Mediação cultural em museus e exposições de história: conversas sobre imagens/história e suas interpretações

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Percepción de estudiantes de odontología sobre educación a distancia

Introduction: distance education is defined as a learning mode in which pedagogical and didactic mediation in teaching and learning processes is characterized by the use of information and communication means and technology by both teachers and students, and the development of educational activities at different settings and technologyand. Objective: evaluate the knowledge obtained by students from the last year of Odontology about distance education and their opinions about the subject. Methods: across-sectional descriptive exploratory study was conducted. Of the total 140 university students, 120 participated in the study. A self-applied questionnaire was developed with questions related to the student, the use of the Internet and distance education. The professional updating alternatives included were graduate courses and subscription to newspapers. Results: 29.2 % of the students use the Internet on a daily basis; only one student stated that he did not use the Internet. Of the students interviewed, 63.34 % did not know any form of distance education. As a consequence, 97.5 % had never taken part in a distance education course and 62.5 % stated that they did not know whether they would. Conclusions: results show that odontology students are prejudiced against nontraditional learning modes, though they use the Internet on a regular basis. Despite the existence of legislation regulating distance education, students are still concerned about its quality and legality.

Necessidades atuais para a educação ambiental: serão possibilidades?

This study had two objectives: to build theoretically the hypothetical landmarks of the environmental crisis and to conjecture new horizons or utopias which can fulfill themselves in the future in search of another being of the man in the world. Therefore, a bibliographic research has been done and, as methodology of analysis, a dialectic critical method has been used to understand the reality in its contradictions and in the totality of the history, through some suggestions, going toward the domain of the state of things which we can verify in the world nowadays. It has been observed that the hypothetical landmarks of the environmental crisis had and have its origins in the Jewish-Christian monotheism, in the exacerbation of the reason as the only way of knowledge and in the process of capitalist accumulation. Therefore, these landmarks, in almost their totality, have historically been built even before the advent of the capitalism. From this point, three suggestions were launched as questions, or so, possibilities, to open a discussion about the construction of another paradigm: Is it necessary another sense of religion? Is it necessary another sense of reason? Is it necessary another sense of sustainable development? Thus, these questions which have been launched, were thought as the current necessities for the environmental education and they implicate in another historical condition to the mankind.

América latina: as coisas para além delas mesmas

If Plato compared the artist's work a reflection of the things, the contemporary art transcends the projection of things beyond themselves by creating unusual pictures, requiring the reader a posture of meanings' digger to establish the signification. Our object is the mestizo, hybrid and heterogeneous Latin America presented by sensitive eyes of art. We chose the route of ambiguous and poetic language of art, selected three works of Brazilian artist Regina Silveira since the last two decades has sought to un/construction of the image from the shadow, reflection, anamorphic projections, which offers unusual images, poetic visual paradoxes. Art as a mirror labyrinth where the reader/viewer as a wanderer without contemporary "gps" to select territories where will step from a map that he will have to build.

Surasky Family Papers - Accession 250 - M115 (147)

The Surasky Family Papers consists of correspondence, newspaper clippings, reminiscences, poetry, and other papers mostly photocopies. Of particular interest are a reminiscence by Esther Pinck entitled “Remembrance of Things Past”, concerned with the Jewish experience in Aiken, SC; papers related to Mina Tropp, a painter who developed a unique medium of painting with flora and who is also published poet; and letters of Judge Justine Wise Polier, well known Juvenile Court judge in New York. Collection is almost all photocopies.

Mapping virtual networks onto substrate networks

Network virtualization is a promising technique for building the Internet of the future since it enables the low cost introduction of new features into network elements. An open issue in such virtualization is how to effect an efficient mapping of virtual network elements onto those of the existing physical network, also called the substrate network. Mapping is an NP-hard problem and existing solutions ignore various real network characteristics in order to solve the problem in a reasonable time frame. This paper introduces new algorithms to solve this problem based on 0–1 integer linear programming, algorithms based on a whole new set of network parameters not taken into account by previous proposals. Approximative algorithms proposed here allow the mapping of virtual networks on large network substrates. Simulation experiments give evidence of the efficiency of the proposed algorithms.

