A model and an algebra for semi-structured and full-text queries

The need for a convergence between semi-structured data management and Information Retrieval techniques is manifest to the scientific community. In order to fulfil this growing request, W3C has recently proposed XQuery Full Text, an IR-oriented extension of XQuery. However, the issue of query optimization requires the study of important properties like query equivalence and containment; to this aim, a formal representation of document and queries is needed. The goal of this thesis is to establish such formal background. We define a data model for XML documents and propose an algebra able to represent most of XQuery Full-Text expressions. We show how an XQuery Full-Text expression can be translated into an algebraic expression and how an algebraic expression can be optimized.

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.

Frame-driven Extraction of Linked Data and Ontologies from Text

Ontology design and population -core aspects of semantic technologies- re- cently have become fields of great interest due to the increasing need of domain-specific knowledge bases that can boost the use of Semantic Web. For building such knowledge resources, the state of the art tools for ontology design require a lot of human work. Producing meaningful schemas and populating them with domain-specific data is in fact a very difficult and time-consuming task. Even more if the task consists in modelling knowledge at a web scale. The primary aim of this work is to investigate a novel and flexible method- ology for automatically learning ontology from textual data, lightening the human workload required for conceptualizing domain-specific knowledge and populating an extracted schema with real data, speeding up the whole ontology production process. Here computational linguistics plays a fundamental role, from automati- cally identifying facts from natural language and extracting frame of relations among recognized entities, to producing linked data with which extending existing knowledge bases or creating new ones. In the state of the art, automatic ontology learning systems are mainly based on plain-pipelined linguistics classifiers performing tasks such as Named Entity recognition, Entity resolution, Taxonomy and Relation extraction [11]. These approaches present some weaknesses, specially in capturing struc- tures through which the meaning of complex concepts is expressed [24]. Humans, in fact, tend to organize knowledge in well-defined patterns, which include participant entities and meaningful relations linking entities with each other. In literature, these structures have been called Semantic Frames by Fill- 6 Introduction more [20], or more recently as Knowledge Patterns [23]. Some NLP studies has recently shown the possibility of performing more accurate deep parsing with the ability of logically understanding the structure of discourse [7]. In this work, some of these technologies have been investigated and em- ployed to produce accurate ontology schemas. The long-term goal is to collect large amounts of semantically structured information from the web of crowds, through an automated process, in order to identify and investigate the cognitive patterns used by human to organize their knowledge.

Tecniche di text mining per l'autoorganizzazione della conoscenza

L'elaborato ha come scopo l'analisi delle tecniche di Text Mining e la loro applicazione all'interno di processi per l'auto-organizzazione della conoscenza. La prima parte della tesi si concentra sul concetto del Text Mining. Viene fornita la sua definizione, i possibili campi di utilizzo, il processo di sviluppo che lo riguarda e vengono esposte le diverse tecniche di Text Mining. Si analizzano poi alcuni tools per il Text Mining e infine vengono presentati alcuni esempi pratici di utilizzo. Il macro-argomento che viene esposto successivamente riguarda TuCSoN, una infrastruttura per la coordinazione di processi: autonomi, distribuiti e intelligenti, come ad esempio gli agenti. Si descrivono innanzi tutto le entità sulle quali il modello si basa, vengono introdotte le metodologie di interazione fra di essi e successivamente, gli strumenti di programmazione che l'infrastruttura mette a disposizione. La tesi, in un secondo momento, presenta MoK, un modello di coordinazione basato sulla biochimica studiato per l'auto-organizzazione della conoscenza. Anche per MoK, come per TuCSoN, vengono introdotte le entità alla base del modello. Avvalendosi MoK dell'infrastruttura TuCSoN, viene mostrato come le entità del primo vengano mappate su quelle del secondo. A conclusione dell'argomento viene mostrata un'applicazione per l'auto-organizzazione di news che si avvale del modello. Il capitolo successivo si occupa di analizzare i possibili utilizzi delle tecniche di Text Mining all'interno di infrastrutture per l'auto-organizzazione, come MoK. Nell'elaborato vengono poi presentati gli esperimenti effettuati sfruttando tecniche di Text Mining. Tutti gli esperimenti svolti hanno come scopo la clusterizzazione di articoli scientifici in base al loro contenuto, vengono quindi analizzati i risultati ottenuti. L'elaborato di tesi si conclude mettendo in evidenza alcune considerazioni finali su quanto svolto.

