Context-aware visual exploration of molecular databases

Facilitating the visual exploration of scientific data has received increasing attention in the past decade or so. Especially in life science related application areas the amount of available data has grown at a breath taking pace. In this paper we describe an approach that allows for visual inspection of large collections of molecular compounds. In contrast to classical visualizations of such spaces we incorporate a specific focus of analysis, for example the outcome of a biological experiment such as high throughout screening results. The presented method uses this experimental data to select molecular fragments of the underlying molecules that have interesting properties and uses the resulting space to generate a two dimensional map based on a singular value decomposition algorithm and a self organizing map. Experiments on real datasets show that the resulting visual landscape groups molecules of similar chemical properties in densely connected regions.

Virtual landmarking for locality aware peer IDs

In Peer-to-Peer (P2P) networks, it is often desirable to assign node IDs which preserve locality relationships in the underlying topology. Node locality can be embedded into node IDs by utilizing a one dimensional mapping by a Hilbert space filling curve on a vector of network distances from each node to a subset of reference landmark nodes within the network. However this approach is fundamentally limited because while robustness and accuracy might be expected to improve with the number of landmarks, the effectiveness of 1 dimensional Hilbert Curve mapping falls for the curse of dimensionality. This work proposes an approach to solve this issue using Landmark Multidimensional Scaling (LMDS) to reduce a large set of landmarks to a smaller set of virtual landmarks. This smaller set of landmarks has been postulated to represent the intrinsic dimensionality of the network space and therefore a space filling curve applied to these virtual landmarks is expected to produce a better mapping of the node ID space. The proposed approach, the Virtual Landmarks Hilbert Curve (VLHC), is particularly suitable for decentralised systems like P2P networks. In the experimental simulations the effectiveness of the methods is measured by means of the locality preservation derived from node IDs in terms of latency to nearest neighbours. A variety of realistic network topologies are simulated and this work provides strong evidence to suggest that VLHC performs better than either Hilbert Curves or LMDS use independently of each other.

Breadcrumbs: location and context aware mobile platform for story sharing

With the current proliferation of sensor equipped mobile devices such as smartphones and tablets, location aware services are expanding beyond the mere efficiency and work related needs of users, evolving in order to incorporate fun, culture and the social life of users. Today people on the move have more and more connectivity and are expected to be able to communicate with their usual and familiar social networks. That means communications not only with their peers and colleagues, friends and family but also with unknown people that might share their interests, curiosities or happen to use the same social network. Through social networks, location aware blogging, cultural mobile applications relevant information is now available at specific geographical locations and open to feedback and conversations among friends as well as strangers. In fact, nowadays smartphone technologies aloud users to post and retrieve content while on the move, often relating to specific physical landmarks or locations, engaging and being engaged in conversations with strangers as much as their own social network. The use of such technologies and applications while on the move can often lead people to serendipitous discoveries and interactions. Throughout our thesis we are engaging on a two folded investigation: how can we foster and support serendipitous discoveries and what are the best interfaces for it? In fact, to read and write content while on the move is a cognitively intensive task. While the map serves the function of orienting the user, it also absorbs most of the user’s concentration. In order to address this kind of cognitive overload issue with Breadcrumbs we propose a 360 degrees interface that enables the user to find content around them by means of scanning the surrounding space with the mobile device. By using a loose metaphor of a periscope, harnessing the power of the smartphone sensors we designed an interactive interface capable of detecting content around the users and display it in the form of 2 dimensional bubbles which diameter depends on their distance from the users. Users will navigate the space in relation to the content that they are curious about, rather than in relation to the traditional geographical map. Through this model we envisage alleviating a certain cognitive overload generated by having to continuously confront a two dimensional map with the real three dimensional space surrounding the user, but also use the content as a navigational filter. Furthermore this alternative mean of navigating space might bring serendipitous discovery about places that user where not aware of or intending to reach. We hence conclude our thesis with the evaluation of the Breadcrumbs application and the comparison of the 360 degrees interface with a traditional 2 dimensional map displayed on the devise screen. Results from the evaluation are compiled in findings and insights for future use in designing and developing context aware mobile applications.

