Diversification in the use of resources by Idarnes species: bypassing functional constraints in the fig-fig wasp interaction

Mutualisms such as the figfig wasp mutualism are generally exploited by parasites. We demonstrate that amongst nonpollinating fig wasps (NPFWs) parasitic on Ficus citrifolia, a species of Idarnes galls flowers and another species feeds on galls induced by other wasps killing their larvae. The galling wasp inserts its ovipositor through the fig wall into the fig cavity. The ovipositor then follows a sinuous path and is introduced through the stigma and style of the flower. The egg is deposited between the integument and nucellus, in the exact location where the pollinating mutualistic wasp would have laid its egg. Gall induction is a complex process. In contrast, the path followed by the ovipositor of the other species is straightforward: attacking a larva within a developed gall poses different constraints. Shifts in feeding regime have occurred repeatedly in NPFWs. Monitoring traits associated with such repeated evolutionary shifts may help understand underlying functional constraints. (c) 2012 The Linnean Society of London, Biological Journal of the Linnean Society, 2012, 106, 114122.

Structure of the N=50 As, Ge, Ga nuclei

The level structures of the N = 50 As-83, Ge-82, and Ga-81 isotones have been investigated by means of multi-nucleon transfer reactions. A first experiment was performed with the CLARA PRISMA setup to identify these nuclei. A second experiment was carried out with the GASP array in order to deduce the gamma-ray coincidence information. The results obtained on the high-spin states of such nuclei are used to test the stability of the N = 50 shell closure in the region of Ni-78 (Z = 28). The comparison of the experimental level schemes with the shell-model calculations yields an N = 50 energy gap value of 4.7(3) MeV at Z = 28. This value, in a good agreement with the prediction of the finite-range liquid-drop model as well as with the recent large-scale shell model calculations, does not support a weakening of the N = 50 shell gap down to Z = 28. (c) 2012 Elsevier B.V. All rights reserved.

Mutualism from the inside: coordinated development of plant and insect in an active pollinating fig wasp

Recent studies on the obligate interaction between fig trees and their pollinating agaonid wasps have focused on population aspects and wasp-seed exploitation at the level of the inflorescence. Detailed studies on larval and gall development are required to more fully understand how resources are exploited and adaptations fine-tuned by each partner in nursery pollination mutualisms. We studied the larval development of the active pollinating fig wasp, Pegoscapus sp., and the galling process of individual flowers within the figs of its monoecious host, Ficus citrifolia, in Brazil. The pollinator development is strongly dependent on flower pollination. Figs entered by pollen-free wasps were in general more likely to abort. Retained, unpollinated figs had both higher larval mortality and a lower number of wasps. Pegoscapus sp. larvae are adapted to plant development, with two contrasting larval feeding strategies proceeding alongside gall development. The first two larval stages behave as ovary parasites. Later larval stages feed on hypertrophied endosperm. This indicates that a successful galling process relies on endosperm, and also reveals why pollination would be a prerequisite for the production of high-quality galls for this Pegoscapus species.

Risposte di resistenza a batteri fitopatogeni di importanti specie coltivate indotte da molecole segnale di diversa natura

A modern management of crop protection should be based on integrated control programmes, including the use of environmentally safe products. Antagonistic/beneficial bacteria and resistance inducers may have a great potential in the prophylaxis of diseases caused by common and quarantine pathogens. This work was carried out to confirm the ability of the known strain IPV-BO G19 (Pseudomonas fluorescens) against fire blight (Erwinia amylovora), as well as to evaluate their efficacy against southern bacterial wilt of tomato (Ralstonia solanacearum) and grapevine crown gall (Agrobacterium vitis). A virulent strain of R. solanacearum race 3 was inhibited by the antagonist on plate. When the pathogen was inoculated 48 h after their application to the root apparatus of tomato plants grown in a climatic chamber, bacterial wilt progression rate was clearly reduced. Moreover the defence response evoked by IPV-BO G19 was studied in tomato plants by monitoring the transcription of genes codifying for three PRs as PR-1a, PR-4, PR-5 and for an intracellular chitinase using multiplex RT-PCR and Real Time RT-PCR. In two field trials during 2005 and 2006, the strain IPV-BO G19 was compared with biofungicides and some abiotic elicitors to protect actively growing shoots of pear scions against fire blight. In both trials, IPV-BO G19 plus Na-alginate gave a high level of protection, three weeks after wound inoculation with E. amylovora. In pear leaf tissues treated with the antagonistic strain IPV-BO G19, catalase, superoxyde dismutase and peroxidise activity was evaluated as markers of induced resistance. The IPV-BO G19 strain was compared with other bioagents and resistance inducers to prevent grapevine crown gall under glasshouse and vineyard conditions.

