276 research outputs found

    Edoardo Benvenuto Prize. Collection of papers

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    The promotion of studies and research on the science and art of building in their historical development constitutes the objective that the Edoardo Benvenuto Association has set itself, since its establishment, in order to honor the memory of Edoardo Benvenuto (1940-1998). The Association in recent years has achieved interesting results by developing various activities such as: organization of national and international meetings, conferences, study days; collaborations with national and foreign research institutions; promotion of the editorial series “Between Mechanics and Architecture"; activation of the portal Bibliotheca Mechanica Architectonica, first “open source” digitized library dedicated to historical research on mechanical and architectural texts. But perhaps the most qualifying initiative was the institution of the Edoardo Benvenuto Prize, arrived in 2019 in its twelfth edition, reserved for young researchers in the field of historical studies on science and the art of building. The awarding of the Prize takes place after an in-depth examination of the texts received by the Association by an international commission of experts. The purpose of this book is to collect and present the most recent studies and publications produced by the winners of the various editions of the Edoardo Benvenuto Prize

    Geographic information extraction from texts

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    A large volume of unstructured texts, containing valuable geographic information, is available online. This information – provided implicitly or explicitly – is useful not only for scientific studies (e.g., spatial humanities) but also for many practical applications (e.g., geographic information retrieval). Although large progress has been achieved in geographic information extraction from texts, there are still unsolved challenges and issues, ranging from methods, systems, and data, to applications and privacy. Therefore, this workshop will provide a timely opportunity to discuss the recent advances, new ideas, and concepts but also identify research gaps in geographic information extraction

    Changing Priorities. 3rd VIBRArch

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    In order to warrant a good present and future for people around the planet and to safe the care of the planet itself, research in architecture has to release all its potential. Therefore, the aims of the 3rd Valencia International Biennial of Research in Architecture are: - To focus on the most relevant needs of humanity and the planet and what architectural research can do for solving them. - To assess the evolution of architectural research in traditionally matters of interest and the current state of these popular and widespread topics. - To deepen in the current state and findings of architectural research on subjects akin to post-capitalism and frequently related to equal opportunities and the universal right to personal development and happiness. - To showcase all kinds of research related to the new and holistic concept of sustainability and to climate emergency. - To place in the spotlight those ongoing works or available proposals developed by architectural researchers in order to combat the effects of the COVID-19 pandemic. - To underline the capacity of architectural research to develop resiliency and abilities to adapt itself to changing priorities. - To highlight architecture's multidisciplinarity as a melting pot of multiple approaches, points of view and expertise. - To open new perspectives for architectural research by promoting the development of multidisciplinary and inter-university networks and research groups. For all that, the 3rd Valencia International Biennial of Research in Architecture is open not only to architects, but also for any academic, practitioner, professional or student with a determination to develop research in architecture or neighboring fields.Cabrera Fausto, I. (2023). Changing Priorities. 3rd VIBRArch. Editorial Universitat PolitĂšcnica de ValĂšncia. https://doi.org/10.4995/VIBRArch2022.2022.1686

    The Politics of Racial Translation : Negotiating Foreignness and Authenticity in Russophone Intersectional Feminism and Timati's Hip-hop (2012-2018)