Dynamic networks, text analysis and Gephi: the art math

In numerosi campi scientici l'analisi di network complessi ha portato molte recenti scoperte: in questa tesi abbiamo sperimentato questo approccio sul linguaggio umano, in particolare quello scritto, dove le parole non interagiscono in modo casuale. Abbiamo quindi inizialmente presentato misure capaci di estrapolare importanti strutture topologiche dai newtork linguistici(Degree, Strength, Entropia, . . .) ed esaminato il software usato per rappresentare e visualizzare i grafi (Gephi). In seguito abbiamo analizzato le differenti proprietà statistiche di uno stesso testo in varie sue forme (shuffolato, senza stopwords e senza parole con bassa frequenza): il nostro database contiene cinque libri di cinque autori vissuti nel XIX secolo. Abbiamo infine mostrato come certe misure siano importanti per distinguere un testo reale dalle sue versioni modificate e perché la distribuzione del Degree di un testo normale e di uno shuffolato abbiano lo stesso andamento. Questi risultati potranno essere utili nella sempre più attiva analisi di fenomeni linguistici come l'autorship attribution e il riconoscimento di testi shuffolati.

Metodi di previsione di indici di borsa con tecniche di text & opinion mining applicate a twitter

Il problema relativo alla predizione, la ricerca di pattern predittivi all‘interno dei dati, è stato studiato ampiamente. Molte metodologie robuste ed efficienti sono state sviluppate, procedimenti che si basano sull‘analisi di informazioni numeriche strutturate. Quella testuale, d‘altro canto, è una tipologia di informazione fortemente destrutturata. Quindi, una immediata conclusione, porterebbe a pensare che per l‘analisi predittiva su dati testuali sia necessario sviluppare metodi completamente diversi da quelli ben noti dalle tecniche di data mining. Un problema di predizione può essere risolto utilizzando invece gli stessi metodi : dati testuali e documenti possono essere trasformati in valori numerici, considerando per esempio l‘assenza o la presenza di termini, rendendo di fatto possibile una utilizzazione efficiente delle tecniche già sviluppate. Il text mining abilita la congiunzione di concetti da campi di applicazione estremamente eterogenei. Con l‘immensa quantità di dati testuali presenti, basti pensare, sul World Wide Web, ed in continua crescita a causa dell‘utilizzo pervasivo di smartphones e computers, i campi di applicazione delle analisi di tipo testuale divengono innumerevoli. L‘avvento e la diffusione dei social networks e della pratica di micro blogging abilita le persone alla condivisione di opinioni e stati d‘animo, creando un corpus testuale di dimensioni incalcolabili aggiornato giornalmente. Le nuove tecniche di Sentiment Analysis, o Opinion Mining, si occupano di analizzare lo stato emotivo o la tipologia di opinione espressa all‘interno di un documento testuale. Esse sono discipline attraverso le quali, per esempio, estrarre indicatori dello stato d‘animo di un individuo, oppure di un insieme di individui, creando una rappresentazione dello stato emotivo sociale. L‘andamento dello stato emotivo sociale può condizionare macroscopicamente l‘evolvere di eventi globali? Studi in campo di Economia e Finanza Comportamentale assicurano un legame fra stato emotivo, capacità nel prendere decisioni ed indicatori economici. Grazie alle tecniche disponibili ed alla mole di dati testuali continuamente aggiornati riguardanti lo stato d‘animo di milioni di individui diviene possibile analizzare tali correlazioni. In questo studio viene costruito un sistema per la previsione delle variazioni di indici di borsa, basandosi su dati testuali estratti dalla piattaforma di microblogging Twitter, sotto forma di tweets pubblici; tale sistema include tecniche di miglioramento della previsione basate sullo studio di similarità dei testi, categorizzandone il contributo effettivo alla previsione.