Labyrinthum capellae. Le "Annotationes in Marcianum" di Giovanni Scoto Eriugena e la fortuna del neoplatonismo cristiano

The labyrinthum Capella quoted in the title (from a Prudentius of Troyes epistle) represents the allegory of the studium of the liberal arts and the looking for knowledge in the early middle age. This is a capital problem in the early Christianity and, in general, for all the western world, concerning the relationship between faith and science. I studied the evolution of this subject from its birth to Carolingian age, focusing on the most relevant figures, for the western Europe, such Saint Augustine (De doctrina christiana), Martianus Capella (De Nuptiis Philologiae et Mercurii) and Iohannes Scotus Eriugena (Annotationes in Marcianum). Clearly it emerges that there were two opposite ways about this relatioship. According to the first, the human being is capable of get a knowledge about God thanks to its own reason and logical thought processes (by the analysis of the nature as a Speculum Dei); on the other way, only the faith and the grace could give the man the possibility to perceive God, and the Bible is the only book men need to know. From late antiquity to Iohannes Scotus times, a few christian and pagan authors fall into line with first position (the neoplatonic one): Saint Augustine (first part of his life, then he retracted some of his views), Martianus, Calcidius and Macrobius. Other philosophers were not neoplatonic bat believed in the power of the studium: Boethius, Cassiodorus, Isidorus of Seville, Hrabanus Maurus and Lupus of Ferriéres. In order to get an idea of this conception, I finally focused the research on Iohannes Scotus Eriugena's Annotationes in Marcianum. I commented Eriugena's work phrase by phrase trying to catch the sense of his words, the reference, philosophical influences, to trace antecedents and its clouts to later middle age and Chartres school. In this scholastic text Eriugena comments the Capella's work and poses again the question of the studium to his students. Iohannes was a magister in schola Palatina during the time of Carl the Bald, he knew Saint Augustine works, and he knew Boethius, Calcidius, Macrobius, Isidorus and Cassiodorus ones too. He translated Pseudo-Dionysius the Areopagite and Maximus the Confessor. He had a neoplatonic view of Christianity and tried to harmonize the impossibility to know God to man's intellectual capability to get a glimpse of God through the study of the nature. According to this point of view, Eriugena's comment of Martianus Capella was no more a secondary work. It gets more and more importance to understand his research and his mystic, and to understand and really grasp the inner sense of his chief work Periphyseon.

