Multifocal pattern electroretinography for the detection of neural loss in eyes with permanent temporal hemianopia or quadrantanopia from chiasmal compression

Aims To evaluate the ability of multifocal transient pattern electroretinography (mfPERG) to detect neural loss and assess the relationship between mfPERG and visual-field (VF) loss in eyes with chiasmal compression. Methods 23 eyes from 23 patients with temporal VF defects and band atrophy of the optic nerve and 21 controls underwent standard automated perimetry and mfPERG using a stimulus pattern of 19 rectangles, each consisting of 12 squares. The response was determined for the central rectangle, for the nasal and temporal hemifields (eight rectangles each) and for each quadrant (three rectangles) in both patients and controls. Comparisons were made using variance analysis. Correlations between VF and mfPERG measurements were verified by linear regression analysis. Results Mean +/- SD mfPERG amplitudes from the temporal hemifield (0.50 +/- 0.17 and 0.62 +/- 0.32) and temporal quadrants (superior 0.42 +/- 0.21 and 0.52 +/- 0.35, inferior 0.51 +/- 0.23 and 0.74 +/- 0.40) were significantly lower in eyes with band atrophy than in controls (0.78 +/- 0.24, 0.89 +/- 0.28, 0.73 +/- 60.26, 0.96 +/- 0.36, 0.79 +/- 0.26 and 0.91 +/- 0.31, respectively). No significant difference was observed in nasal hemifield measurements. Significant correlations (0.36-0.73) were found between VF relative sensitivity and mfPERG amplitude in different VF sectors. Conclusions mfPERG amplitude measurements clearly differentiate eyes with temporal VF defect from controls. The good correlation between mfPERG amplitudes and the severity of VF defect suggests that mfPERG may be used as an indicator of ganglion cell dysfunction.

Overview of semi-sinusoidal stellar variability with the CoRoT satellite

Context. To date, the CoRoT space mission has produced more than 124 471 light curves. Classifying these curves in terms of unambiguous variab ility behavior is mandatory for obtaining an unbi ased statistical view on th eir controlling root-causes. Aims. The present study provides an overview of semi-sinusoidal light curves observed by the CoRoT exo-field CCDs. Methods. We selected a sample of 4206 light curves presenting well-defined semi-si nusoidal signatures. Th e variability periods were computed based on Lomb-Scargle periodograms, harmonic fits, and visual inspection. Results. Color–period diagrams for the present sample show the trend of an increase of the variability periods as long as the stars evolve. This evolutionary behavior is also noticed when comparing the period distribution in the Galactic center and anti-center directions. These aspect s indicate a compatibility with stellar rotation, although more inform ation is needed to confirm their root- causes. Considering this possi bility, we identified a subset of th ree Sun-like candidates by their photometric peri od. Finally, the variability period versus color diagr am behavior was found to be highly depe ndent on the reddening correction.

Análisis de la relación que se establece entre las expectativas de padres y profesores de alumnos con necesidades educativas especiales sobre la atención escolar que reciben los hijos/alumnos y el progreso de los mismos

Programa de Doctorado: Formación del Profesorado

Models for the study of neuronal activity during cognitive tasks

Assessment of brain connectivity among different brain areas during cognitive or motor tasks is a crucial problem in neuroscience today. Aim of this research study is to use neural mass models to assess the effect of various connectivity patterns in cortical EEG power spectral density (PSD), and investigate the possibility to derive connectivity circuits from EEG data. To this end, two different models have been built. In the first model an individual region of interest (ROI) has been built as the parallel arrangement of three populations, each one exhibiting a unimodal spectrum, at low, medium or high frequency. Connectivity among ROIs includes three parameters, which specify the strength of connection in the different frequency bands. Subsequent studies demonstrated that a single population can exhibit many different simultaneous rhythms, provided that some of these come from external sources (for instance, from remote regions). For this reason in the second model an individual ROI is simulated only with a single population. Both models have been validated by comparing the simulated power spectral density with that computed in some cortical regions during cognitive and motor tasks. Another research study is focused on multisensory integration of tactile and visual stimuli in the representation of the near space around the body (peripersonal space). This work describes an original neural network to simulate representation of the peripersonal space around the hands, in basal conditions and after training with a tool used to reach the far space. The model is composed of three areas for each hand, two unimodal areas (visual and tactile) connected to a third bimodal area (visual-tactile), which is activated only when a stimulus falls within the peripersonal space. Results show that the peripersonal space, which includes just a small visual space around the hand in normal conditions, becomes elongated in the direction of the tool after training, thanks to a reinforcement of synapses.