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.

Studies on biotic and abiotic elicitors inducing defense responses in tomato

Tomato (Lycopersicon esculentum Mill., Solanum lycopersicon L.) is one of the most popular vegetable throughout the world, and the importance of its cultivation is threatened by a wide array of pathogens. In the last twenty years this plant has been successfully used as a model plant to investigate the induction of defense pathways after exposure to fungal, bacterial and abiotic molecules, showing triggering of different mechanisms of resistance. Understanding these mechanisms in order to improve crop protection is a main goal for Plant Pathology. The aim of this study was to search for general or race-specific molecules able to determine in Solanum lycopersicon immune responses attributable to the main systems of plant defense: non-host, host-specific and induced resistance. Exopolysaccharides extracted by three fungal species (Aureobasidium pullulans, Cryphonectria parasitica and Epicoccum purpurascens), were able to induce transcription of pathogenesis-related (PR) proteins and accumulation of enzymes related to defense in tomato plants cv Money Maker,using the chemical inducer Bion® as a positive control. During the thesis, several Pseudomonas spp. strains were also isolated and tested for their antimicrobial activity and ability to produce antibiotics. Using as a positive control jasmonic acid, one of the selected strain was shown to induce a form of systemic resistance in tomato. Transcription of PRs and reduction of disease severity against the leaf pathogen Pseduomonas syringae pv. tomato was determined in tomato plants cv Money Maker and cv Perfect Peel, ensuring no direct contact between the selected rhizobacteria and the aerial part of the plant. To conclude this work, race-specific resistance of tomato against the leaf mold Cladosporium fulvum is also deepened, describing the project followed at the Phytopathology Laboratory of Wageningen (NL) in 2007, dealing with localization of a specific R-Avr interaction in transfected tomato protoplast cultures through fluorescence microscopy.

Untersuchungen zum Mechanismus der Reblausresistenz der Unterlagsrebsorte `Börner´

Der Resistenzmechanismus der Unterlagsrebsorte `Börner´ Vitis riparia x V. cinerea gegenüber dem Reblausangriff Daktulosphaira vitifoliae (Fitch) wurde histologisch, cytologisch, histochemisch und biochemisch untersucht. Je nach dem Ausmaß der Differenzierung der betroffenen Wurzelgewebe gibt es zwei verschiedene Nekrosetypen. Die Blätter reagieren auf den Reblaus-Einstich, abhängig vom Blattalter bzw. vom Differenzierungsgrad der betroffenen Gewebe, nicht nur mit zwei verschiedenen Nekrosebildungen, sondern auch mit unvollständigen Gallbildungen. Die erhobenen cytologischen, ultrastrukturellen und histochemischen Daten zeigen, dass es sich hierbei um eine Hypersensitivitäts-Reaktion bzw. um Apoptose (PCD) handelt.Nekrosen und Gallen konnten experimentell nicht mechanisch sondern nur chemisch induziert werden. IES spielt eine wichtige Rolle bei den Abwehrreaktion der Unterlagsrebsorte `Börner´ gegen Reblausangriffe.Die vorliegenden Ergebnisse zeigen, daß die Unterlagsrebsorte `Börner` auf den Reblausangriff mit verschiedenen bzw. abgestuften Abwehrreaktionen sowohl der Wurzeln als auch der Blätter reagiert. Das deutet darauf hin, daß die Abwehrreaktionen der Unterlagsrebsorte `Börner´ von mehr als einem Gen abhängen bzw. reguliert werden. Es bleibt weiteren Forschungen vorbehalten, diese Gene und Signale zu identifizieren, um dieses Wissen gezielt in der Züchtung einsetzen zu können.