L'a(rche)tipico Brian O'Nolan. Comico e riso dalla tradizione al post-

This study aims at analysing Brian O'Nolans literary production in the light of a reconsideration of the role played by his two most famous pseudonyms ,Flann Brien and Myles na Gopaleen, behind which he was active both as a novelist and as a journalist. We tried to establish a new kind of relationship between them and their empirical author following recent cultural and scientific surveys in the field of Humour Studies, Psychology, and Sociology: taking as a starting point the appreciation of the comic attitude in nature and in cultural history, we progressed through a short history of laughter and derision, followed by an overview on humour theories. After having established such a frame, we considered an integration of scientific studies in the field of laughter and humour as a base for our study scheme, in order to come to a definition of the comic author as a recognised, powerful and authoritative social figure who acts as a critic of conventions. The history of laughter and comic we briefly summarized, based on the one related by the French scholar Georges Minois in his work (Minois 2004), has been taken into account in the view that humorous attitude is one of man’s characteristic traits always present and witnessed throughout the ages, though subject in most cases to repression by cultural and political conservative power. This sort of Super-Ego notwithstanding, or perhaps because of that, comic impulse proved irreducible exactly in its influence on the current cultural debates. Basing mainly on Robert R. Provine’s (Provine 2001), Fabio Ceccarelli’s (Ceccarelli 1988), Arthur Koestler’s (Koestler 1975) and Peter L. Berger’s (Berger 1995) scientific essays on the actual occurrence of laughter and smile in complex social situations, we underlined the many evidences for how the use of comic, humour and wit (in a Freudian sense) could be best comprehended if seen as a common mind process designed for the improvement of knowledge, in which we traced a strict relation with the play-element the Dutch historian Huizinga highlighted in his famous essay, Homo Ludens (Huizinga 1955). We considered comic and humour/wit as different sides of the same coin, and showed how the demonstrations scientists provided on this particular subject are not conclusive, given that the mental processes could not still be irrefutably shown to be separated as regards graduations in comic expression and reception: in fact, different outputs in expressions might lead back to one and the same production process, following the general ‘Economy Rule’ of evolution; man is the only animal who lies, meaning with this that one feeling is not necessarily biuniquely associated with one and the same outward display, so human expressions are not validation proofs for feelings. Considering societies, we found that in nature they are all organized in more or less the same way, that is, in élites who govern over a community who, in turn, recognizes them as legitimate delegates for that task; we inferred from this the epistemological possibility for the existence of an added ruling figure alongside those political and religious: this figure being the comic, who is the person in charge of expressing true feelings towards given subjects of contention. Any community owns one, and his very peculiar status is validated by the fact that his place is within the community, living in it and speaking to it, but at the same time is outside it in the sense that his action focuses mainly on shedding light on ideas and objects placed out-side the boundaries of social convention: taboos, fears, sacred objects and finally culture are the favourite targets of the comic person’s arrow. This is the reason for the word a(rche)typical as applied to the comic figure in society: atypical in a sense, because unconventional and disrespectful of traditions, critical and never at ease with unblinkered respect of canons; archetypical, because the “village fool”, buffoon, jester or anyone in any kind of society who plays such roles, is an archetype in the Jungian sense, i.e. a personification of an irreducible side of human nature that everybody instinctively knows: a beginner of a tradition, the perfect type, what is most conventional of all and therefore the exact opposite of an atypical. There is an intrinsic necessity, we think, of such figures in societies, just like politicians and priests, who should play an elitist role in order to guide and rule not for their own benefit but for the good of the community. We are not naïve and do know that actual owners of power always tend to keep it