determinations in the flux range 0.1 < S < 1 mJy. During the commissioning program of the LOFAR telescope, the Lockman Hole field was observed at 58 MHz and 150 MHz. The 150 MHz LOFAR observation is particularly relevant as it allowed us to obtain the first LOFAR flux calibrated high resolution image of a deep field. From this image we extracted a preliminary source catalogue down to a flux limit of ~15 mJy (~10σ), that can be considered complete down to 20‒30 mJy. A spectral index study of the mJy sources in the Lockman Hole region, was performed using the available catalogues ( 1.4 GHz, 345 MHz and 150 MHz) and a deep 610 MHz source catalogue available from the literature (Garn et al. 2008, 2010).

Un protagonista del commercio librario nell'Italia dei lumi: Moïsè Beniamino Foà (1730-1821)

Nell’alveo delle indagini sulla storia del commercio librario nell’Italia del Settecento, attente a individuare i legami fra circolazione del libro, diffusione delle idee illuministe e riforme politiche nella seconda metà del secolo, la ricerca ha l’obiettivo di offrire un quadro articolato della fisionomia di un mercante del libro attivo nel periodo più intenso del riformismo estense nel ducato di Modena: Moïsè Beniamino Foà (1730-1821). Il primo capitolo della tesi riguarda le cariche ufficiali che questi ricoprì al servizio delle istituzioni culturali promosse da Francesco III d’Este, le vicende che lo implicarono nelle maglie della censura e il suo impegno civile e politico a favore dei processi di emancipazione degli ebrei in età giacobina e napoleonica. Il secondo tenta di interpretare la genesi della sua fortuna economica attraverso l’esame del testamento e dell’inventario dell’asse ereditario: nel panorama di precarietà dei mestieri del libro dal secolo dei lumi ai primi decenni della Restaurazione, pare arduo individuare un libraio comparabile a Foà per solidità e capacità di investimento. All’analisi della clientela del mercante è dedicato il terzo capitolo, che si sviluppa seguendo il filo dei rapporti diplomatici intessuti da Francesco III con le corti italiane nell’orbita dell’influenza politica e culturale asburgica. Si descrivono, quindi, i viaggi europei e la rete dei contatti commerciali che garantirono la ricchezza dell’offerta rispecchiata dai numerosi cataloghi librari pubblicati nel corso di oltre un cinquantennio. Di questi si offre una descrizione bibliografica e quantitativa con un affondo sulla diffusione del libro scientifico. Con la fisionomia del mercante viaggiatore, Foà coniugava quella dell’erudito bibliofilo: la ricerca si conclude con la presentazione della sua biblioteca e dei suoi rapporti con i filologi dell’epoca.

Constraints on neutrino mass fraction using Redshift Space Distortions

Redshift Space Distortions (RSD) are an apparent anisotropy in the distribution of galaxies due to their peculiar motion. These features are imprinted in the correlation function of galaxies, which describes how these structures distribute around each other. RSD can be represented by a distortions parameter $\beta$, which is strictly related to the growth of cosmic structures. For this reason, measurements of RSD can be exploited to give constraints on the cosmological parameters, such us for example the neutrino mass. Neutrinos are neutral subatomic particles that come with three flavours, the electron, the muon and the tau neutrino. Their mass differences can be measured in the oscillation experiments. Information on the absolute scale of neutrino mass can come from cosmology, since neutrinos leave a characteristic imprint on the large scale structure of the universe. The aim of this thesis is to provide constraints on the accuracy with which neutrino mass can be estimated when expoiting measurements of RSD. In particular we want to describe how the error on the neutrino mass estimate depends on three fundamental parameters of a galaxy redshift survey: the density of the catalogue, the bias of the sample considered and the volume observed. In doing this we make use of the BASICC Simulation from which we extract a series of dark matter halo catalogues, characterized by different value of bias, density and volume. This mock data are analysed via a Markov Chain Monte Carlo procedure, in order to estimate the neutrino mass fraction, using the software package CosmoMC, which has been conveniently modified. In this way we are able to extract a fitting formula describing our measurements, which can be used to forecast the precision reachable in future surveys like Euclid, using this kind of observations.

Gravitational Lensing as a Tool on Galactic and Cosmological Scales

This work considers the reconstruction of strong gravitational lenses from their observed effects on the light distribution of background sources. After reviewing the formalism of gravitational lensing and the most common and relevant lens models, new analytical results on the elliptical power law lens are presented, including new expressions for the deflection, potential, shear and magnification, which naturally lead to a fast numerical scheme for practical calculation. The main part of the thesis investigates lens reconstruction with extended sources by means of the forward reconstruction method, in which the lenses and sources are given by parametric models. The numerical realities of the problem make it necessary to find targeted optimisations for the forward method, in order to make it feasible for general applications to modern, high resolution images. The result of these optimisations is presented in the \textsc{Lensed} algorithm. Subsequently, a number of tests for general forward reconstruction methods are created to decouple the influence of sourced from lens reconstructions, in order to objectively demonstrate the constraining power of the reconstruction. The final chapters on lens reconstruction contain two sample applications of the forward method. One is the analysis of images from a strong lensing survey. Such surveys today contain $\sim 100$ strong lenses, and much larger sample sizes are expected in the future, making it necessary to quickly and reliably analyse catalogues of lenses with a fixed model. The second application deals with the opposite situation of a single observation that is to be confronted with different lens models, where the forward method allows for natural model-building. This is demonstrated using an example reconstruction of the ``Cosmic Horseshoe''. An appendix presents an independent work on the use of weak gravitational lensing to investigate theories of modified gravity which exhibit screening in the non-linear regime of structure formation.