Restos óseos de Lobos marinos en la Cueva de Villaverde (Fuerteventura)

[EN] During the archaeological excavations carried out in the Villaverde Cave sorne bone remains (left mandible fragment, proximal fragment of scapula and two left humerus) of two specimes of monk seals (Monachus cf. monachus) were found. Toe cave, which is a vokanic tunnel, was occupied during the firts Centuries of our Era by the former inhabitants of the Fuerteventura Island. Toe monk seals,named in the past in Canaries "Lobos marinos", were very numerous according to the Chronicles of the Conquerers (1404-1408) and for that reason the small island situated between Lanzarote and Fuerteventura lslands was named '"Isla de Lobos". These seals became extinct at the end of the XV Century and the remains found at Villaverde are the only ones known.

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.

Studio della maturazione di formaggi pecorino stagionati in stabilimento e in grotta

Aims: Ripening evaluation of two different Pecorino cheese varieties ripened according either to a traditional method in plant and in cave. Different ripening features have been analyzed in order to evaluate the cave as possible ripening environment with the aim of obtaining a peculiar product which could also establish an added value to the cultural heritage of the local place in which it has been originally manufactured. Methods and Results: Chemical-physical features of Pecorino cheese have been initially analyzed into two different ripening environments and experimentations, among which: pH, weight reduction and subsequent water activity. Furthermore, the microbial composition has been characterized in relationship with the two different ripening environments, undertaking a variety of microbial groups, such as: lactic bacteria, staphylococci, yeasts, lactococci, enterobacteria, enterococci. Besides, an additional analysis for the in-cave adaptability evaluation has been the identification of biogenic amines inside the Pecorino cheese (2-phenilethylamine, putrescine, cadaverine, hystidine, tyramine, spermine and spermidine). Further analysis were undertaken in order to track the lipid profile evolution, reporting the concentration of the cheese free fatty acids in object, in relation with ripening time, environment and production. In order to analyse the flavour compounds present in Pecorino cheese, the SPME-GC-MS technique has been widely employed. As a result, it is confirmed the trend showed by the short-chain free fatty acids, that is to say the fatty acids which are mostly involved in conveying a stronger flavor to the cheese. With the purpose of assessing the protheolytic patterns of the above-mentioned Pecorino cheese in the two different ripening environments and testing methods, the technique SDS-PAGE has been employed into the cheese insoluble fraction, whereas the SDS-PAGE technique has been carried out into the cheese soluble portion. Furthermore, different isolated belonging to various microbial groups have been genotypically characterized though the ITS-PCR technique with the aim to identify the membership species. With reference to lactic bacillus the characterized species are: Lactobacillus brevis, Lactobacillus curvatus and Lactobacillus paraplantarum. With reference to lactococci the predominant species is Lactococcus lactis, coming from the employed starter used in the cheese manufacturing. With reference to enterococcus, the predominant species are Enterococcus faecium and Enterococcus faecalis. Moreover, Streptococcus termophilus and Streptococcus macedonicus have been identified too. For staphylococci the identified species are Staphyilococcus equorum, Staphylococcus saprophyfiticus and Staphylococcus xylosus. Finally, a sensorial analysis has been undertaken through on one side a consumer test made by inexperienced consumers, and on the other side through a panel test achieved by expert consumers. From such test Pecorino cheese ripened in cave were found to be more pleasant in comparison with Pecorino cheese ripened in plant. Conclusions: The proposed approach and the undertaken analysis showed the cave as preferential ripening environment for Pecorino cheese and for the development of a more palatable product and safer for consumers’ health.

Trasmission and Reflection (ATR)Far-Infrared Spectroscopy Applied in the Analysis of Cultural Heritage Materials