Morphological and functional study of cerebral aging in rat

Aging is a physiological process characterized by a progressive decline of the “cellular homeostatic reserve”, refereed as the capability to respond suitably to exogenous and endogenous stressful stimuli. Due to their high energetic requests and post-mitotic nature, neurons are peculiarly susceptible to this phenomenon. However, the aged brain maintains a certain level of adaptive capacities and if properly stimulated may warrant a considerable functional recovery. Aim of the present research was to verify the plastic potentialities of the aging brain of rats subjected to two kind of exogenous stimuli: A) the replacement of the standard diet with a ketogenic regimen (the change forces the brain to use ketone bodies (KB) in alternative to glucose to satisfy the energetic needs) and B) a behavioural task able to induce the formation of inhibitory avoidance memory. A) Fifteen male Wistar rats of 19 months of age were divided into three groups (average body weight pair-matched), and fed for 8 weeks with different dietary regimens: i) diet containing 10% medium chain triglycerides (MCT); ii) diet containing 20% MCT; iii) standard commercial chow. Five young (5 months of age) and five old (26-27 months of age) animals fed with the standard diet were used as further controls. The following morphological parameters reflecting synaptic plasticity were evaluated in the stratum moleculare of the hippocampal CA1 region (SM CA1), in the outer molecular layer of the hippocampal dentate gyrus (OML DG), and in the granule cell layer of the cerebellar cortex (GCL-CCx): average area (S), numeric density (Nvs), and surface density (Sv) of synapses, and average volume (V), numeric density (Nvm), and volume density (Vv) of synaptic mitochondria. Moreover, succinic dehydrogenase (SDH) activity was cytochemically determined in Purkinje cells (PC) and V, Nvm, Vv, and cytochemical precipitate area/mitochondrial area (R) of SDH-positive mitochondria were evaluated. In SM CA1, MCT-KDs induced the early appearance of the morphological patterns typical of old animals: higher S and V, and lower Nvs and Nvm. On the contrary, in OML DG, Sv and Vv of MCT-KDs-fed rats were higher (as a result of higher Nvs and Nvm) vs. controls; these modifications are known to improve synaptic function and metabolic supply. The opposite effects of MCT-KDs might reflect the different susceptibility of these brain regions to the aging processes: OML DG is less vulnerable than SM CA1, and the reactivation of ketone bodies uptake and catabolism might occur more efficiently in this region, allowing the exploitation of their peculiar metabolic properties. In GCL-CCx, the results described a new scenario in comparison to that found in the hippocampal formation: 10%MCT-KD induced the early appearance of senescent patterns (decreased Nvs and Nvm; increased V), whereas 20%MCT-KD caused no changes. Since GCL-CCx is more vulnerable to age than DG, and less than CA1, these data further support the hypothesis that MCT-KDs effects in the aging brain critically depend on neuronal vulnerability to age, besides MCT percentage. Regarding PC, it was decided to evaluate only the metabolic effect of the dietetic regimen (20%MCT-KD) characterized by less side effects. KD counteracted age-related decrease in numeric density of SDH-positive mitochondria, and enhanced their energetic efficiency (R was significantly higher in MCT-KD-fed rats vs. all the controls). Since it is well known that Purkinje and dentate gyrus cells are less vulnerable to aging than CA1 neurons, these results corroborate our previous hypothesis. In conclusion, the A) experimental line provides the first evidence that morphological and functional parameters reflecting synaptic plasticity and mitochondrial metabolic competence may be modulated by MCT-KDs in the pre-senescent central nervous system, and that the effects may be heterogeneous in different brain regions. MCT-KDs seem to supply high energy metabolic intermediates and to be beneficial (“anti-aging”) for those neurons that maintain the capability to exploit them. This implies risks but also promising potentialities for the therapeutic use of these diets during aging B) Morphological parameters of synapses and synaptic mitochondria in SM CA1 were investigated in old (26-27 month-old) female Wistar rats following a single trial inhibitory avoidance task. In this memory protocol animals learn to avoid a dark compartment in which they received a mild, inescapable foot-shock. Rats were tested 3 and 6 or 9 hours after the training, divided into good and bad responders according to their performance (retention times above or below 100 s, respectively) and immediately sacrificed. Nvs, S, Sv, Nvm, V, and Vv were evaluated. In the good responder group, the numeric density of synapses and mitochondria was significantly higher and the average mitochondrial volume was significantly smaller 9 hours vs. 6 hours after the training. No significant differences were observed among bad responders. Thus, better performances in passive avoidance memory task are correlated with more efficient plastic remodeling of synaptic contacts and mitochondria in hippocampal CA1. These findings indicate that maintenance of synaptic plastic reactivity during aging is a critical requirement for preserving long-term memory consolidation.

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.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

Analisi biomeccanica del MAWASHI GERI JODAN in cinture nere di Karate: modelli tecnici a confronto

In martial arts there are several ways to perform the turning kick . Following the martial arts or different learning models many types of kicks take shape. Mawashi geri is the karate turning kick. At the moment there are two models of mawashi geri, one comes from the traditional karate (OLD), and the other newer (NEW), who agrees to the change of the rules of W.K.F. (World Karate Federation) happened in 2000 (Macan J. et all 2006) . In this study we are focus on the differences about two models the mawashi geri jodan of karate. The purpose of this study is to analyse cinematic and kinetic parameters of mawashi geri jodan. Timing of the striking and supporting leg actions were also evaluated A Vicon system 460 IR with 6 cameras at sample frequency of 200 Hz was used. 37 reflective markers have been set on the skin of the subjects following the “PlugInGait-total body model”. The participants performed five repetitions of mawashi geri jodan at maximum rapidity with their dominant leg against a ball suspended in front of them placed at ear height. Fourteen skilled subjects (mean level black belt 1,7 dan; age 20,9±4,8 yrs; height 171,4±7,3 cm; weight 60,9±10,2 Kg) practicing karate have been split in two group through the hierarchical cluster analysis following their technical characteristics. By means of the Mann Whitney-U test (Spss-package) the differences between the two groups were verified in preparatory and execution phase. Kicking knee at start, kicking hip and knee at take-off were different between the two groups (p < 0,05). Striking hip flexion during the spin of the supporting foot was different between the two groups (p < 0,05). Peak angular velocity of hip flexion were different between the two groups (p < 0,05). Groups showed differences also in timing of the supporting spin movement. While Old group spin the supporting foot at 30% of the trial, instead New start spinning at 44% of the trial. Old group showed a greater supporting foot spin than New (Old 110° Vs New 82°). Abduction values didn’t show any differences between the two groups. At the hit has been evaluated a 120° of double hips abduction, for the entire sample. Striking knee extension happened for everybody after the kicking hip flexion and confirm the proximal-distal action of the striking leg (Sorensen H. 1996). In contrast with Pearson J.N. 1997 and Landeo R 2007, peak velocity of the striking foot is not useful to describe kick performance because affected by the stature. Two groups are different either in preparatory phase or in execution phase. The body is set in difference manner already before the take-off of the kicking foot. The groups differ for the timing of the supporting foot action Trainer should pay attention to starting posture and on abduction capacities of the athletes.