A sound education: Becoming aware of the sound around us

In this article it is intended to discuss the issue of noise pollution from an unusual point of view: noise pollution is not only the result of sound increase worldwide, but, particularly, the poor quality of our listening habits in modern life as well. In contemporary society we are subject to a considerable amount of stimulus to all our senses: vision, scent, taste and hearing which are becoming more and more insensible due to over exposure in our environment. These increased stimuli make us look for alternatives to reduce our ability to perceive them and be protected from injuries. However, our sensitivity will also decrease. In the specific case of environment noise, over exposure has made us forget the enchantment of certain sounds that used to give us pleasure or evoke good feelings by many ways, making us recall certain good things, bringing particular moments of our lives to our memory or even filling us with strong emotion. The Canadian composer and music educator, R. Murray Schafer, believes that noise pollution is the result of a society who became deaf. Closing our ears to noise protect us from noise pollution but also prevent us from grasping subtleties of listening. Contemporary world does not help us to be aware of sound in the space around us; acquiring this hearing ability is a matter of focus, interest and practice. Sound education exercises are aimed at children, teenagers and adults who want to improve their listening ability to environmental sounds, perceive its proprieties and learn how sound affects us and touches our feelings. The results are easy to accomplish and contribute to our awareness of the sound environment around us and to the conception of the environmental sound as a composition made by everybody and everything through positive actions, strong will and high sensitivity. Copyright © (2011) by the International Institute of Acoustics & Vibration.

Modelizzazione spazio-temporale delle dinamiche di uso del suolo ed analisi comparativa di differenti approcci predittivi. Uso integrato di SIG e telerilevamento nello studio dei processi di deforestazione nella regione La Joyanca in Peten, Guatemala

L’uso frequente dei modelli predittivi per l’analisi di sistemi complessi, naturali o artificiali, sta cambiando il tradizionale approccio alle problematiche ambientali e di rischio. Il continuo miglioramento delle capacità di elaborazione dei computer facilita l’utilizzo e la risoluzione di metodi numerici basati su una discretizzazione spazio-temporale che permette una modellizzazione predittiva di sistemi reali complessi, riproducendo l’evoluzione dei loro patterns spaziali ed calcolando il grado di precisione della simulazione. In questa tesi presentiamo una applicazione di differenti metodi predittivi (Geomatico, Reti Neurali, Land Cover Modeler e Dinamica EGO) in un’area test del Petén, Guatemala. Durante gli ultimi decenni questa regione, inclusa nella Riserva di Biosfera Maya, ha conosciuto una rapida crescita demografica ed un’incontrollata pressione sulle sue risorse naturali. L’area test puó essere suddivisa in sotto-regioni caratterizzate da differenti dinamiche di uso del suolo. Comprendere e quantificare queste differenze permette una migliore approssimazione del sistema reale; é inoltre necessario integrare tutti i parametri fisici e socio-economici, per una rappresentazione più completa della complessità dell’impatto antropico. Data l’assenza di informazioni dettagliate sull’area di studio, quasi tutti i dati sono stati ricavati dall’elaborazione di 11 immagini ETM+, TM e SPOT; abbiamo poi realizzato un’analisi multitemporale dei cambi uso del suolo passati e costruito l’input per alimentare i modelli predittivi. I dati del 1998 e 2000 sono stati usati per la fase di calibrazione per simulare i cambiamenti nella copertura terrestre del 2003, scelta come data di riferimento per la validazione dei risultati. Quest’ultima permette di evidenziare le qualità ed i limiti per ogni modello nelle differenti sub-regioni.

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.

Traces de terre, traces d'encre... La rappresentazione dello spazio nella letteratura caraibica. (Francofona e Anglofona)