People counting with re-identification using depth cameras

[EN]Low cost real-time depth cameras offer new sensors for a wide field of applications apart from the gaming world. Other active research scenarios as for example surveillance, can take ad- vantage of the capabilities offered by this kind of sensors that integrate depth and visual information. In this paper, we present a system that operates in a novel application context for these devices, in troublesome scenarios where illumination conditions can suffer sudden changes. We focus on the people counting problem with re-identification and trajectory analysis.

Il cinema in missione. La pratica cinematografica dei missionari italiani lungo il XX secolo tra apostolato e antropologia

The thesis reconstructs the cinema’s experience of Italian missionaries during the XX century in a historical-pragmatic key. Italian missionaries, who started producing movies around the Twenties, have used cinema as a helpful instrument for religious propaganda. They have considered the rules of the Catholic Church, the political and social context and the audience’s expectations. Each chapter (1-4) analyses the phenomenon inside the context constituted by the Italian colonial experiences, the relationship between Catholic Church and images during the Evangelization, the history of cinema and the history of missions. A specific chapter (chapter 5) is dedicated to the archives of missionary’s cinema and to the value to be assigned to this film production (in terms of social memory and archive’s memory). At the end of the first part, the thesis presents a proposal about the relationship between missionary’s cinema and visual anthropology. The second part of the thesis includes the film cards of the missionary’s movies preserved in Italy: 339 cards of Italian movies and 149 cards of foreign movies placed in different archives and bureaus.

Il ruolo del collicolo superiore nell'orientamento spaziale

This thesis was aimed at verifying the role of the superior colliculus (SC) in human spatial orienting. To do so, subjects performed two experimental tasks that have been shown to involve SC’s activation in animals, that is a multisensory integration task (Experiment 1 and 2) and a visual target selection task (Experiment 3). To investigate this topic in humans, we took advantage of neurophysiological finding revealing that retinal S-cones do not send projections to the collicular and magnocellular pathway. In the Experiment 1, subjects performed a simple reaction-time task in which they were required to respond as quickly as possible to any sensory stimulus (visual, auditory or bimodal audio-visual). The visual stimulus could be an S-cone stimulus (invisible to the collicular and magnocellular pathway) or a long wavelength stimulus (visible to the SC). Results showed that when using S-cone stimuli, RTs distribution was simply explained by probability summation, indicating that the redundant auditory and visual channels are independent. Conversely, with red long-wavelength stimuli, visible to the SC, the RTs distribution was related to nonlinear neural summation, which constitutes evidence of integration of different sensory information. We also demonstrate that when AV stimuli were presented at fixation, so that the spatial orienting component of the task was reduced, neural summation was possible regardless of stimulus color. Together, these findings provide support for a pivotal role of the SC in mediating multisensory spatial integration in humans, when behavior involves spatial orienting responses. Since previous studies have shown an anatomical asymmetry of fibres projecting to the SC from the hemiretinas, the Experiment 2 was aimed at investigating temporo-nasal asymmetry in multisensory integration. To do so, subjects performed monocularly the same task shown in the Experiment 1. When spatially coincident audio-visual stimuli were visible to the SC (i.e. red stimuli), the RTE depended on a neural coactivation mechanism, suggesting an integration of multisensory information. When using stimuli invisible to the SC (i.e. purple stimuli), the RTE depended only on a simple statistical facilitation effect, in which the two sensory stimuli were processed by independent channels. Finally, we demonstrate that the multisensory integration effect was stronger for stimuli presented to the temporal hemifield than to the nasal hemifield. Taken together, these findings suggested that multisensory stimulation can be differentially effective depending on specific stimulus parameters. The Experiment 3 was aimed at verifying the role of the SC in target selection by using a color-oddity search task, comprising stimuli either visible or invisible to the collicular and magnocellular pathways. Subjects were required to make a saccade toward a target that could be presented alone or with three distractors of another color (either S-cone or long-wavelength). When using S-cone distractors, invisible to the SC, localization errors were similar to those observed in the distractor-free condition. Conversely, with long-wavelength distractors, visible to the SC, saccadic localization error and variability were significantly greater than in either the distractor-free condition or the S-cone distractors condition. Our results clearly indicate that the SC plays a direct role in visual target selection in humans. Overall, our results indicate that the SC plays an important role in mediating spatial orienting responses both when required covert (Experiments 1 and 2) and overt orienting (Experiment 3).