Analisi congiunturale e strutturale delle economie regionali: un approccio "fuzzy" alla specializzazione produttiva

Nel 2009 l'Italia attraversa la più grande crisi economica del secondo dopoguerra. Lo studio di ciò che accade, attraverso uno sguardo attento alle principali variabili congiunturali prodotte nel paese, è fondamentale per capire quali sono state le cause che hanno portato a questa situazione e per dare la possibilità  ai policy maker di limitarne gli effetti in futuro. Ma l'Italia non è un territorio dalle caratteristiche monolitiche, è un aggregato di parti molto diverse fra loro. Analizzando il territorio italiano come insieme delle sue parti, osserveremo le medesime condizioni economiche ripetersi in ogni territorio del paese? L'esperienza ci suggerisce di no. La tesi vuole evidenziare come e quanto la struttura caratteristica del tessuto produttivo regionale è responsabile anche della performance economica. La tesi è quindi caratterizzata da due parti. Da un lato si è cercato di analizzare quali siano le differenze nei cicli economici regionali, dall'altro, attraverso l'utilizzo di un sistema di valutazione "fuzzy", si è cercato di ricostruire la natura strutturale delle regioni, al fine di determinare quali siano le specializzazioni che ogni territorio è in grado di mettere in campo. La tesi si conclude con un'analisi comparativa degli indici di dissimilarità  tra cicli regionali e nazionale e i livelli sintetici di specializzazione, si è verificato che esiste una relazione forte che lega le caratteristiche strutturali delle regioni alle distanze tra i loro cicli, dimostrando quindi la tesi che struttura regionale e performance economica siano strettamente interconnesse.

Formale Struktur, Narrativitaet und Wahrnehmung des Zuschauers

Die vorliegende Arbeit untersucht, wie sich Greenaways Filme selbstreflexiv zur Problematik des filmischen Mediums stellen, d.h. wie der Illusions- und Artefaktcharakter des Films im Film selbst thematisiert wird. Die Untersuchung der Selbstreflexion wird konkret unter drei Untersuchungsaspekten erfolgt, nämlich die systematisch und künstlich organisierte formale Struktur, die Narrativität und die Wahrnehmungsweise des Zuschauers. Greenaways Filme veranschaulichen auf der formalen Ebene:· daß die Filmbilder diskontinuierlich und uneinheitlich sind, · wie einzelnen visuellen, akustischen und technischen Zeichen systematisch und künstlich organisiert sind und schließlich· wie die diskontinuierlichen und uneinheitlichen Filmbilder durch die systematische und künstliche Organisation der Zeichen kontinuierlich und einheitlich wirken. Seine Filme thematisieren auch auf der allegorischen, symbolischen und metaphorischen Ebene das Verhältnis zwischen der formalen Struktur, der Geschichte und der interaktiven Wahrnehmungsweise des Zuschauers, und die Beziehung zwischen dem Zuschauer, dem Film, dem Filmemacher. Die männliche Hauptfigur metaphorisiert den Zuschauer. Die Frauenfiguren allegorisieren die zwei Seiten des Films, die Form und den Inhalt des Films. Die sexuelle Beziehung zwischen der männlichen Hauptfigur und den Frauen umfaßt auf der metaphorischen Ebene die Interaktivität des Zuschauers mit dem Film.