Das moderne Buch: Harry Graf Kesslers Ästhetik der Lebenskunst im Spiegel der Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker

Die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker wurde seit 1904 bis in die Zwanziger Jahre hinein im Insel Verlag in Leipzig publiziert. Die Buchreihe hat nicht nur für den Verlag und die Druckerei Poeschel in der sie gedruckt wurde eine ganze Reihe von Neuerungen nach sich gezogen, auch für den deutschen Buchmarkt hat die Klassikerausgabe einen Meilenstein bedeutet. Sie hat einige Eigenschaften des Taschenbuches vorweggenommen. Sie orientierte sich an der Qualität bibliophiler Buchpublikationen, aber war dennoch preislich erschwinglich. Zeitgenössische Klassikerausgaben erschienen zumeist mit einem Kommentar. Nicht so die Großherzog Wilhelm Ernst Ausgabe. Der Text wurde zwar von führenden Wissenschaftlern editiert, aber sie war dennoch unkommentiert. Der Text war in einer Jenson-Antiqua gesetzt obwohl die Debatte um individuell gestaltete Künstlerschriften und die Diskussion um die als deutsche Schrift begriffene Fraktur unter den wichtigsten Protagonisten des deutschen Buchgewerbes ihren Höhepunkt noch nicht erreicht hatte. Ziel für die Klassikerausgabe war darüber hinaus, das zur Jahrhundertwende leicht angestaubte Image der Stadt Weimar aufzupolieren. Über das Patronat des Großherzogs hinaus hätte man die Gewinne aus dem Verkauf der Bücher der Permanenten Ausstellung für die Anschaffung von modernen Kunstobjekten zur Verfügung stellen wollen, die unter der Leitung von Harry Graf Kessler stand. Sieht man den Inhalt der Werke der in der Klassikerreihe erschienen Dichter Goethe, Schiller und Körner in einem ästhetischen Kontext mit dem der Philosophen Schopenhauer und Kant, wird im Spiegel der Formalästhetik der Klassikerausgabe Graf Kesslers Bildungs- und Kulturbegriff erkennbar, der sich in den Jahren nach der Jahrhundertwende zu seinem Lebenskunstideal verdichtete. Der zerrütteten Existenz der Zeitgenossen, wie Friedrich Nietzsche sie beschrieben hatte, sollte der Inhalt der Ausgabe in seiner modernen Form eine moderne Wertehaltung entgegensetzen. Die Lektüre der Klassiker sollte den deutschen Philister „entkrampfen“ und ihm ein Stück der verloren geglaubten Lebensfreude wieder zurück bringen, in dem dieser auch die Facetten des Lebensleids als normal hinnehmen und akzeptieren lernte. Die Klassikerausgabe repräsentierte aus diesem Grund auch den kulturellen und politischen Reformwillen und die gesellschaftlichen Vorstellungen die der Graf für ein modernes Deutschland als überfällig erachtete. Die Buchreihe war aus diesem Grund auch ein politisches Statement gegen die Beharrungskräfte im deutschen Kaiserreich. Die Klassikerreihe wurde in der buchhistorischen Forschung zwar als bedeutender Meilenstein charakterisiert und als „wichtiges“ oder gar „revolutionäres“ Werk der Zeit hervorgehoben, die Ergebnisse der Forschung kann man überspitzt aber in der Aussage zusammenfassen, dass es sich bei der Großherzog Wilhelm Ernst Ausgabe um einen „zufälligen Glückstreffer“ deutscher Buchgestaltung zu handeln scheint. Zumindest lassen die Aussagen, die bisher in dieser Hinsicht gemacht wurden, keine eindeutige Einordnung zu, außer vielleicht der, dass die Klassiker von der englischen Lebensreform inspiriert wurden und Henry van de Velde und William Morris einen Einfluss auf ihre äußere Form hatten. Gerade die Gedankenansätze dieser Beiden nutzte Graf Kessler aber für eigene Überlegungen, die ihn schließlich auch zu eigenen Vorstellungen von idealer Buchgestaltung brachten. Da für Kessler auch Gebrauchsgegenstände Kunst sein konnten, wird das Konzept der Klassikerausgabe bis zur Umsetzung in ihrer `bahnbrechenden´ Form in das ideengeschichtliche und ästhetische Denken des Grafen eingeordnet. Die Klassiker werden zwar in buchhistorischen Einzeluntersuchungen bezüglich ihrer Komponenten, dem Dünndruckpapier, ihrem Einband oder der Schrifttype exponiert. In buchwissenschaftlichen Überblicksdarstellungen wird ihr Einfluss hingegen weniger beachtet, denn verschiedene Kritiker bezogen sie seit ihrem ersten Erscheinen nicht als deutsches Kulturgut mit ein, denn sie lehnten sowohl die englischen Mitarbeiter Emery Walker, Edward Johnston, Eric Gill und Douglas Cockerell wie auch ihre Gestaltung als „welsche“ Buchausgabe ab. Richtig ist, die Großherzog Wilhelm Ernst Ausgabe hatte dieselbe Funktion wie die von Graf Kessler in Weimar konzipierten Kunstausstellungen und die dortige Kunstschule unter der Leitung seines Freundes Henry van de Velde. Auch das für Weimar geplante Theater, das unter der Leitung von Hugo von Hofmannsthal hätte stehen sollen und die Großherzog Wilhelm Ernst Schule, hätten dieselben Ideen der Moderne mit anderen Mitteln transportieren sollen, wie die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker.

