Rischio sismico di Sistemi Urbani utilizzando l’analogia delle reti neuronali

L’obiettivo della ricerca è stata la messa a punto di un modello di rischio sismico per Sistemi Urbani con approccio multi-livello, utilizzando l’analogia con le reti neuronali, finalizzato sia ad una valutazione di confronto tra centri urbani, sulla base di indicatori di rischio, che ad una valutazione predittiva delle conseguenze di un evento sismico atteso. Lo studio dei Sistemi Urbani viene utilmente condotto per “livelli” di approfondimento del modello, con l’obiettivo di valutare dapprima sinteticamente (ad esempio attraverso le informazioni contenute in banche-dati esistenti) la propensione alla perdita di capacità di un numero elevato di centri urbani, da cui ricavare le situazioni di rischio più elevato, su cui occorra effettuare approfondimenti o stabilire priorità di ulteriori indagini (Livello 0). Qualora sia possibile effettuare studi di maggiore dettaglio sui centri urbani ad elevato rischio, si procederà con indagini e rilievi anche speditivi, valutando le perdite di capacità dei sistemi analizzati e rilevati, fino ad individuare parti dell’abitato a maggiore rischio (Livello 1). La ricerca è stata condotta nell’ambito del Task 5/7 del Progetto Reluis – Linea 10

University High Highlights 5/7/1965

This is the student newspaper from University High School, the high school that was on the campus of Western Michigan University, then called University High Highlights, in 1965

University High Highlights 5/7/1965

This is the student newspaper from University High School, the high school that was on the campus of Western Michigan University, then called University High Highlights, in 1965

Brahms Festival: Perspectives on Performance, April 5 - 7, 2001

This is the concert program of the Brahms Festival performance on Thursday - Saturday, April 5 - 7, 2001 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts and the Marshall Room, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonata No. 1 for Violin and Piano in G Major, Op. 78; Regenlied, Op. 59 No. 3, Auf dem See, Op. 59 No. 2; Unüberwindlich, Op. 72 No. 5; An eine Ӓolsharfe, Op. 19 No. 5, Stӓndchen, Op. 106 No. 1; Wie Melodien zieht es mir, Op. 105 No. 1; Sonata No. 2 for Violin and Piano in A Major, Op. 100; Quartets for Voices and Piano, Op. 92; Fantasien for Piano, Op. 116; Four Songs for Women's Voices, Two Horns, and Harp, Op. 17; and Trio for Horn, Violin, and Piano, Op. 40 by Johannes Brahms. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Hebrews 5:7 as the Cry of the Davidic Sufferer

This article proposes a better source for the Son’s cry in Hebrews 5:7. It begins by surveying sources previous scholars have identified, including Jesus’ cry in Gethsemane and Golgotha, several Psalms, and the Maccabean martyr literature. It is then argued that these background sources for the language are insufficient. Instead the author of Hebrews has an entire motif from the Psalter as his informing source: the Davidic figure that cries out in trust to be delivered from a death-like experience. Firstly, the motif of the Davidic righteous suffering in the LXX Psalms is demonstrated. Secondly, Hebrews’ use of the Messianic royal figure is demonstrated and thirdly, Hebrews 5:7 as a portrait of the Christ who cries out for deliverance is demonstrated. Thus, Hebrews 5:7 sees the Son as the Davidic king who is the true representative human exercising trust in YHWH, bringing to fulfilment the theme from various Psalms

5/7/2011

https://surface.syr.edu/scis_news/1100/thumbnail.jp

5/7/2010

https://surface.syr.edu/scis_news/1080/thumbnail.jp