This study concerns the representation of space in Caribbean literature, both francophone and Anglophone and, in particular, but not only, in the martinican literature, in the works of the authors born in the island. The analysis focus on the second half of the last century, a period in which the martinican production of novels and romances increased considerably, and where the representation and the rule of space had a relevant place. So, the thesis explores the literary modalities of this representation. The work is constituted of 5 chapters and the critical and methodological approaches are both of an analytical and comparative type. The first chapter “The caribbean space: geography, history and society” presents the geographic context, through an analysis of the historical and political major events occurred in the Caribbean archipelago, in particular of the French Antilles, from the first colonization until the départementalisation. The first paragraph “The colonized space: historical-political excursus” the explores the history of the European colonization that marked forever the theatre of the relationship between Europe, Africa and the New World. This social situation take a long and complex process of “Re-appropriation and renegotiation of the space”, (second paragraph) always the space of the Other, that interest both the Antillean society and the writers’ universe. So, a series of questions take place in the third paragraph “Landscape and identity”: what is the function of space in the process of identity construction? What are the literary forms and representations of space in the Caribbean context? Could the writing be a tool of cultural identity definition, both individual and collective? The second chapter “The literary representation of the Antillean space” is a methodological analysis of the notions of literary space and descriptive gender. The first paragraph “The literary space of and in the novel” is an excursus of the theory of such critics like Blanchot, Bachelard, Genette and Greimas, and in particular the recent innovation of the 20th century; the second one “Space of the Antilles, space of the writing” is an attempt to apply this theory to the Antillean literary space. Finally the last paragraph “Signs on the page: the symbolic places of the antillean novel landscape” presents an inventory of the most recurrent antillean places (mornes, ravines, traces, cachots, En-ville,…), symbols of the history and the past, described in literary works, but according to new modalities of representation. The third chapter, the core of the thesis, “Re-drawing the map of the French Antilles” focused the study of space representation on francophone literature, in particular on a selected works of four martinican writers, like Roland Brival, Édouard Glissant, Patrick Chamoiseau and Raphaël Confiant. Through this section, a spatial evolution comes out step by step, from the first to the second paragraph, whose titles are linked together “The novel space evolution: from the forest of the morne… to the jungle of the ville”. The virgin and uncontaminated space of the Antilles, prior to the colonisation, where the Indios lived in harmony with the nature, find a representation in both works of Brival (Le sang du roucou, Le dernier des Aloukous) and of Glissant (Le Quatrième siècle, Ormerod). The arrival of the European colonizer brings a violent and sudden metamorphosis of the originary space and landscape, together with the traditions and culture of the Caraïbes population. These radical changes are visible in the works of Chamoiseau (Chronique des sept misères, Texaco, L’esclave vieil homme et le molosse, Livret des villes du deuxième monde, Un dimanche au cachot) and Confiant (Le Nègre et l’Amiral, Eau de Café, Ravines du devant-jour, Nègre marron) that explore the urban space of the creole En-ville. The fourth chapter represents the “2nd step: the Anglophone novel space” in the exploration of literary representation of space, through an analytical study of the works of three Anglophone writers, the 19th century Lafcadio Hearn (A Midsummer Trip To the West Indies, Two Years in the French West Indies, Youma) and the contemporary authors Derek Walcott (Omeros, Map of the New World, What the Twilight says) and Edward Kamau Brathwaite (The Arrivants: A New World Trilogy). The Anglophone voice of the Caribbean archipelago brings a very interesting contribution to the critical idea of a spatial evolution in the literary representation of space, started with francophone production: “The spatial evolution goes on: from the Martiniques Sketches of Hearn… to the modern bards of Caribbean archipelago” is the new linked title of the two paragraphs. The fifth chapter “Extended look, space shared: the Caribbean archipelago” is a comparative analysis of the results achieved in the prior sections, through a dialogue between all the texts in the first paragraph “Francophone and Anglophone representation of space compared: differences and analogies”. The last paragraph instead is an attempt of re-negotiate the conventional notions of space and place, from a geographical and physical meaning, to the new concept of “commonplace”, not synonym of prejudice, but “common place” of sharing and dialogue. The question sets in the last paragraph “The “commonplaces” of the physical and mental map of the Caribbean archipelago: toward a non-place?” contains the critical idea of the entire thesis.

Geolocalizzazione e QRCode come strumenti a supporto di applicazioni turistico-culturali

Gli smartphone, sono dispositivi per la telefonia mobile che oramai includono una serie di funzionalità a supporto della multimedialità e non solo. Divenuti quasi dei notebook in miniatura, ne esistono di vari tipi e dimensioni e anche se la loro potenza di calcolo rimane di gran lunga inferiore a quella di un PC, riescono comunque a effettuare operazioni abbastanza evolute e con prestazioni accettabili. Quello che si vuole realizzare con questo lavoro non è uno studio su questi dispositivi (anche se in parte sarà affrontato), ma un approfondimento sulla possibilità di utilizzare una buona fetta di essi, a supporto dello sviluppo turistico nel nostro paese. In particolare si vuole realizzare una piattaforma mobile che metta in comunicazione individui che vogliono fornire informazione di tipo turistico (beni culturali, eventi, attività commerciali, ecc.) con individui che vogliono fruire di tali contenuti (un qualsiasi turista che sia in grado di utilizzare uno smartphone). Tale applicazione dovrà raccogliere informazioni su una determinata città e riuscire in maniera chiara e intuitiva a dare risposte alle principali domande che un turista si pone: • dove sono? • Cosa c’è d’interessante da visitare nei dintorni? • Interessante questa statua! Di cosa si tratta? • Quali sono gli eventi più interessanti ai quali potrei partecipare? • Ho un leggero appetito dove posso andare a mangiare? • Dove posso fare un po’ di shopping?