"Who Fears Death" di Nnedi Okorafor, una proposta di traduzione

This dissertaton deals with the translation of selected chapters from Nnedi Okorafor’s novel Who Fears Death. The novel, set in a post-apocalyptic Africa ravaged by inter-ethnic violence, narrates the tale of Onyesonwu, an Ewu, a half-breed born of rape, facing the rejection of her community. Growing up Onyesonwu realizes that the color of her skin is not the only thing that sets her apart from the other inhabitants of Jwahir, as she starts to manifest magical powers, and during an unintentional visit to the spirit realms she finds out that her biological father, a very powerful sorcerer, wants to kill her. At this point the only option left to her is to learn the secret arts of magic under the guidance of Aro, the sorcerer, and then embark on a journey to put and end to the menace posed by her biological father, stop the massacres between the Okeke and Nuru people, and rewrite history. This work is structured in five chapters. The first presents a brief retelling of the author’s life and works. The second chapter constitutes the theoretical frame according to which the novel will be described, and illustrates an analysis on the function of sci-fi literature. The third chapter introduces the novel itself, dealing with its setting and cultural peculiarities, the literary genre to which it belongs, and analysing the themes deemed most relevant, among which the racial and gender issues. The fourth chapter consists of the translation of some chapters from the novel Who Fears Death, and the fifth of a comment on the translation, presenting both a textual analysis, and notes on the choices deemed most interesting or challenging in a translation process perspective.

Effective Practice and Experiential Education

The central challenge to educators in the liberal arts as in all areas of study is transfer of learning i.e. how can we design learning environments and instruction to that students will be able to use what they learn in appropriate new contexts? Alfred North Whitehead described this as the problem of ‘inert knowledge’ nearly a century ago and Dewey noted that instruction which helps students reproduce what is studied on exams might not produce the depth of understanding that allows for recognizing the relevance of what is known to a particular situation and the ability to apply it. Knowledge that is not conditionalized (i.e. in which the learner does not know when where and why it is to be used) is inert.

Learning real-world stimuli in a neural network with spike-driven synaptic dynamics

We present a model of spike-driven synaptic plasticity inspired by experimental observations and motivated by the desire to build an electronic hardware device that can learn to classify complex stimuli in a semisupervised fashion. During training, patterns of activity are sequentially imposed on the input neurons, and an additional instructor signal drives the output neurons toward the desired activity. The network is made of integrate-and-fire neurons with constant leak and a floor. The synapses are bistable, and they are modified by the arrival of presynaptic spikes. The sign of the change is determined by both the depolarization and the state of a variable that integrates the postsynaptic action potentials. Following the training phase, the instructor signal is removed, and the output neurons are driven purely by the activity of the input neurons weighted by the plastic synapses. In the absence of stimulation, the synapses preserve their internal state indefinitely. Memories are also very robust to the disruptive action of spontaneous activity. A network of 2000 input neurons is shown to be able to classify correctly a large number (thousands) of highly overlapping patterns (300 classes of preprocessed Latex characters, 30 patterns per class, and a subset of the NIST characters data set) and to generalize with performances that are better than or comparable to those of artificial neural networks. Finally we show that the synaptic dynamics is compatible with many of the experimental observations on the induction of long-term modifications (spike-timing-dependent plasticity and its dependence on both the postsynaptic depolarization and the frequency of pre- and postsynaptic neurons).