Display Caotico. Mutazioni nell'arte del mostrare dagli anni Sessanta ad oggi

La mostra è diventata un nuovo paradigma della cultura contemporanea. Sostenuta da proprie regole e da una grammatica complessa produce storie e narrazioni. La presente ricerca di dottorato si struttura come un ragionamento critico sulle strategie del display contemporaneo, tentando di dimostrare, con strumenti investigativi eterogenei, assumendo fonti eclettiche e molteplici approcci disciplinari - dall'arte contemporanea, alla critica d'arte, la museologia, la sociologia, l'architettura e gli studi curatoriali - come il display sia un modello discorsivo di produzione culturale con cui il curatore si esprime. La storia delle esposizioni del XX secolo è piena di tentativi di cambiamento del rapporto tra lo sviluppo di pratiche artistiche e la sperimentazione di un nuovo concetto di mostra. Nei tardi anni Sessanta l’ingresso, nella scena dell’arte, dell’area del concettuale, demolisce, con un azzeramento radicale, tutte le convenzioni della rappresentazione artistica del dopoguerra, ‘teatralizzando’ il medium della mostra come strumento di potere e introducendo un nuovo “stile di presentazione” dei lavori, un display ‘dematerializzato” che rovescia le classiche relazioni tra opera, artista, spazio e istituzione, tra un curatore che sparisce (Siegelaub) e un curatore super-artista (Szeemann), nel superamento del concetto tradizionale di mostra stessa, in cui il lavoro del curatore, in quanto autore creativo, assumeva una propria autonomia strutturale all’interno del sistema dell’arte. Lo studio delle radici di questo cambiamento, ossia l’emergere di due tipi di autorialità: il curatore indipendente e l’artista che produce installazioni, tra il 1968 e il 1972 (le mostre di Siegelaub e Szeemann, la mimesi delle pratiche artistiche e curatoriali di Broodthaers e la tensione tra i due ruoli generata dalla Critica Istituzionale) permette di inquadrare teoricamente il fenomeno. Uno degli obbiettivi della ricerca è stato anche affrontare la letteratura critica attraverso una revisione/costruzione storiografica sul display e la storia delle teorie e pratiche curatoriali - formalizzata in modo non sistematico all'inizio degli anni Novanta, a partire da una rilettura retrospettiva della esperienze delle neoavanguardie – assumendo materiali e metodologie provenienti, come già dichiarato, da ambiti differenti, come richiedeva la composizione sfaccettata e non fissata dell’oggetto di studio, con un atteggiamento che si può definire comparato e post-disciplinare. Il primo capitolo affronta gli anni Sessanta, con la successione sistematica dei primi episodi sperimentali attraverso tre direzioni: l’emergere e l’affermarsi del curatore come autore, la proliferazione di mostre alternative che sovvertivano il formato tradizionale e le innovazioni prodotte dagli artisti organizzatori di mostre della Critica Istituzionale. Esponendo la smaterializzazione concettuale, Seth Siegelaub, gallerista, critico e impresario del concettuale, ha realizzato una serie di mostre innovative; Harald Szeemann crea la posizione indipendente di exhibition maker a partire When attitudes become forms fino al display anarchico di Documenta V; gli artisti organizzatori di mostre della Critica Istituzionale, soprattutto Marcel Broodhthears col suo Musée d’Art Moderne, Départment des Aigles, analizzano la struttura della logica espositiva come opera d’arte. Nel secondo capitolo l’indagine si sposta verso la scena attivista e alternativa americana degli anni Ottanta: Martha Rosler, le pratiche community-based di Group Material, Border Art Workshop/Taller de Arte Fronterizo, Guerrilla Girls, ACT UP, Art Workers' Coalition che, con proposte diverse elaborano un nuovo modello educativo e/o partecipativo di mostra, che diventa anche terreno del confronto sociale. La mostra era uno svincolo cruciale tra l’arte e le opere rese accessibili al pubblico, in particolare le narrazioni, le idee, le storie attivate, attraverso un originale ragionamento sulle implicazioni sociali del ruolo del curatore che suggeriva punti di vista alternativi usando un forum istituzionale. Ogni