Dall'involucro all'invaso. Lo spazio a pianta centrale nell'opera architettonica di Adalberto Libera

An archetype selected over the centuries Adalberto Libera wrote little, showing more inclination to use the project as the only means of verification. This study uses a survey of the project for purely compositional space in relation to the reason that most other returns with continuity and consistency throughout his work. "The fruit of a type selected over centuries", in the words of Libera, is one of the most widely used and repeated spatial archetypes present in the history of architecture, given its nature as defined by a few consolidated elements and precisely defined with characters of geometric precision and absoluteness, the central space is provided, over the course of evolution of architecture, and its construction aspects as well as symbolic, for various uses, from historical period in which it was to coincide with sacred space for excellence, to others in which it lends itself to many different expressive possibilities of a more "secular". The central space was created on assumptions of a constructive character, and the same exact reason has determined the structural changes over the centuries, calling from time to time with advances in technology, the maximum extent possible and the different applications, which almost always have coincided with the reason for the monumental space. But it’s in the Roman world that the reason for the central space is defined from the start of a series of achievements that fix the character in perpetuity. The Pantheon was seen maximum results and, simultaneously, the archetype indispensable, to the point that it becomes difficult to sustain a discussion of the central space that excludes. But the reason the space station has complied, in ancient Rome, just as exemplary, monuments, public spaces or buildings with very different implications. The same Renaissance, on which Wittkower's proving itself once and for all, the nature and interpretation of sacred space station, and thus the symbolic significance of that invaded underlying interpretations related to Humanism, fixing the space-themed drawing it with the study and direct observation by the four-sixteenth-century masters, the ruins that in those years of renewed interest in the classical world, the first big pieces of excavation of ancient Rome brought to light with great surprise of all. Not a case, the choice to investigate the architectural work of Libera through the grounds of the central space. Investigating its projects and achievements, it turns out as the reason invoked particularly evident from the earliest to latest work, crossing-free period of the war which for many authors in different ways, the distinction between one stage and another, or the final miss. The theme and the occasion for Libera always distinct, it is precisely the key through which to investigate her work, to come to discover that the first-in this case the central plan-is the constant underlying all his work, and the second reason that the quota with or at the same time, we will return different each time and always the same Libera, formed on the major works remained from ancient times, and on this building method, means consciously, that the characters of architectural works, if valid, pass the time, and survive the use and function contingent. As for the facts by which to formalize it, they themselves are purely contingent, and therefore available to be transferred from one work to another, from one project to another, using also the loan. Using the same two words-at-issue and it becomes clear now how the theme of this study is the method of Libera and opportunity to the study of the central space in his work. But there is one aspect that, with respect to space a central plan evolves with the progress of the work of Libera on the archetype, and it is the reason behind all the way, just because an area built entirely on reason centric. It 'just the "center" of space that, ultimately, tells us the real progression and the knowledge that over the years has matured and changed in Libera. In the first phase, heavily laden with symbolic superstructure, even if used in a "bribe" from Free-always ill-disposed to sacrifice the idea of architecture to a phantom-center space is just the figure that identifies the icon represents space itself: the cross, the flame or the statue are different representations of the same idea of center built around an icon. The second part of the work of clearing the space station, changed the size of the orders but the demands of patronage, grows and expands the image space centric, celebratory nature that takes and becomes, in a different way, this same symbol . You see, one in all, as the project of "Civiltà Italiana" or symbolic arch are examples of this different attitude. And at the same point of view, you will understand how the two projects formulated on the reuse of the Mausoleum of Augustus is the key to its passage from first to second phase: the Ara Pacis in the second project, making itself the center of the composition "breaks" the pattern of symbolic figure in the center, because it is itself an architecture. And, in doing so, the transition takes place where the building itself-the central space-to become the center of that space that itself creates and determines, by extending the potential and the expressiveness of the enclosure (or cover) that defines the basin centered. In this second series of projects, which will be the apex and the point of "crisis" in the Palazzo dei Congressi all'E42 received and is no longer so, the symbol at the very geometry of space, but space itself and 'action' will be determined within this; action leading a movement, in the case of the Arco simbolico and the "Civiltà Italiana" or, more frequently, or celebration, as in the great Sala dei Recevimenti all’E42, which, in the first project proposal, is represented as a large area populated by people in suits, at a reception, in fact. In other words, in this second phase, the architecture is no longer a mere container, but it represents the shape of space, representing that which "contains". In the next step-determining the knowledge from which mature in their transition to post-war-is one step that radically changes the way centric space, although formally and compositionally Libera continues the work on the same elements, compounds and relationships in a different way . In this last phase Freedom, center, puts the man in human beings, in the two previous phases, and in a latent, were already at the center of the composition, even if relegated to the role of spectators in the first period, or of supporting actors in the second, now the heart of space. And it’s, as we shall see, the very form of being together in the form of "assembly", in its different shades (up to that sacred) to determine the shape of space, and how to relate the parts that combine to form it. The reconstruction of the birth, evolution and development of the central space of the ground in Libera, was born on the study of the monuments of ancient Rome, intersected on fifty years of recent history, honed on the constancy of a method and practice of a lifetime, becomes itself, Therefore, a project, employing the same mechanisms adopted by Libera; the decomposition and recomposition, research synthesis and unity of form, are in fact the structure of this research work. The road taken by Libera is a lesson in clarity and rationality, above all, and this work would uncover at least a fragment.