Shear band evolution in Zr/Hf-based bulk metallic glasses under static and dynamic indentations

Bulk metallic glasses (BMGs) exhibit superior mechanical properties as compared with other conventional materials and have been proposed for numerous engineering and technological applications. Zr/Hf-based BMGs or tungsten reinforced BMG composites are considered as a potential replacement for depleted uranium armor-piercing projectiles because of their ability to form localized shear bands during impact, which has been known to be the dominant plastic deformation mechanism in BMGs. However, in conventional tensile, compressive and bending tests, limited ductility has been observed because of fracture initiation immediately following the shear band formation. To fully investigate shear band characteristics, indentation tests that can confine the deformation in a limited region have been pursued. In this thesis, a detailed investigation of thermal stability and mechanical deformation behavior of Zr/Hf-based BMGs is conducted. First, systematic studies had been implemented to understand the influence of relative compositions of Zr and Hf on thermal stability and mechanical property evolution. Second, shear band evolution under indentations were investigated experimentally and theoretically. Three kinds of indentation studies were conducted on BMGs in the current study. (a) Nano-indentation to determine the mechanical properties as a function of Hf/Zr content. (b) Static Vickers indentation on bonded split specimens to investigate the shear band evolution characteristics beneath the indention. (c) Dynamic Vickers indentation on bonded split specimens to investigate the influence of strain rate. It was found in the present work that gradually replacing Zr by Hf remarkably increases the density and improves the mechanical properties. However, a slight decrease in glass forming ability with increasing Hf content has also been identified through thermodynamic analysis although all the materials in the current study were still found to be amorphous. Many indentation studies have revealed only a few shear bands surrounding the indent on the top surface of the specimen. This small number of shear bands cannot account for the large plastic deformation beneath the indentations. Therefore, a bonded interface technique has been used to observe the slip-steps due to shear band evolution. Vickers indentations were performed along the interface of the bonded split specimen at increasing loads. At small indentation loads, the plastic deformation was primarily accommodated by semi-circular primary shear bands surrounding the indentation. At higher loads, secondary and tertiary shear bands were formed inside this plastic zone. A modified expanding cavity model was then used to predict the plastic zone size characterized by the shear bands and to identify the stress components responsible for the evolution of the various types of shear bands. The applicability of various hardness—yield-strength ( H −σγ ) relationships currently available in the literature for bulk metallic glasses (BMGs) is also investigated. Experimental data generated on ZrHf-based BMGs in the current study and those available elsewhere on other BMG compositions were used to validate the models. A modified expanding-cavity model, employed in earlier work, was extended to propose a new H −σγ relationship. Unlike previous models, the proposed model takes into account not only the indenter geometry and the material properties, but also the pressure sensitivity index of the BMGs. The influence of various model parameters is systematically analyzed. It is shown that there is a good correlation between the model predictions and the experimental data for a wide range of BMG compositions. Under dynamic Vickers indentation, a decrease in indentation hardness at high loading rate was observed compared to static indentation hardness. It was observed that at equivalent loads, dynamic indentations produced more severe deformation features on the loading surface than static indentations. Different from static indentation, two sets of widely spaced semi-circular shear bands with two different curvatures were observed. The observed shear band pattern and the strain rate softening in indentation hardness were rationalized based on the variations in the normal stress on the slip plane, the strain rate of shear and the temperature rise associated with the indentation deformation. Finally, a coupled thermo-mechanical model is proposed that utilizes a momentum diffusion mechanism for the growth and evolution of the final spacing of shear bands. The influence of strain rate, confinement pressure and critical shear displacement on the shear band spacing, temperature rise within the shear band, and the associated variation in flow stress have been captured and analyzed. Consistent with the known pressure sensitive behavior of BMGs, the current model clearly captures the influence of the normal stress in the formation of shear bands. The normal stress not only reduces the time to reach critical shear displacement but also causes a significant temperature rise during the shear band formation. Based on this observation, the variation of shear band spacing in a typical dynamic indentation test has been rationalized. The temperature rise within a shear band can be in excess of 2000K at high strain rate and high confinement pressure conditions. The associated drop in viscosity and flow stress may explain the observed decrease in fracture strength and indentation hardness. The above investigations provide valuable insight into the deformation behavior of BMGs under static and dynamic loading conditions. The shear band patterns observed in the above indentation studies can be helpful to understand and model the deformation features under complex loading scenarios such as the interaction of a penetrator with armor. Future work encompasses (1) extending and modifying the coupled thermo-mechanical model to account for the temperature rise in quasistatic deformation; and (2) expanding this model to account for the microstructural variation-crystallization and free volume migration associated with the deformation.