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Reaching to a target in the 3-D space

Reaching and grasping an object is an action that can be performed in light, under visual guidance, as well as in darkness, under proprioceptive control only. Area V6A is a visuomotor area involved in the control of reaching movements. V6A, besides neurons activated by the execution of reaching movements, shows passive somatosensory and visual responses. This suggests fro V6A a multimodal capability of integrating sensory and motor-related information, We wanted to know whether this integration occurrs in reaching movements and in the present study we tested whether the visual feedback influenced the reaching activity of V6A neurons. In order to better address this question, we wanted to interpret the neural data in the light of the kinematic of reaching performance. We used an experimental paradigm that could examine V6A responses in two different visual backgrounds, light and dark. In these conditions, the monkey performed an istructed-delay reaching task moving the hand towards different target positions located in the peripersonal space. During the execution of reaching task, the visual feedback is processed in a variety of patterns of modulation, sometimes not expected. In fact, having already demonstrated in V6A reach-related discharges in absence of visual feedback, we expected two types of neural modulation: 1) the addition of light in the environment enhanced reach-related discharges recorded in the dark; 2) the light left the neural response unmodified. Unexpectedly, the results show a complex pattern of modulation that argues against a simple additive interaction between visual and motor-related signals.

Intuizione e visualizzazione in matematica con particolare riferimento a Felix Klein

Questo lavoro trae spunto da un rinnovato interesse per l’«intuizione» e il «pensiero visivo» in matematica, e intende offrire un contributo alla discussione contemporanea su tali questioni attraverso lo studio del caso storico di Felix Klein. Dopo una breve ricognizione di alcuni dei saggi più significativi al riguardo, provenienti sia dalla filosofia della matematica, sia dalla pedagogia, dalle neuroscienze e dalle scienze cognitive, l’attenzione si concentra sulla concezione epistemologia di Klein, con particolare riferimento al suo uso del concetto di ‘intuizione’. Dai suoi lavori e dalla sua riflessione critica si ricavano non solo considerazioni illuminanti sulla fecondità di un approccio «visivo», ma argomenti convincenti a sostegno del ruolo cruciale dell’intuizione in matematica.

Forma breve e fotografia: una narrativa del Mozambico

La relazione interdisciplinare tra letteratura e fotografia, nella rilettura della storia recente del Mozambico, è l’oggetto di studio della presente tesi. Il presupposto coincide in primo luogo con la disamina interna della dialettica esistente tra archivio coloniale e oralità, modalità narrativa in parte transitata nella estória, declinazione lusofona della forma breve che permette di recuperare l’eredità popolare del racconto tradizionale. Il dialogo tra verbale e visuale consente a sua volta di stabilire nuovi paradigmi interpretativi nel dibattito postcoloniale tra memoria, trauma e rappresentazione. L’analisi comparativa tra la narrativa di João Paulo Borges Coelho e la fotografia di Ricardo Rangel rivela sguardi diversi sul mondo circostante, ma anche convergenze contemplative che si completano nell’incorporazione reciproca delle “omologie strutturali” comuni alle due modalità espressive. La fotografia colma delle lacune fornendoci delle visioni del passato, ma, in quanto “rappresentazione”, ci mostra il mondo per come appare e non per come funziona. Il testo letterario, grazie al suo approccio dialogico-narrativo, consente la rielaborazione museologica della complessa pletora di interferenze semantiche e culturali racchiuse nelle immagini, in altre parole fornisce degli “indizi di verità” da cui (ri)partire per l’elaborazione di nuovi archetipi narrativi tra l’evento rappresentato e la Storia di cui fa parte. Il punto di tangenza tra i due linguaggi è la cornice, espediente fotografico e narrativo che permette di tracciare i confini tra l’indicibile e l’invisibile, ma anche tra ciò che si narra e ciò che sta fuori dalla narrazione, ovvero fuori dalla storia. La tensione dialettica che si instaura tra questi due universi è seminale per stabilire le ragioni della specificità letteraria mozambicana perché, come afferma Luandino Vieira, “nel contesto postcoloniale gli scrittori sono dei satelliti che ruotano intorno ai «buchi neri della storia» la cui forza di attrazione permette la riorganizzazione dell’intero universo letterario.