indefinitely: the ‘social comic’ as a role of power has nonetheless the distinctive feature of being the only job whose tension is not towards stability. It has got in itself the rewarding permission of contradiction, for the very reason we exposed before that the comic must cast an eye both inside and outside society and his vision may be perforce not consistent, then it is satisfactory for the popularity that gives amongst readers and audience. Finally, the difference between governors, priests and comic figures is the seriousness of the first two (fundamentally monologic) and the merry contradiction of the third (essentially dialogic). MPs, mayors, bishops and pastors should always console, comfort and soothe popular mood in respect of the public convention; the comic has the opposite task of provoking, urging and irritating, accomplishing at the same time a sort of control of the soothing powers of society, keepers of the righteousness. In this view, the comic person assumes a paramount importance in the counterbalancing of power administration, whether in form of acting in public places or in written pieces which could circulate for private reading. At this point comes into question our Irish writer Brian O'Nolan(1911-1966), real name that stood behind the more famous masks of Flann O'Brien, novelist, author of At Swim-Two-Birds (1939), The Hard Life (1961), The Dalkey Archive (1964) and, posthumously, The Third Policeman (1967); and of Myles na Gopaleen, journalist, keeper for more than 25 years of the Cruiskeen Lawn column on The Irish Times (1940-1966), and author of the famous book-parody in Irish An Béal Bocht (1941), later translated in English as The Poor Mouth (1973). Brian O'Nolan, professional senior civil servant of the Republic, has never seen recognized his authorship in literary studies, since all of them concentrated on his alter egos Flann, Myles and some others he used for minor contributions. So far as we are concerned, we think this is the first study which places the real name in the title, this way acknowledging him an unity of intents that no-one before did. And this choice in titling is not a mere mark of distinction for the sake of it, but also a wilful sign of how his opus should now be reconsidered. In effect, the aim of this study is exactly that of demonstrating how the empirical author Brian O'Nolan was the real Deus in machina, the master of puppets who skilfully directed all of his identities in planned directions, so as to completely fulfil the role of the comic figure we explained before. Flann O'Brien and Myles na Gopaleen were personae and not persons, but the impression one gets from the critical studies on them is the exact opposite. Literary consideration, that came only after O'Nolans death, began with Anne Clissmann’s work, Flann O'Brien: A Critical Introduction to His Writings (Clissmann 1975), while the most recent book is Keith Donohue’s The Irish Anatomist: A Study of Flann O'Brien (Donohue 2002); passing through M.Keith Booker’s Flann O'Brien, Bakhtin and Menippean Satire (Booker 1995), Keith Hopper’s Flann O'Brien: A Portrait of the Artist as a Young Post-Modernist (Hopper 1995) and Monique Gallagher’s Flann O'Brien, Myles et les autres (Gallagher 1998). There have also been a couple of biographies, which incidentally somehow try to explain critical points his literary production, while many critical studies do the same on the opposite side, trying to found critical points of view on the author’s restless life and habits. At this stage, we attempted to merge into O'Nolan's corpus the journalistic articles he wrote, more than 4,200, for roughly two million words in the 26-year-old running of the column. To justify this, we appealed to several considerations about the figure O'Nolan used as writer: Myles na Gopaleen (later simplified in na Gopaleen), who was the equivalent of the street artist or storyteller, speaking to his imaginary public and trying to involve it in his stories, quarrels and debates of all kinds. First of all, he relied much on language for the reactions he would obtain, playing on, and with, words so as to ironically unmask untrue relationships between words and things. Secondly, he pushed to the limit the convention of addressing to spectators and listeners usually employed in live performing, stretching its role in the written discourse to come to a greater effect of involvement of readers. Lastly, he profited much from what we labelled his “specific weight”, i.e. the potential influence in society given by his recognised authority in determined matters, a position from which he could launch deeper attacks on conventional beliefs, so