modalità di display stabiliva relazioni nuove tra artisti, istituzioni e audience generando abitudini e rituali diversi per guardare la mostra. Il potere assegnato all’esposizione, creava contesti e situazioni da agire, che rovesciavano i metodi e i formati culturali tradizionali. Per Group Material, così come nelle reading-room di Martha Rosler, la mostra temporanea era un medium con cui si ‘postulavano’ le strutture di rappresentazione e i modelli sociali attraverso cui, regole, situazioni e luoghi erano spesso sovvertiti. Si propongono come artisti che stanno ridefinendo il ruolo della curatela (significativamente scartano la parola ‘curatori’ e si propongono come ‘organizzatori’). La situazione cambia nel 1989 con la caduta del muro di Berlino. Oltre agli sconvolgimenti geopolitici, la fine della guerra fredda e dell’ideologia, l’apertura ai flussi e gli scambi conseguenti al crollo delle frontiere, i profondi e drammatici cambiamenti politici che coinvolgono l’Europa, corrispondono al parallelo mutamento degli scenari culturali e delle pratiche espositive. Nel terzo capitolo si parte dall’analisi del rapporto tra esposizioni e Late Capitalist Museum - secondo la definizione di Rosalind Krauss - con due mostre cruciali: Le Magiciens de la Terre, alle origini del dibattito postcoloniale e attraverso il soggetto ineffabile di un’esposizione: Les Immatériaux, entrambe al Pompidou. Proseguendo nell’analisi dell’ampio corpus di saggi, articoli, approfondimenti dedicati alle grandi manifestazioni internazionali, e allo studio dell’espansione globale delle Biennali, avviene un cambiamento cruciale a partire da Documenta X del 1997: l’inclusione di lavori di natura interdisciplinare e la persistente integrazione di elementi discorsivi (100 days/100 guests). Nella maggior parte degli interventi in materia di esposizioni su scala globale oggi, quello che viene implicitamente o esplicitamente messo in discussione è il limite del concetto e della forma tradizionale di mostra. La sfida delle pratiche contemporanee è non essere più conformi alle tre unità classiche della modernità: unità di tempo, di spazio e di narrazione. L’episodio più emblematico viene quindi indagato nel terzo capitolo: la Documenta X di Catherine David, il cui merito maggiore è stato quello di dichiarare la mostra come format ormai insufficiente a rappresentare le nuove istanze contemporanee. Le quali avrebbero richiesto - altrimenti - una pluralità di modelli, di spazi e di tempi eterogenei per poter divenire un dispositivo culturale all’altezza dei tempi. La David decostruisce lo spazio museale come luogo esclusivo dell’estetico: dalla mostra laboratorio alla mostra come archivio, l’evento si svolge nel museo ma anche nella città, con sottili interventi di dissimulazione urbana, nel catalogo e nella piattaforma dei 100 giorni di dibattito. Il quarto capitolo affronta l’ultima declinazione di questa sperimentazione espositiva: il fenomeno della proliferazione delle Biennali nei processi di globalizzazione culturale. Dalla prima mostra postcoloniale, la Documenta 11 di Okwui Enwezor e il modello delle Platforms trans-disciplinari, al dissolvimento dei ruoli in uno scenario post-szeemanniano con gli esperimenti curatoriali su larga scala di Sogni e conflitti, alla 50° Biennale di Venezia. Sono analizzati diversi modelli espositivi (la mostra-arcipelago di Edouard Glissant; il display in crescita di Zone of Urgency come estetizzazione del disordine metropolitano; il format relazionale e performativo di Utopia Station; il modello del bric à brac; la “Scuola” di Manifesta 6). Alcune Biennali sono state sorprendentemente autoriflessive e hanno consentito un coinvolgimento più analitico con questa particolare forma espressiva. Qual è l'impatto sulla storia e il dibattito dei sistemi espositivi? Conclusioni: Cos’è la mostra oggi? Uno spazio sotto controllo, uno spazio del conflitto e del dissenso, un modello educativo e/o partecipativo? Una piattaforma, un dispositivo, un archivio? Uno spazio di negoziazione col mercato o uno spazio di riflessione e trasformazione? L’arte del display: ipotesi critiche, prospettive e sviluppi recenti.