La condizione degli stranieri nello spazio dell'Unione Europea verso una nozione autonoma di cittadinanza europea?

The thesis analyses and examines the relevant developments of EU law since the EU institutions have been granted competence in matters of entry and residence of nationals of third countries within the space of the European Union, as governed by Title IV of the Treaty establishing the European Community (now Title V of the Treaty on the Functioning of the European Union) and by the ensuing norms. Based on these data my research aims to reconstruct the current state of EU legislation in matters of entry and residence of third country nationals in order to establish the extent of the EU’s competence into immigration and asylum, also in relation to the erosion of the Member States’ competence into the same areas. The most significant sign of this evolution is the recognition of the right of third-country nationals who are long-term residents to move and reside within the territory of other Member States. The increased use of the EU’s territory by third country nationals has led to the problem of the evolution of the concept of EU citizenship, and in particular to the most significant content of the question, namely the right to move freely. With regard to this aspect EU citizenship could be free from the requirement of nationality of a Member State, so as to be strictly related to the right of free use of the territory, as established by the internal market. This concept could also include the nationals of third countries.

Progettazione e implementazione di applicazioni context-aware su dispositivi mobili

Il progetto descritto in questo documento consiste fondamentalmente nell'integrazione di applicazioni context-aware su dispositivi mobili con reti di sensori e nello studio delle problematiche derivanti, vantaggi e potenziali utilizzi. La rete è stata costruita sfruttando l'insieme di protocolli per comunicazioni via radio Zigbee, particolarmente adatti per interazione tra dispositivi a basso consumo energetico e che necessitano di uno scarso tasso di trasferimento di dati. Le informazioni ottenute da sensori di varia natura sono processate da microcontrollori Arduino, scelti per la loro versatilità di utilizzo e design open source. Uno o più dispositivi sono designati per aggregare i dati rilevati dai singoli nodi in un unico pacchetto di informazioni, semanticamente correlate tra loro, quindi emetterle in broadcast su una diversa interfaccia di rete, in modo che diverse applicazioni esterne in ascolto possano riceverle e manipolarle. Viene utilizzato un protocollo specifico per la comunicazione tra i microcontrollori e le applicazioni che si interfacciano con la rete, costruito su misura per dispositivi con risorse limitate. L'applicazione context-aware che interagisce con la rete è stata sviluppata su piattaforma Android, la cui particolare flessibilità favorisce una migliore capacità di gestire i dati ottenuti. Questa applicazione è in grado di comunicare con la rete, manipolare i dati ricevuti ed eventualmente intraprendere azioni specifiche in totale indipendenza dal suo utilizzatore. Obiettivo del progetto è quello di costruire un meccanismo di interazione tra le tecnologie più adattivo e funzionale possibile.

Sviluppo di Applicazioni Mobile su piattaforma Android: analisi del modello di programmazione e sperimentazioni

L'obiettivo di questo lavoro è effettuare un'analisi del modello di programmazione proposto da Android. L'attenzione verrà posta, in particolare, su quali meccanismi vengano forniti per la gestione di eventi asincroni generati dal sistema, allo scopo di notificare cambiamenti del contesto in cui si sta operando: dal modo in cui vengono intercettati, a come risulta possibile modificare il comportamento dell'applicazione, in reazione alle nuove informazioni acquisite. Si valuteranno gli elementi di novità introdotti nelle API di Android, in relazione ai classici mezzi disponibili nella programmazione standard in Java, atti a risolvere una nuova categoria di problematiche dovute alla natura context-aware delle applicazioni. Sarà effettuata anche un'analisi più generale della qualità del modello proposto, in termini di estensibilità e modularità del codice; per fare ciò, si prenderà in esame l'applicazione SMS Backup+ come caso di studio e si proporranno delle possibili estensioni per verificarne la fattibilità.