complying with the duty of a comic we hypothesised before: that of criticising society even in threat of losing the benefits the post guarantees. That seemingly masochistic tendency has its rationale. Every representative has many privileges on the assumption that he, or she, has great responsibilities in administrating. The higher those responsibilities are, the higher is the reward but also the severer is the punishment for the misfits done while in charge. But we all know that not everybody accepts the rules and many try to use their power for their personal benefit and do not want to undergo law’s penalties. The comic, showing in this case more civic sense than others, helped very much in this by the non-accessibility to the use of public force, finds in the role of the scapegoat the right accomplishment of his task, accepting the punishment when his breaking of the conventions is too stark to be forgiven. As Ceccarelli demonstrated, the role of the object of laughter (comic, ridicule) has its very own positive side: there is freedom of expression for the person, and at the same time integration in the society, even though at low levels. Then the banishment of a ‘social’ comic can never get to total extirpation from society, revealing how the scope of the comic lies on an entirely fictional layer, bearing no relation with facts, nor real consequences in terms of physical health. Myles na Gopaleen, mastering these three characteristics we postulated in the highest way, can be considered an author worth noting; and the oeuvre he wrote, the whole collection of Cruiskeen Lawn articles, is rightfully a novel because respects the canons of it especially regarding the authorial figure and his relationship with the readers. In addition, his work can be studied even if we cannot conduct our research on the whole of it, this proceeding being justified exactly because of the resemblances to the real figure of the storyteller: its ‘chapters’ —the daily articles— had a format that even the distracted reader could follow, even one who did not read each and every article before. So we can critically consider also a good part of them, as collected in the seven volumes published so far, with the addition of some others outside the collections, because completeness in this case is not at all a guarantee of a better precision in the assessment; on the contrary: examination of the totality of articles might let us consider him as a person and not a persona. Once cleared these points, we proceeded further in considering tout court the works of Brian O'Nolan as the works of a unique author, rather than complicating the references with many names which are none other than well-wrought sides of the same personality. By putting O'Nolan as the correct object of our research, empirical author of the works of the personae Flann O'Brien and Myles na Gopaleen, there comes out a clearer literary landscape: the comic author Brian O'Nolan, self-conscious of his paramount role in society as both a guide and a scourge, in a word as an a(rche)typical, intentionally chose to differentiate his personalities so as to create different perspectives in different fields of knowledge by using, in addition, different means of communication: novels and journalism. We finally compared the newly assessed author Brian O'Nolan with other great Irish comic writers in English, such as James Joyce (the one everybody named as the master in the field), Samuel Beckett, and Jonathan Swift. This comparison showed once more how O'Nolan is in no way inferior to these authors who, greatly celebrated by critics, have nonetheless failed to achieve that great public recognition O’Nolan received alias Myles, awarded by the daily audience he reached and influenced with his Cruiskeen Lawn column. For this reason, we believe him to be representative of the comic figure’s function as a social regulator and as a builder of solidarity, such as that Raymond Williams spoke of in his work (Williams 1982), with in mind the aim of building a ‘culture in common’. There is no way for a ‘culture in common’ to be acquired if we do not accept the fact that even the most functional society rests on conventions, and in a world more and more ‘connected’ we need someone to help everybody negotiate with different cultures and persons. The comic gives us a worldly perspective which is at the same time comfortable and distressing but in the end not harmful as the one furnished by politicians could be: he lets us peep into parallel worlds without moving too far from our armchair and, as a consequence, is the one who does his best for the improvement of our understanding of things.