FIR spectroscopy is an alternative way of collecting spectra of many inorganic pigments and corrosion products found on art objects, which is not normally observed in the MIR region. Most FIR spectra are traditionally collected in transmission mode but as a real novelty it is now also possible to record FIR spectra in ATR (Attenuated Total Reflectance) mode. In FIR transmission we employ polyethylene (PE) for preparation of pellets by embedding the sample in PE. Unfortunately, the preparation requires heating of the PE in order to produces at transparent pellet. This will affect compounds with low melting points, especially those with structurally incorporated water. Another option in FIR transmission is the use of thin films. We test the use of polyethylene thin film (PETF), both commercial and laboratory-made PETF. ATR collection of samples is possible in both the MIR and FIR region on solid, powdery or liquid samples. Changing from the MIR to the FIR region is easy as it simply requires the change of detector and beamsplitter (which can be performed within a few minutes). No preparation of the sample is necessary, which is a huge advantage over the PE transmission method. The most obvious difference, when comparing transmission with ATR, is the distortion of band shape (which appears asymmetrical in the lower wavenumber region) and intensity differences. However, the biggest difference can be the shift of strong absorbing bands moving to lower wavenumbers in ATR mode. The sometimes huge band shift necessitates the collection of standard library spectra in both FIR transmission and ATR modes, provided these two methods of collecting are to be employed for analyses of unknown samples. Standard samples of 150 pigment and corrosion compounds are thus collected in both FIR transmission and ATR mode in order to build up a digital library of spectra for comparison with unknown samples. XRD, XRF and Raman spectroscopy assists us in confirming the purity or impurity of our standard samples. 24 didactic test tables, with known pigment and binder painted on the surface of a limestone tablet, are used for testing the established library and different ways of collecting in ATR and transmission mode. In ATR, micro samples are scratched from the surface and examined in both the MIR and FIR region. Additionally, direct surface contact of the didactic tablets with the ATR crystal are tested together with water enhanced surface contact. In FIR transmission we compare the powder from our test tablet on the laboratory PETF and embedded in PE. We also compare the PE pellets collected using a 4x beam condenser, focusing the IR beam area from 8 mm to 2 mm. A few samples collected from a mural painting in a Nepalese temple, corrosion products collected from archaeological Chinese bronze objects and samples from a mural paintings in an Italian abbey, are examined by ATR or transmission spectroscopy.

Study of the building and decorative materials and techniques used in Hungarian Roman sites

The aims of this research were: - To identify the characteristics, properties and provenance of the building and decorative material found in three Hungarian Roman sites: Nagyharsány, Nemesvámos-Balácapuszta and Aquincum - To provide a database of information on the different sites - To have an overview of main conservation strategies applied in Hungary. Geological studies, macroscopical and microscopical observations, XRD investigations, physical and chemical analyses allowed us to define the characteristics and properties of the different kinds of collected materials. Building stones sampled from Nagyharsány site showed two different kinds of massive limestone belonging to the areas surrounding the villa. Also Building stones sampled from Nemesvámos-Balácapuszta Roman villa proved to be compatible with limestone belonging to local sources. Mural painting fragments show that all samples are units composed of multilayered structures. Mosaic tesserae can be classified as following: -Pale yellow , blackish and pink tesserae are comparable with local limestone; -White tessera, composed of marble, was probably imported from distant regions of the Empire, as the usual practice of Romans. Mortars present different characteristics according to the age, the site and the functions: -Building mortars are generally lime based, white or pale yellow in colour, present a high percentage of aggregates represented by fine sand; -Supporting mortars from both mosaics and mural paintings are reddish or pinkish in colour, due to the presence of high percentage of brick dust and tiles fragments, and present a higher content of MgO. Although the condition of the sites, there is an insignificant content of soluble salts. Database The whole study has allowed us to provide work sheets for each samples, including all characteristics and properties. Furthermore, all sites included in the frame of the research have been described and illustrated on the base of their floor plans, material and construction methodologies. It can be concluded that: 1. In Nagyharsány Archaeological site, it is possible to define a sequence of different construction phases on the base of the study of building material and mortars. The results are comparable with the chronology of the site provided by the archaeologists 2. The material used for construction was of local origin while the more precious ones, used for decorative elements, were probably imported from long distance 3. Construction techniques in Hungary mainly refer to the usual Roman knowledge and practice (Vitruvius); few differences have been found 4. The database will represent an archive for Archaeologists, Historians and Conservators dealing with Roman period in Hungary.

Reclutamento di invertebrati bentonici in una grotta sottomarina del Mar Mediterraneo