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.

Studio longitudinale sulle capacità cognitive del cane: discriminazione di quantità ed apprendimento per imitazione in relazione all'attaccamento

Il presente studio ha indagato e valutato alcune abilità cognitive del cane: la capacità di discriminare quantità e le capacità di apprendimento mediante imitazione; quest’ultima è poi stata messa in relazione con l’attaccamento nei confronti del proprietario. Per l’esecuzione della prima indagine sono stati messi appunto due test: il primo si è basato esclusivamente sulla presentazione di uno stimolo visivo: diversi quantitativi di cibo, differenti tra loro del 50%, sono stati presentati al cane; la scelta effettuata dai soggetti testati è stata premiata con differenti tipi di rinforzo differenziale o non differenziale. Il secondo test è stato diviso in due parti: sono stati presentati al cane diversi quantitativi di cibo sempre differenti tra loro del 50% ma nella prima parte del test l’input sensoriale per il cane è stato esclusivamente uditivo mentre nella seconda parte è stato sia uditivo che visivo. Ove è stato possibile è stato applicato ai cani un cardiofrequenzimetro al fine di eseguire una valutazione delle variazioni della frequenza cardiaca nel corso del test. Lo scopo è stato quello di valutare se i soggetti testati erano in grado di discriminare la quantità maggiore. La seconda indagine ha analizzato le capacità di apprendimento di 36 soggetti che sono stati suddivisi in cani da lavoro e pet. I soggetti protagonisti dello studio hanno eseguito il Mirror Test per la valutazione dell’apprendimento per imitazione. I soggetti presi in considerazione, sono stati sottoposti a scansione termografica all’inizio ed al termine del test ed è stata rilevata la loro frequenza respiratoria nella fase iniziale e finale del test. In 11 soggetti che hanno eseguito il precedente test è stato possibile eseguire anche il Strange Situation Test per la valutazione dell’attaccamento al proprietario; i test in questione sono stati videoregistrati ed analizzati per mezzo di un software preposto (OBSERVER XT 10).

Motorisches Lernen in Drosophila melanogaster

In der vorliegenden Arbeit wurden die durch Training induzierten motorischen Gedächtnisleistungen der Taufliege Drosophila melanogaster beim Überklettern von acht symmetrisch verteilten Lücken auf einem rotierenden Ring untersucht. Durch den auf sie einwirkenden optischen Fluss der vorbeiziehenden äußeren Umgebung wurden die Fliegen angeregt, diesem optomotorischen Reiz entgegenzuwirken und die Lücken laufend zu überqueren. Durch Training verbessert und langfristig gelernt wird die kompensatorische Lückenüberquerung X+ gegen die Rotation. In der aus diesem Training erhaltenen Lernkurve war eine überdurchschnittlich hohe Leistungsverbesserung nach einem einzigen Trainingslauf mit einem zeitlichen Bestand von ca. 40 Minuten abzulesen, um danach vom motorischen Gedächtnisspeicher trainierter Fliegen nicht mehr abgerufen werden zu können. Nach einer Ruhephase von einem bis mehreren Tagen wurden die Fliegen auf mögliche Langzeitlernleistungen untersucht und diese für verschiedene Intervalle nachgewiesen. Sowohl die Leistungsverbesserung während des Trainings, als auch der Lerneffekt nach 24h bleiben in mutanten rutabaga2080 sowie rut1 Fliegen aus. Betroffen ist das Gen der Adenylylzyklase I, ein Schlüsselprotein der cAMP-Signalkaskade, die u.a. im olfaktorischen und visuellen Lernen gebraucht wird. Damit ergab sich die Möglichkeit die motorischen Gedächtnisformen durch partielle Rettung zu kartieren. Die motorische Gedächtniskonsolidierung ist schlafabhängig. Wie sich herausstellte, benötigen WTB Fliegen nur eine Dunkelphase von 10h zwischen einem ersten Trainingslauf und einem Testlauf um signifikante Leistungssteigerungen zu erzielen. In weiterführenden Versuchen wurden die Fliegen nachts sowie tagsüber mit einer LED-Lampe oder in einer Dunkelkammer, mit einem Kreisschüttler oder einer Laborwippe depriviert, mit dem Ergebnis, dass nur jene Fliegen ihre Leistung signifikant gegenüber einem ersten Trainingslauf verbessern konnten, welche entweder ausschließlich der Dunkelheit ausgesetzt waren oder welchen die Möglichkeit gegeben wurde, ein Gedächtnis zunächst in einer natürlichen Schlafphase zu konsolidieren (21Uhr bis 7Uhr MEZ). In weiteren Experimenten wurden die experimentellen Bedingungen entweder während des Trainings oder des Tests auf eine Fliege und damit verbunden auf eine erst durch das Training mögliche motorische Gedächtniskonsolidierung einwirken zu können, untersucht. Dazu wurden die Experimentparameter Lückenweite, Rotationsrichtung des Lückenringes, Geschwindigkeit des Lückenringes sowie die Verteilung der acht Lücken auf dem Ring (symmetrisch, asymmetrisch) im Training oder beim Gedächtnisabruf im Testlauf verändert. Aus den Ergebnissen kann geschlussfolgert werden, dass die Lückenweite langzeitkonsolidiert wird, die Rotationsrichtung kurzzeitig abgespeichert wird und die Drehgeschwindigkeit motivierend auf die Fliegen wirkt. Die symmetrische Verteilung der Lücken auf dem Ring dient der Langzeitkonsolidierung und ist als Trainingseingang von hoher Wichtigkeit. Mit Hilfe verschiedener Paradigmen konnten die Leistungsverbesserungen der Fliegen bei Abruf eines Kurz- bzw. Langzeitgedächtnisses hochauflösend betrachtet werden (Transfer). Die Konzentration, mit der eine WTB Fliege eine motorische Aufgabe - die Überquerung von Lücken entgegengesetzt der Rotationsrichtung - durchführt, konnte mit Hilfe von Distraktoreizen bestimmt werden. Wie sich herausstellte, haben Distraktoren einen Einfluss auf die Erfolgsquote einer Überquerung, d.h. mit zunehmender Distraktionsstärke nahm die Wahrscheinlichkeit einer Lückenüberquerung ab. Die Ablenkungsreize wirkten sich weiterhin auf die Vermessung einer Lücke aus, in dem entweder "peering"-artigen Bewegungen im Training durchgeführt wurden oder je nach Reizstärke ausschließlich nur jene Lücken vermessen wurden, welche auch überquert werden sollten.