Analysis and developments of uncertainty processors for real time flood forecasting

The hydrologic risk (and the hydro-geologic one, closely related to it) is, and has always been, a very relevant issue, due to the severe consequences that may be provoked by a flooding or by waters in general in terms of human and economic losses. Floods are natural phenomena, often catastrophic, and cannot be avoided, but their damages can be reduced if they are predicted sufficiently in advance. For this reason, the flood forecasting plays an essential role in the hydro-geological and hydrological risk prevention. Thanks to the development of sophisticated meteorological, hydrologic and hydraulic models, in recent decades the flood forecasting has made a significant progress, nonetheless, models are imperfect, which means that we are still left with a residual uncertainty on what will actually happen. In this thesis, this type of uncertainty is what will be discussed and analyzed. In operational problems, it is possible to affirm that the ultimate aim of forecasting systems is not to reproduce the river behavior, but this is only a means through which reducing the uncertainty associated to what will happen as a consequence of a precipitation event. In other words, the main objective is to assess whether or not preventive interventions should be adopted and which operational strategy may represent the best option. The main problem for a decision maker is to interpret model results and translate them into an effective intervention strategy. To make this possible, it is necessary to clearly define what is meant by uncertainty, since in the literature confusion is often made on this issue. Therefore, the first objective of this thesis is to clarify this concept, starting with a key question: should be the choice of the intervention strategy to adopt based on the evaluation of the model prediction based on its ability to represent the reality or on the evaluation of what actually will happen on the basis of the information given by the model forecast? Once the previous idea is made unambiguous, the other main concern of this work is to develope a tool that can provide an effective decision support, making possible doing objective and realistic risk evaluations. In particular, such tool should be able to provide an uncertainty assessment as accurate as possible. This means primarily three things: it must be able to correctly combine all the available deterministic forecasts, it must assess the probability distribution of the predicted quantity and it must quantify the flooding probability. Furthermore, given that the time to implement prevention strategies is often limited, the flooding probability will have to be linked to the time of occurrence. For this reason, it is necessary to quantify the flooding probability within a horizon time related to that required to implement the intervention strategy and it is also necessary to assess the probability of the flooding time.

Libertà di manifestazione del pensiero e tecniche argomentative delle Corti costituzionali

La ricerca consta di quattro capitoli: nella prima parte si analizzano, in prospettiva empirica, i canoni argomentativi utilizzati dalla Corte costituzionale italiana. Tali canoni possono essere generalmente distinti in due grandi famiglie: giuridico-interpretativi per un verso, e ed empirico fattuali per un altro. In un secondo capitolo si è visto come la Corte costituzionale italiana ha frutto uso di questi canoni nella sua giurisprudenza italiana in tema di diritto soggettivo di libertà di espressione e di mezzi di comunicazione del pensiero. Nel primo caso la Corte costituzionale ha fatto ricorso a canoni interpretativi testuali, mentre nel secondo ad argomentazioni empiriche spesso accompagnate da un giudizio di proporzionalità sull'intervento legislativo. Nella terza parte del lavoro si è invece descritta la giurisprudenza della Corte Suprema americana: è stata analizzata l'evoluzione delle tecniche argomentativi in tema di libertà di espressione: partendo dall'ad hoc balancing e dal definitional balancing si è giunti alla descrizione dei diversi livelli di scrutinio e alla progressiva concettualizzazione delle categorie espressive. Infine nel quarto capitolo si sono messe a confronto le due giurisprudenze: si è potuto così notare che la progressiva categorizzazione del diritto di libertà negli Stati Uniti ha dato esiti maggiormente garantisti, mentre più liberisti in relazione alle concrete dinamiche di formazione del discorso pubblico. Viceversa, in Italia i canoni testuali hanno originato una giurisprudenza più restrittiva quanto al diritto soggettivo e più egualitaria quanto al sistema della libertà di espressione. In ogni caso, entrambe le esperienze evidenziano il ruolo di policy-maker delle Corti costituzionali nei moderni ordinamenti liberal-democratici.

New associations between native parasitoids and exotic insects introduced in Italy and in Europe

The introduction of exotic species is one of the most important threats to biodiversity.This phenomenon may cause economic and environmental damage. To prevent these invasions there are institutions like EPPO. Nevertheless, the introduction of exotic pests is an increasing issue, difficult to control. Classic biological control, based on importation of natural enemies from the country of origin, has been successfully used for over 120 years, but it has also raised some criticism. My research work has focused on the study of the new associations occurring between indigenous parasitoids and three exotic pests introduced in Italy and Europe. The three target insects considered were: Cacyreus marshalli Butler (Lepidoptera: Lycaenidae), a pest of Geranium plants; Dryocosmus kuriphilus Yasumatsu (Hymenoptera: Cynipidae), a plague of Castanea sp. and Harmonia axyridis (Pallas) (Coleoptera: Coccinellidae). This ladybug has been introduced as a biological control agent, but since some years it considered as an invasive species. For C. marshalli I performed laboratory tests on acceptance and suitability of immature stages of this butterfly by Exorista larvarum (Diptera: Tachinidae) and Brachymeria tibialis (Hymenoptera: Chalcidicae). The experiments showed that these two parasitoids could be used to contain this pest. For D. kuriphilus I performed field samplings in an infested chestnut area, the samples were maintained in rearing chamber until gall wasp or parasitoids emergence. In the 3-year research many parasitoids of gall wasps were found; one of these, Torymus flavipes (Walker), was found in large number. For H. axyridis the research work included a first phase of field sampling, during which I searched indigenous parasitoids which had adapted to this new host; the only species found was Dinocampus coccinellae (Schrank) (Hymenoptera: Braconidae). Laboratory tests were performed on the wasp rearing, biology and capacity to contain H. axyridis.