Le grotte marine sono habitat molto particolari che presentano situazioni molto diverse da quelle riscontrabili nell’ambiente esterno. La variabilità nella struttura geomorfologica, la topografia, la profondità, l’orientamento e l’idrodinamismo rappresentano una vasta gamma di situazioni che consentono la presenza di popolamenti caratteristici, la cui unicità determina l’importanza della loro salvaguardia. La composizione delle comunità dipende fortemente dall'arrivo dei propaguli dall'esterno, e non solo dalla riproduzione di adulti presenti. Quindi, per determinare la struttura e la dinamica delle popolazioni marine, è di fondamentale importanza comprendere i processi che agiscono sul reclutamento. In particolare per gli organismi sessili la fase larvale rappresenta l'unico stadio di dispersione. Lo scopo di questo lavoro è analizzare il reclutamento dei popolamenti bentonici sulle pareti laterali e sulla volta della grotta sottomarina della Colombara, nell’area marina protetta di Portofino (Genova), per valutare la loro diversità specifica, abbondanza e distribuzione. Per far ciò sono stati posti 14 pannelli quadrati in forex PVC all’interno della grotta (8 sulla volta e 6 sulle pareti laterali) per un periodo di tempo di venti mesi. L’abbondanza degli organismi è stata stimata in termini di ricoprimento percentuale utilizzando un reticolo di 400 sottoquadrati da 1 cm². Le possibili differenze tra le strutture dei popolamenti, l’abbondanza delle specie e gli indici di diversità tra parete e volta della grotta sono state testate con l’analisi della varianza basata su permutazioni (PERMANOVA) utilizzando il software PRIMER 6. Dai risultati ottenuti sono emerse differenze qualitative e quantitative nella distribuzione dei popolamenti fra la volta e le pareti della grotta. Analizzando le singole specie, è possibile osservare come molte di queste tendano a reclutare maggiormente sulla volta rispetto alle pareti. In generale, la distribuzione degli organismi dipende, oltre che dai più conosciuti gradienti ambientali (idrodinamismo, luce ecc) dai processi ecologici. Considerando che i fattori ambientali ed ecologici interagiscono nel definire la struttura dei popolamenti e sono interdipendenti tra loro, possiamo ipotizzare che le distribuzioni spaziali osservate per le diverse specie dipendano in gran parte dall’ecologia larvale, che porta ad un più elevato tasso di reclutamento sulla volta piuttosto che sulle pareti della grotta.

Progettazione e sviluppo di un RVE (Reconfigurable Virtual Environment) per applicazioni nei settori dell’ingegneria industriale

Il presente elaborato descrive la realizzazione, presso il Laboratorio di Realtà Virtuale e Simulazione della Seconda Facoltà di Ingegneria, di un RVE (Reconfigurable Virtual Environment), per applicazioni nei settori dell’ingegneria industriale. La tesi ripercorre la fase di progettazione del sistema basato sull'integrazione di componenti COTS. E' definito, inoltre, un insieme di applicazioni target nei settori dell'ingegneria industriale di cui si valuta la compatibilità con il Virtual Environment. L'elaborato si conclude con la presentazione dei risultati e dei possibili sviluppi futuri.

Il caso del Maestro di Ozieri e la cultura pittorica del Cinquecento in Sardegna

La tesi si occupa del rapporto tra il Maestro di Ozieri e la produzione figurativa in Sardegna nella prima metà del Cinquecento. Studia l'uso delle incisioni. Valuta l'influenza della pittura romana e meridionale. Riflette sulla possibile identità straniera del pittore, sulla base delle molte somiglianze con artisti tedeschi e fiamminghi. Si occupa di comprendere quali possano essere considerate le opere autografe e quali quelle eseguite da seguaci e imitatori. Riformula alla luce dei confronti stilistici e delle ricerche in archivio la personalità dell'artista e la sua collocazione cronologica.

Investigation of the dipole response of nickel isotopes in the presence of a high-frequency electromagnetic field

The electric dipole response of neutron-rich nickel isotopes has been investigated using the LAND setup at GSI in Darmstadt (Germany). Relativistic secondary beams of 56−57Ni and 67−72Ni at approximately 500 AMeV have been generated using projectile fragmentation of stable ions on a 4 g/cm2 Be target and subsequent separation in the magnetic dipole fields of the FRagment Separator (FRS). After reaching the LAND setup in Cave C, the radioactive ions were excited electromagnetically in the electric field of a Pb target. The decay products have been measured in inverse kinematics using various detectors. Neutron-rich 67−69Ni isotopes decay by the emission of neutrons, which are detected in the LAND detector. The present analysis concentrates on the (gamma,n) and (gamma,2n) channels in these nuclei, since the proton and three-neutron thresholds are unlikely to be reached considering the virtual photon spectrum for nickel ions at 500 AMeV. A measurement of the stable 58Ni isotope is used as a benchmark to check the accuracy of the present results with previously published data. The measured (gamma,n) and (gamma,np) channels are compared with an inclusive photoneutron measurement by Fultz and coworkers, which are consistent within the respective errors. The measured excitation energy distributions of 67−69Ni contain a large portion of the Giant Dipole Resonance (GDR) strength predicted by the Thomas-Reiche-Kuhn energy-weighted sum rule, as well as a significant amount of low-lying E1 strength, that cannot be attributed to the GDR alone. The GDR distribution parameters are calculated using well-established semi-empirical systematic models, providing the peak energies and widths. The GDR strength is extracted from the chi-square minimization of the model GDR to the measured data of the (gamma,2n) channel, thereby excluding any influence of eventual low-lying strength. The subtraction of the obtained GDR distribution from the total measured E1 strength provides the low-lying E1 strength distribution, which is attributed to the Pygmy Dipole Resonance (PDR). The extraction of the peak energy, width and strength is performed using a Gaussian function. The minimization of trial Gaussian distributions to the data does not converge towards a sharp minimum. Therefore, the results are presented by a chi-square distribution as a function of all three Gaussian parameters. Various predictions of PDR distributions exist, as well as a recent measurement of the 68Ni pygmy dipole-resonance obtained by virtual photon scattering, to which the present pygmy dipole-resonance distribution is also compared.