Non-Linear Pricing in Imperfectly Competitive Markets

This thesis is dedicated to the analysis of non-linear pricing in oligopoly. Non-linear pricing is a fairly predominant practice in most real markets, mostly characterized by some amount of competition. The sophistication of pricing practices has increased in the latest decades due to the technological advances that have allowed companies to gather more and more data on consumers preferences. The first essay of the thesis highlights the main characteristics of oligopolistic non-linear pricing. Non-linear pricing is a special case of price discrimination. The theory of price discrimination has to be modified in presence of oligopoly: in particular, a crucial role is played by the competitive externality that implies that product differentiation is closely related to the possibility of discriminating. The essay reviews the theory of competitive non-linear pricing by starting from its foundations, mechanism design under common agency. The different approaches to model non-linear pricing are then reviewed. In particular, the difference between price and quantity competition is highlighted. Finally, the close link between non-linear pricing and the recent developments in the theory of vertical differentiation is explored. The second essay shows how the effects of non-linear pricing are determined by the relationship between the demand and the technological structure of the market. The chapter focuses on a model in which firms supply a homogeneous product in two different sizes. Information about consumers' reservation prices is incomplete and the production technology is characterized by size economies. The model provides insights on the size of the products that one finds in the market. Four equilibrium regions are identified depending on the relative intensity of size economies with respect to consumers' evaluation of the good. Regions for which the product is supplied in a single unit or in several different sizes or in only a very large one. Both the private and social desirability of non-linear pricing varies across different equilibrium regions. The third essay considers the broadband internet market. Non discriminatory issues seem the core of the recent debate on the opportunity or not of regulating the internet. One of the main questions posed is whether the telecom companies, owning the networks constituting the internet, should be allowed to offer quality-contingent contracts to content providers. The aim of this essay is to analyze the issue through a stylized two-sided market model of the web that highlights the effects of such a discrimination over quality, prices and participation to the internet of providers and final users. An overall welfare comparison is proposed, concluding that the final effects of regulation crucially depend on both the technology and preferences of agents.

Nicht-wässrige Emulsionspolymerisationen

Die vorliegende Arbeit beschäftigt sich mit der Darstellung von Latexpartikeln in nicht-wässrigen Emulsionssystemen. Hintergrund der Untersuchungen war die Frage, ob es durch die Anwendung von nicht-wässrigen Emulsionen ermöglicht werden kann, sowohl wassersensitive Monomere als auch feuchtigkeitsempfindliche Polymerisationen zur Darstellung von Polymer-Latexpartikeln und deren Primärdispersionen einzusetzen. Das Basiskonzept der Arbeit bestand darin, nicht-wässrige Emulsionen auf der Basis zweier nicht mischbarer organischer Lösungsmittel unterschiedlicher Polarität auszubilden und anschließend die dispergierte Phase der Emulsion zur Synthese der Latexpartikel auszunutzen. Hierzu wurden verschiedene nicht-wässrige Emulsionssysteme erarbeitet, welche als dispergierte Phase ein polares und als kontinuierliche Phase ein unpolares Lösungsmittel enthielten. Auf Basis dieser Ergebnisse wurde in den nachfolgenden Untersuchungen zunächst die Anwendbarkeit solcher Emulsionen zur Darstellung verschiedener Acrylat- und Methacrylatpolymerdispersionen mittels radikalischer Polymerisation studiert. Um zu zeigen, dass die hier entwickelten nicht-wässrigen Emulsionen auch zur Durchführung von Stufenwachstumsreaktionen geeignet sind, wurden ebenfalls Polyester-, Polyamid- und Polyurethan-Latexpartikel dargestellt. Die Molekulargewichte der erhaltenen Polymere lagen bei bis zu 40 000 g/mol, im Vergleich zu wässrigen Emulsions- und Miniemulsions¬polymerisationssystemen sind diese um den Faktor fünf bis 30 höher. Es kann davon ausgegangen werden, dass hauptsächlich zwei Faktoren für die hohen Molekulargewichte verantwortlich sind: Zum einen die wasserfreien Bedingungen, welche die Hydrolyse der reaktiven Gruppen verhindern, und zum anderen die teilweise erfüllten Schotten-Baumann-Bedingungen, welche an der Grenzfläche zwischen dispergierter und kontinuierlicher Phase eine durch Diffusion kontrollierte ausgeglichene Stöchiometrie der Reaktionspartner gewährleisten. Somit ist es erstmals möglich, hochmolekulare Polyester, -amide und -urethane in nur einem Syntheseschritt als Primär¬dispersion darzustellen. Die Variabilität der nicht-wässrigen Emulsionen wurde zudem in weiteren Beispielen durch die Synthese von verschiedenen elektrisch leitfähigen Latices, wie z.B. Polyacetylen-Latexpartikeln, aufgezeigt. In dieser Arbeit konnte gezeigt werden, dass die entwickelten nicht-wässrigen Emulsionen eine äußerst breite Anwendbarkeit zur Darstellung von Polymer-Latexpartikeln aufweisen. Durch die wasserfreien Bedingungen erlauben die beschriebenen Emulsionsprozesse, Latexpartikel und entsprechende nicht-wässrige Dispersionen nicht nur traditionell radikalisch, sondern auch mittels weiterer Polymerisationsmechanismen (katalytisch, oxidativ oder mittels Polykondensation bzw. -addition) darzustellen.

