884 resultados para Mural painting and decoration, Italian


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The chicken is the most extensively studied species in birds and thus constitutes an ideal reference for comparative genomics in birds. Comparative cytogenetic studies indicate that the chicken has retained many chromosome characters of the ancestral avia

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5S ribosomal DNA (rDNA) was isolated and sequenced from the gibel carp Carassius auratus gibelio with 162 chromosomes and crucian carp Carassius auratus with 100 chromosomes, and fluorescent probes for chromosome localization were prepared to ascertain the ploidy origin and evolutionary relationship between the two species. Using fluorescence in-situ hybridization (FISH), major 5S rDNA signals were localized to the short arms of three subtelocentric chromosomes in the gibel carp and to the short arms of two subtelocentrics in the crucian carp. In addition, some minor signals were detected on other chromosomes of both species. Simultaneously, six chromosomes were microdissected from the gibel carp metaphase spreads using glass needles, and the isolated chromosomes were amplified in vitro by degenerate oligonucleotide primed-polymerase chain reaction (DOP-PCR). Significantly, when the DOP-PCR-generated probes prepared from each single chromosome were hybridized, three same-sized chromosomes were painted in each gibel carp metaphase, whereas only two painted chromosomes were observed in each crucian carp metaphase spread. The data indicate that gibel carp is of triploid origin in comparison with diploid crucian carp.

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The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of three-dimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art.

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The transition from a positivist matrix to an idealistic one in Argentinean academic philosophy can be read as a result of a gradual and problematic pollution. It was, also, heavily traversed by considerations that exceeded the theoretical aspects. Based on the willingness to explore this transit, the article pays attention to one of the episodes of this contamination: how the Revista de Filosofía reads Croce and Gentile’s philosophy. Observing there some possibility of dialogue between positivist assumptions, with which the journal takes a position, and the idealism the article analyze how this dialogue and its limits were given from a political consideration. If the idealism was condemned, it is centrally owed to its performance during the first years of the government of Mussolini. If, meanwhile, it was some to rescue of that philosophy, it was that it contributed to think the revolutionary change.

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Pío Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.