Still/moving images. Il rapporto dialettico tra cinema e fotografia nelle pratiche artistiche contemporanee.

Tra le plurime conseguenze dell’avvento del digitale, la riarticolazione dei rapporti tra immagine statica e immagine in movimento è certamente una delle più profonde. Sintomatica dei cambiamenti in atto sia nei film studies sia nella storia dell’arte, tale riarticolazione richiede un ripensamento dei confini disciplinari tradizionali entro cui il cinema e la fotografia sono stati affrontati come oggetti di studio separati e distinti. Nell’adottare un approccio molteplice, volto a comprendere prospettive provenienti dalla New Film History e dalla media archaeology, dalla teoria dell’arte e dagli studi visuali, questo lavoro esplora l’esistenza di una relazione dialettica tra il cinema e la fotografia intesa in modo duplice: come tensione costitutiva tra due media indissolubilmente connessi – non tanto in considerazione di un medesimo principio realistico di rappresentazione quanto, piuttosto, in virtù di uno scambio incessante nella modellizzazione di categorie quali il tempo, il movimento, l’immobilità, l’istante, la durata; come istanza peculiare della pratica artistica contemporanea, paradigma di riferimento nella produzione estetica di immagini. La tesi si suddivide in tre capitoli. Il primo si concentra sul rapporto tra l’immobilità e il movimento dell’immagine come cifra in grado di connettere l’estetica delle attrazioni e la cronofotografia a una serie di esperienze filmiche e artistiche prodotte nei territori delle avanguardie. Il secondo capitolo considera l’emergenza, dagli anni Novanta, di pratiche artistiche in cui l’incontro intermediale tra film e fotografia fornisce modelli di analisi volti all’indagine dell’attuale condizione estetica e tecnologica. Il terzo offre una panoramica critica su un caso di studio, la GIF art. La GIF è un formato digitale obsoleto che consente di produrre immagini che appaiono, simultaneamente, come fisse e animate; nel presente lavoro, la GIF è discussa come un medium capace di contraddire i confini attraverso cui concepiamo l’immagine fissa e in movimento, suggerendo, inoltre, un possibile modello di pensiero storico-cronologico anti-lineare.