Progetto, realizzazione e validazione di uno strumento per misure di campo magnetico in bassa frequenza

Realizzazione di uno strumento per la misura di campo magnetico e sua stima in valor massimo.

Opportunistic Data Gathering and Dissemination in Urban Scenarios

In the era of the Internet of Everything, a user with a handheld or wearable device equipped with sensing capability has become a producer as well as a consumer of information and services. The more powerful these devices get, the more likely it is that they will generate and share content locally, leading to the presence of distributed information sources and the diminishing role of centralized servers. As of current practice, we rely on infrastructure acting as an intermediary, providing access to the data. However, infrastructure-based connectivity might not always be available or the best alternative. Moreover, it is often the case where the data and the processes acting upon them are of local scopus. Answers to a query about a nearby object, an information source, a process, an experience, an ability, etc. could be answered locally without reliance on infrastructure-based platforms. The data might have temporal validity limited to or bounded to a geographical area and/or the social context where the user is immersed in. In this envisioned scenario users could interact locally without the need for a central authority, hence, the claim of an infrastructure-less, provider-less platform. The data is owned by the users and consulted locally as opposed to the current approach of making them available globally and stay on forever. From a technical viewpoint, this network resembles a Delay/Disruption Tolerant Network where consumers and producers might be spatially and temporally decoupled exchanging information with each other in an adhoc fashion. To this end, we propose some novel data gathering and dissemination strategies for use in urban-wide environments which do not rely on strict infrastructure mediation. While preserving the general aspects of our study and without loss of generality, we focus our attention toward practical applicative scenarios which help us capture the characteristics of opportunistic communication networks.

Analisi e progettazione di un'architettura per il monitoraggio a basso costo di catastrofi naturali.

Il monitoraggio ravvicinato di scenari protagonisti di fenomeni ambientali catastrofici, come improvvisi terremoti o violente eruzioni vulcaniche, è reso complicato dalla pericolosità intrinseca di tali ambienti per l'incolumità di operatori e attrezzature. L'obiettivo di questa tesi è di capire se è possibile realizzare un'alternativa alle attuali stazioni monitoranti, caratterizzata da una facile installazione e da un costo contenuto. Sarà fondamentale che la stazione possa trasmettere a distanza tutto ciò che i suoi sensori registrano, finché non sarà resa non operativa da un guasto meccanico causato dall'ambiente circostante.

Discovery di dispositivi embedded e raccolta di dati con bluetooth e bluetooth smart

L'obbiettivo di questa tesi è la produzione del prototipo di un sistema che sia in grado di ottenere dati da un insieme di sensori per poterli poi trasmettere all’utente, in modo che esso sia maggiormente cosciente del mondo che lo circonda. Affronteremo la sfida in uno scenario medico / di soccorso, dove un operatore si avvicinerà ad un gruppo di pazienti con l’intenzione di ottenere i parametri vitali di uno di essi. All'interno del documento saranno descritte le tecnologie sfruttate per la realizzazione del prototipo: Bluetooth e Bluetooth Smart, il sistema operativo Linux in esecuzione su un Raspberry Pi dotato di sensori, il sistema operativo Android in esecuzione su smartphone o tablet e iBeacon. Verranno poi analizzati i requisiti del sistema da realizzare. Infine verrà descritta l'implementazione utilizzata nel prototipo e analizzato il suo comportamento.