Quadri di sintomi. Teoria della immagini, storia dell'arte e scienze umane in medicina

Lo studio analizza il modo in cui la storia dell’arte e la visual culture vengono utilizzate all’interno delle medical humanities, e cerca di suggerire un metodo più utile rispetto a quelli fin qui proposti. Lo scritto è organizzato in due parti. Nella prima parte sono analizzate alcune teorie e pratiche delle scienze umane in medicina. In particolare, ci concentriamo sulla medicina narrativa e sugli approcci con cui la storia dell’arte viene inclusa nella maggioranza dei programmi di medical humanities. Dopodiché, proponiamo di riconsiderare questi metodi e di implementare il ruolo di un pensiero storico e visivo all’interno di tali insegnamenti. Nella seconda parte, alla luce di quanto emerso nella prima, ci dedichiamo a uno studio di caso: la rappresentazione della melanconia amorosa, o mal d’amore, in una serie di dipinti olandesi del Secolo d’Oro. Colleghiamo queste opere a trattati medico-filosofici dell’epoca che permettano di inquadrare il mal d’amore in un contesto storico; in seguito, analizziamo alcune interpretazioni fornite da studiosi e storici dell’arte a noi contemporanei. In particolare, esaminiamo lo studio pionieristico di Henry Meige, pubblicato sulla “Nouvelle iconographie de la Salpêtrière” nel 1899, da cui emerge la possibilità di un confronto critico sia con le posizioni iconodiagnostiche di Charcot e Richer sia con quelle della prima psicoanalisi.

Per un'archeologia del lavoro in eta' protobizantina. Organizzazione e committenza del cantiere edilizio attraverso i marchi dei marmorari

La ricerca riguarda lo studio del cantiere edilizio protobizantino, con particolare riferimento al ciclo della lavorazione del marmo. Quest’ultimo viene analizzato sotto il profilo amministrativo, tecnico, sociale ed artigianale. L’elemento guida della ricerca sono i marchi dei marmorari, sigle apposte da funzionari e maestranze durante il processo produttivo. Dapprima, fonti letterarie ed epigrafiche, tra cui le sigle di cava e officina su marmo, vengono esaminate per ricostruire il sistema alto-imperiale di amministrazione delle cave e di gestione dei flussi marmorei, nonché l’iter tecnico-artigianale adottato per la produzione dei manufatti. Il confronto con i dati disponibili per la tarda antichità, con particolare riferimento alle cave di Proconneso, evidenzia una sostanziale continuità della prassi burocratico-amministrativa, mentre alcuni cambiamenti si riscontrano nell’ambito produttivo-artigianale. Il funzionamento degli atelier marmorari viene approfondito attraverso lo studio dei marchi dei marmorari. Si tratta di caratteri greci singoli, multipli o monogrammi. Una ricognizione sistematica delle sigle dalla pars Orientalis dell’impero, reperite in bibliografia o da ricognizioni autoptiche, ha portato alla raccolta di circa 2360 attestazioni. Per esse si propone una classificazione tipologica tra sigle di cava, stoccaggio, officina. Tra le sigle di cava si annoverano sigle di controllo, destinazione/committenza, assemblaggio/posizionamento. Una particolare attenzione è riservata alle sigle di officina, riferibili ad un nome proprio di persona, ovvero al πρωτομαΐστωρ, il capo-bottega che supervisionava il lavoro dei propri artigiani e fungeva da garante del prodotto consegnato alla committenza. Attraverso lo studio comparato delle sigle reperite a Costantinopoli e in altri contesti si mette in luce la prassi operativa adottata dagli atelier nei processi di manifattura, affrontando anche il problema delle maestranze itineranti. Infine, sono analizzate fonti scritte di varia natura per poter collocare il fenomeno del marmo in un contesto socio-economico più ampio, con particolare riferimento alle figure professionali ed artigianali coinvolte nei cantieri e al problema della committenza.