The Structure of Financial Supervision: Consolidation or Fragmentation for Financial Regulators?

This research was designed to answer the question of which direction the restructuring of financial regulators should take – consolidation or fragmentation. This research began by examining the need for financial regulation and its related costs. It then continued to describe what types of regulatory structures exist in the world; surveying the regulatory structures in 15 jurisdictions, comparing them and discussing their strengths and weaknesses. This research analyzed the possible regulatory structures using three methodological tools: Game-Theory, Institutional-Design, and Network-Effects. The incentives for regulatory action were examined in Chapter Four using game theory concepts. This chapter predicted how two regulators with overlapping supervisory mandates will behave in two different states of the world (where they can stand to benefit from regulating and where they stand to lose). The insights derived from the games described in this chapter were then used to analyze the different supervisory models that exist in the world. The problem of information-flow was discussed in Chapter Five using tools from institutional design. The idea is based on the need for the right kind of information to reach the hands of the decision maker in the shortest time possible in order to predict, mitigate or stop a financial crisis from occurring. Network effects and congestion in the context of financial regulation were discussed in Chapter Six which applied the literature referring to network effects in general in an attempt to conclude whether consolidating financial regulatory standards on a global level might also yield other positive network effects. Returning to the main research question, this research concluded that in general the fragmented model should be preferable to the consolidated model in most cases as it allows for greater diversity and information-flow. However, in cases in which close cooperation between two authorities is essential, the consolidated model should be used.

Verso il consumo sostenibile: i prodotti biologici nelle abitudini alimentari degli italiani

Scegliere di consumare in modo sostenibile significa passare ad un nuovo modello di consumo. Tale modello richiede una maggiore consapevolezza e responsabilità da parte dei consumatori, unite all'adozione di nuovi stili di vita e di scelte d’acquisto, che permettano il raggiungimento di elevati livelli di benessere nel rispetto dell'ambiente. Un notevole sforzo è stato compiuto recentemente dai policy maker per incoraggiare il consumo sostenibile quali implementazioni dello sviluppo sostenibile. Ancora lunga, tuttavia, è la strada da percorrere per raggiungere pienamente questo obiettivo. Tra i prodotti sostenibili, il biologico si è rivelato di gran lunga il più rappresentativo: le statistiche di questo mercato mostrano, infatti, tendenze positive, sebbene il consumo risulti ancora eterogeneo e contenuto rispetto al consumo di alimenti convenzionali. Ciò mostra che il comportamento dei consumatori non è ancora abbastanza reattivo alle suddette politiche. Il presente studio si propone di contribuire alla ricerca sul consumo sostenibile approfondendo i fattori che incoraggiano o impediscono il consumo di prodotti alimentari biologici in Italia. Adottando un nuovo approccio si cerca di capire come i diversi segmenti di diete alimentari affrontino gli alimenti biologici in termini di consumi e di atteggiamenti. Un'analisi multivariata a più fasi è stata condotta su un campione di 3.004 consumatori. Un’analisi delle componenti principali non lineare è stata applicata alle variabili ordinali che misurano il consumo di ventuno categorie di alimenti. Successivamente è stata applicata la cluster analysis che ha dato luogo a quattro segmenti di abitudini alimentari. I prodotti biologici sono diventati parte delle abitudini alimentari in Italia in quasi un terzo della popolazione. Il consumo sembra essersi affermato soprattutto nel segmento con abitudini alimentari sane. Una scarsa attenzione ad una dieta sana, gli stili di vita, il reddito, l'accessibilità, la mancanza di consapevolezza condizionano le abitudini alimentari a scapito di un consumo più sostenibile.