Geophotohunt: Studio di algoritmi di confronto di immagini per realizzare una caccia al tesoro fotografica

Questo studio si propone di realizzare un’applicazione per dispositivi Android che permetta, per mezzo di un gioco di ruolo strutturato come caccia al tesoro, di visitare in prima persona città d’arte e luoghi turistici. Gli utenti finali, grazie alle funzionalità dell’app stessa, potranno giocare, creare e condividere cacce al tesoro basate sulla ricerca di edifici, monumenti, luoghi di rilevanza artistico-storica o turistica; in particolare al fine di completare ciascuna tappa di una caccia al tesoro il giocatore dovrà scattare una fotografia al monumento o edificio descritto nell’obiettivo della caccia stessa. Il software grazie ai dati rilevati tramite GPS e giroscopio (qualora il dispositivo ne sia dotato) e per mezzo di un algoritmo di instance recognition sarà in grado di affermare se la foto scattata rappresenta la risposta corretta al quesito della tappa. L’applicazione GeoPhotoHunt rappresenta non solo uno strumento ludico per la visita di città turistiche o più in generale luoghi di interesse, lo studio propone, infatti come suo contributo originale, l’implementazione su piattaforma mobile di un Content Based Image Retrieval System (CBIR) del tutto indipendente da un supporto server. Nello specifico il server dell’applicazione non sarà altro che uno strumento di appoggio con il quale i membri della “community” di GeoPhotoHunt potranno pubblicare le cacce al tesoro da loro create e condividere i punteggi che hanno totalizzato partecipando a una caccia al tesoro. In questo modo quando un utente ha scaricato sul proprio smartphone i dati di una caccia al tesoro potrà iniziare l’avventura anche in assenza di una connessione internet. L’intero studio è stato suddiviso in più fasi, ognuna di queste corrisponde ad una specifica sezione dell’elaborato che segue. In primo luogo si sono effettuate delle ricerche, soprattutto nel web, con lo scopo di individuare altre applicazioni che implementano l’idea della caccia al tesoro su piattaforma mobile o applicazioni che implementassero algoritmi di instance recognition direttamente su smartphone. In secondo luogo si è ricercato in letteratura quali fossero gli algoritmi di riconoscimento di immagini più largamente diffusi e studiati in modo da avere una panoramica dei metodi da testare per poi fare la scelta dell’algoritmo più adatto al caso di studio. Quindi si è proceduto con lo sviluppo dell’applicazione GeoPhotoHunt stessa, sia per quanto riguarda l’app front-end per dispositivi Android sia la parte back-end server. Infine si è passati ad una fase di test di algoritmi di riconoscimento di immagini in modo di avere una sufficiente quantità di dati sperimentali da permettere di effettuare una scelta dell’algoritmo più adatto al caso di studio. Al termine della fase di testing si è deciso di implementare su Android un algoritmo basato sulla distanza tra istogrammi di colore costruiti sulla scala cromatica HSV, questo metodo pur non essendo robusto in presenza di variazioni di luminosità e contrasto, rappresenta un buon compromesso tra prestazioni, complessità computazionale in modo da rendere la user experience quanto più coinvolgente.

ExoTCP: uno stack di rete minimale e userspace specializzato per il protocollo HTTP

In questo lavoro verrà presentato ExoTCP, uno stack di rete minimale e userspace specializzato per il protocollo HTTP. Verrà inoltre presentato Eth, un server web zerocopy che utilizza ExoTCP per servire contenuti statici. L'obiettivo del lavoro è riuscire ad ottenere prestazioni migliori di quelle di un server web tradizionale che si appoggia ai servizi offerti dal sistema operativo per accedere alla rete.