Studio multicentrico sulla prevalenza e sulle principali caratteristiche cliniche e biochimiche nei pazienti in dialisi paratiroidectomizzati in italia

Lo studio CAVE PTX ha lo scopo di valutare la reale prevalenza della paratiroidectomia nei pazienti dializzati in Italia, verificare l’aderenza ai targets ematochimici proposti dalle linee guida internazionali K/DOQI e ricercare la presenza di fratture vertebrali e calcificazioni vascolari. Al momento attuale riportiamo i dati preliminari sulla prevalenza e le caratteristiche cliniche generali dei pazienti finora arruolati. Il nostro studio ha ricevuto contributi da 149 centri dialisi italiani, su un totale di 670, pari al 22%. La popolazione dialitica dalla quale sono stati ottenuti i casi di paratiroidectomia è risultata pari a 12515 pazienti;l’87,7% dei pazienti effettuava l’emodialisi mentre il 12,3% la dialisi peritoneale. Cinquecentoventotto, pari al 4,22%, avevano effettuato un intervento di paratiroidectomia (4,5%emodializzati, 1,9% in dialisi peritoneale;p<0.001). Abbiamo considerato tre gruppi differenti di PTH: basso (<150 pg/ml), ottimale (150 -300 pg/ml) ed elevato (>300 pg/ml). I valori medi di PTH e calcemia sono risultati significativamente diversi (più alti) tra casi e controlli nei due gruppi con PTH basso (PTX = 40±39 vs controllo = 92±42 pg/ml; p<.0001) e PTH alto (PTX= 630 ± 417 vs controllo 577 ±331; p<.05). La percentuale di pazienti con PTH troppo basso è risultata più elevata nei pazienti chirurgici rispetto al resto della popolazione (64vs23%; p<0.0001), mentre la percentuale dei casi con PTH troppo alto è risultata significativamente più alta nel gruppo di controllo (38%vs19%; p<0.003). Il 61% dei casi assumeva vitamina D rispetto al 64 % dei controlli; l’88% vs 75% un chelante del fosforo ed il 13%vs 35% il calciomimentico. In conclusione, la paratiroidectomia ha una bassa prevalenza in Italia, i pazienti sono più spesso di sesso femminile, in emodialisi e con età relativamente giovane ma da più tempo in dialisi.

The Presence of Words in Visual Art from Surrealism to Conceptualism

Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.

Studio geomorfologico dell'area carsica attorno alla Grotta Palombara (Melilli, Siracusa)

The following thesis attempts to study and analyse the geomorphological evolution of a relatively small coastal area located to the North of Syracuse (Southeastern Sicily). The presently inactive Palombara Cave is located in this area. The 800 metres of passages in this cave show an evolution in some way linked to the local topographic and environmental changes. This portion of coastline was affected more or less constantly by the tectonic uplift during the Pleistocene, which simultaneously to the eustatic variations have played a key role in the genesis of the marine terraces and the cave. Starting from a DTM made from Lidar data, using a GIS procedure several marine terraces have been mapped. These informations combinated with a geomorphological study of the area, allowed to identify and recognise the different orders of the Middle Pleistocene terraced surfaces. Four orders of terraces between 180-75 m a.s.l have been observed, illustrated and described. Furthermore, two other supposed terrace edges located respectively at 60 and 35 m, which would indicate the presence of two more orders, have been recognised. All these marine terraces appear to have formed in the last million years. The morphological data of the Palombara cave, highlights a genesis related to the rising of CO2 rich waters coming from the depths through the fractures of the rock mass, that ranks it as a hypogenic cave. The development has been influenced by the changes in the water table, in turn determined by the fluctuations in the sea level. In fact, the cave shows a speleogenetic evolution characterised by phases of karstification in phreatic and epiphreatic environment and fossilization stages of the upper branches in vadose conditions. These observations indicate that the cave probably started forming around 600 Ky ago, contemporary to the start of volcanic processes in the area.