Reti socievoli: l’impatto dei social networks nella costruzione dello spazio pubblico

La tesi si è consolidata nell’analisi dell’impatto dei social networks nella costruzione dello spazio pubblico, nella sfera di osservazione che è la rete e il web2.0. Osservando che il paradigma della società civile si sia modificato. Ridefinendo immagini e immaginari e forme di autorappresentazione sui new media (Castells, 2010). Nel presupposto che lo spazio pubblico “non è mai una realtà precostituita” (Innerarity, 2008) ma si muove all’interno di reti che generano e garantiscono socievolezza. Nell’obiettivo di capire cosa è spazio pubblico. Civic engagement che si rafforza in spazi simbolici (Sassen, 2008), nodi d’incontro significativi. Ivi cittadini-consumatori avanzano corresponsabilmente le proprie istanze per la debacle nei governi.. Cultura partecipativa che prende mossa da un nuovo senso civico mediato che si esprime nelle “virtù” del consumo critico. Portando la politica sul mercato. Cultura civica autoattualizzata alla ricerca di soluzioni alle crisi degli ultimi anni. Potere di una comunicazione che riduce il mondo ad un “villaggio globale” e mettono in relazione i pubblici connessi in spazi e tempi differenti, dando origine ad azioni collettive come nel caso degli Indignados, di Occupy Wall Street o di Rai per una notte. Emerge un (ri)pensare la citizenship secondo due paradigmi (Bennett,2008): l’uno orientato al governo attraverso i partiti, modello “Dutiful Citizenship”; l’altro, modello “Self Actualizing Citizenship” per cui i pubblici attivi seguono news ed eventi, percepiscono un minor obbligo nel governo, il voto è meno significativo per (s)fiducia nei media e nei politici. Mercato e società civile si muovono per il bene comune e una nuova “felicità”. La partecipazione si costituisce in consumerismo politico all’interno di reti in cui si sviluppano azioni individuali attraverso il social networking e scelte di consumo responsabile. Partendo dall’etnografia digitale, si è definito il modello “4 C”: Conoscenza > Coadesione > Co-partecipazione > Corresposabilità (azioni collettive) > Cultura-bility.

BioTuCSoN: biochemical extension of TuCSoN to support self-organising coordination

Starting from pervasive computing paradigm, we want to face the new system's requirements, concerning, mainly, self-organisation, situatedness and adaptivity, through the definition and execution of nature-inspired patterns. They are extracted by the study of dynamics in biological systems and we consider for their implementation the biochemical tuple spaces model. In particular, the aim of the thesis is to design and realize a first biochemical extension of TuCSoN (technology based on tuple spaces model) and, then, to verify its capabilities by means of a proper case study, that deals with local self-organisation and competition of services in an open and highly-dynamic environment.

Framework mobile per lo sviluppo di sistemi coordinati

Il campo della coordinazione può beneficiare di nuovi strumenti e tecnologie per il proprio sviluppo o per rendere accessibili le sue funzionalità ad un pubblico più vasto. Il progetto TuCSoN, in particolare, include lo strumento Inspector tramite il quale è possibile monitorare ed interagire con l'intero spazio di coordinazione. Al fine di rendere disponibili queste funzionalità anche al mondo mobile è necessario eseguire il porting dell'applicazione. In questa tesi, perciò, verranno prima di tutto analizzate le caratteristiche principali dei modelli di coordinazione e, in particolare, del modello TuCSoN. In seguito eseguiremo un'introduzione sulla tecnologia Android, che ci fornirà gli strumenti necessari per la creazione di un framework mobile equivalente all'Inspector. Infine verranno affrontate le problematiche principali per eseguire con successo il porting, come ad esempio la necessità di ridefinire l'intera interfaccia grafica o l'utilizzo di nuovi componenti quali i service e le activity. Questa operazione, quindi, dimostrerà l'esigenza di adattare l'Inspector ai meccanismi appartenenti al nuovo ambiente di esecuzione.