Properties comparison of Injected and SLS material

Most of the plastic injection companies are focused in the production of some products with a high exigency standard levels. That is why, to compete and gain some market share in front of the concurrency of companies from other countries, they need to be able to introduce new rapid prototyping techniques and product development.

Cortical reorganisation of cerebral networks after childhood stroke: impact on outcome.

BACKGROUND Recovery after arterial ischaemic stroke is known to largely depend on the plastic properties of the brain. The present study examines changes in the network topography of the developing brain after stroke. Effects of brain damage are best assessed by examining entire networks rather than single sites of structural lesions. Relating these changes to post-stroke neuropsychological variables and motor abilities will improve understanding of functional plasticity after stroke. Inclusion of healthy controls will provide additional insight into children's normal brain development. Resting state functional magnetic resonance imaging is a valid approach to topographically investigate the reorganisation of functional networks after a brain lesion. Transcranial magnetic stimulation provides complementary output information. This study will investigate functional reorganisation after paediatric arterial ischaemic stroke by means of resting state functional magnetic resonance imaging and transcranial magnetic stimulation in a cross-sectional plus longitudinal study design. The general aim of this study is to better understand neuroplasticity of the developing brain after stroke in order to develop more efficacious therapy and to improve the post-stroke functional outcome. METHODS The cross-sectional part of the study will investigate the functional cerebral networks of 35 children with chronic arterial ischaemic stroke (time of the lesion >2 years). In the longitudinal part, 15 children with acute arterial ischaemic stroke (shortly after the acute phase of the stroke) will be included and investigations will be performed 3 times within the subsequent 9 months. We will also recruit 50 healthy controls, matched for age and sex. The neuroimaging and neurophysiological data will be correlated with neuropsychological and neurological variables. DISCUSSION This study is the first to combine resting state functional magnetic resonance imaging and transcranial magnetic stimulation in a paediatric population diagnosed with arterial ischaemic stroke. Thus, this study has the potential to uniquely contribute to the understanding of neuronal plasticity in the brains of healthy children and those with acute or chronic brain injury. It is expected that the results will lead to the development of optimal interventions after arterial ischaemic stroke.

Arte y nuevas tecnologías : acerca de la producción, modalidades expositivas y diversas aplicaciones de la imagen digital

Se propone la producción y posterior análisis de obras digitales que presenta una elaboración teórica-práctica intrínseca como sustento de las nuevas categorías y neologismos surgidos dentro del ámbito artístico digital. Se estudian distintas aplicaciones, modalidades de creación, exposición y transferencia al medio como así también las posibilidades relacionales que surgen entre imagen digital, objeto artístico y diseño de productos traspasando las fronteras de campos disciplinares como Arte y Diseño. La metodología empleada se concentra en enfoques sociológicos y semiótico-pragmáticos que permiten realizar un análisis profundo de las obras digitales en sí mismas y en relación a los contextos de producción, circulación, exposición y consumo.

La división de las ciencias y el tema del hombre-microcosmos según algunos maestros de artes de París hacia 1250

En las divisiones de la ciencia provenientes de la Facultad de Artes de París, algunos maestros (Pseudo-Peckham, Iohannes Pagus) establecen conexiones entre las facultades del alma y los objetos del mundo propios a la actividad de cada una de tales facultades, determinando así las diversas ciencias que surgen a partir de estas relaciones. El enlace de estos elementos se hace posible dentro del marco del hombre como microcosmos que los maestros desarrollan a partir de adagios aristotélicos tomados del De anima y de la Física con la utilización de algunas fuentes neoplatónicas. Según los maestros de artes, el conocimiento de todas las cosas es asequible al hombre precisamente porque en él se encuentran, de alguna manera, el resumen y la presencia de todas las cosas.