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    Hva skjer med rase-, kjĂžnns- og seksualitetspolitikk i interseksjonell feminisme og hiphop nĂ„r de forflytter seg Ăžstover til postsovjetiske, russisksprĂ„klige kontekster? Denne avhandlingen utforsker oversettelsens betydning i sirkulasjonen av det amerikanske, engelsksprĂ„klige idiomet ‘rase som motstand’ i russisksprĂ„klige tilpasninger av hiphop og interseksjonalitet i perioden 2012-2018. Ved hjelp av digital etnografi, diskursanalyse og nĂŠrlesing av et utvalg musikkvideoer, analyseres to oversettelsesprosjekter empirisk: en russisksprĂ„klig grasrotside for interseksjonell feminisme, FIO (Feminist Intersectionality Against Oppression), og den – i Russland kontroversielle – tatarisk-jĂždiske hiphop-entreprenĂžren Timati. Denne avhandlingen, som befinner seg i skjĂŠringspunktet mellom kjĂžnns- og seksualitetsstudier, rase- og etnisitetsforskning og postsovjetiske kulturstudier, framhever oversettelse bĂ„de i sitt teoretiske rammeverk og i metodologisk forskningsdesign. Teoretisk er avhandlingens tilnĂŠrming til oversettelse inspirert av feministisk teori, feministisk antropologi og oversettelsesstudier, samt av transnasjonale perspektiver pĂ„ rasialisering og den voksende forskningen pĂ„ rase i Russland. Metodologisk trekker avhandlingen pĂ„ verktĂžy fra oversettelsesstudier og sosiolingvistikk. Ved Ă„ begrepsligjĂžre oversettelse som en forutsetning for geografisk forflytning av ideer, som et sted for forhandling der ting produseres som ‘fremmede’, og som en generativ snarere enn imiterende prosess, spĂžr den hva raseoversettelse frambringer og hvorfor noen oversettelsesprosjekter framstilles som mer fremmede enn andre. Metoden er Ă„ spore hvordan fremmedhet tilskrives ulike objekter, samt Ă„ undersĂžke de oversettelsesstrategiene som brukes i de to nevnte empiriske tilfellene nĂ„r de gjengir engelsksprĂ„klige rasekategorier som ‘white’, ‘black’, ‘people of color’ og ‘women of color’. I tillegg til Ă„ undersĂžke hvilke generative effekter oversettelsene har, bruker studien en multimodal tilnĂŠrming som overskrider de semantiske grensene til etnorasekategorier og muliggjĂžr utforsking av rasemessig oversettelse pĂ„ tvers av flere semiotiske moduser. Avhandlingen begrepsligjĂžr rasemessig oversettelse som gjennomsyret av kjĂžnns- og seksualitetsdynamikk, innebygd i geopolitiske konfrontasjoner og informert av russisk imperial arv, og argumenterer for at rasemessig oversettelse er generativ pĂ„ flere sentrale mĂ„ter. Den rasemessige oversettelsen skaper nye og moderne formsprĂ„k (russofon interseksjonell feminisme og russisk kommersiell hiphop), kronotopisk plasserte former for personlighet knyttet til bestemte oversettelsesstrategier eller motstand mot dem, samt affektive responser og bestridelser av oversettelsesvalg og oversettelsesprosjekter som stigmatiseres eller verdsettes som ‘fremmede’. De som oversetter, tilnĂŠrmer seg det engelsksprĂ„klige formsprĂ„ket ‘rase som motstand’ som ‘fremmed og moderne’, og indekserer en avansert tid og et avansert sted, USA, for Ă„ styrke, reparere og modernisere russisksprĂ„klig feminisme og russiske musikkscener. Begge oversettelsesprosjektene posisjonerer fremmedgjĂžring som en kilde til modernisering, noe som forklarer predisposisjonen for fremmedgjĂžrende oversettelsesstrategier. FremmedgjĂžrende oversettelsesstrategier og motviljen mot bokstavtrohet i postsovjetiske, russisksprĂ„klige kontekster, kan imidlertid gjĂžre oversetterne selv fremmede, noe som fremmer jakten pĂ„ originalitet, forsĂžk pĂ„ Ă„ forhandle oversettelsens stigma og Ă„ reparere kronisk inautentisitet. PĂ„ nettsidene til det russisksprĂ„klige, interseksjonelle feministiske digitale fellesskapet, skaper moderatorenes tilbĂžyelighet til translitterasjoner en form for uro, beskyldninger om uforstĂ„elighet og en slags motvilje for sprĂ„kblanding. Moderatorenes rolle som en kosmopolitisk, tosprĂ„klig, feministisk elite skiller seg fra vanlige russisksprĂ„klige lesere. Interseksjonalitet sirkulerer som en feministisk kronotop, som FIO ser for seg som en feministisk fremtid, et botemiddel mot den russisksprĂ„klige feminismens rasisme, homofobi og transfobi. Feministiske kronotoper blir brukt i diskusjoner rundt oversettelse og blant annet utnyttet i lokale kronotopiske forestillinger om russisk bakstreverskhet og slavofil trangsynthet. Den bokstavelige oversettelsen av kategorien ‘hvit’ genererer figurer som ‘hvit mann’ og ‘hvite kvinner’ og inngĂ„r i det russisksprĂ„klige interseksjonelle feministiske formsprĂ„ket. Produksjonen av modererende antirasistisk hvithet-i-oversettelse mobiliserer kronotopiske figurer av tilbakestĂ„ende rasistiske andre som komparativ kontrast til mer moderne kunnskap. Den driver ogsĂ„ frem spĂžrsmĂ„l om grensene for oversettbarheten til kategorien ‘hvit’ for den situerte antirasistiske post-sovjetiske praksisen i kommentartrĂ„dene, inkludert den skiftende kategorien КаĐČĐșазцы/Kaukasiere. Manglende oversettelse av kategoriene ‘people of color’ og ‘women of color’ genererer blant annet sĂžken etter en postsovjetisk ‘woman of color’ som et russisksprĂ„klig interseksjonelt feministisk subjekt. Slik kanoniseres “rĂ„â€ oversettelse, den transsprĂ„klige spredningen av etno-rasistiske kategorier og instrumentaliseringen av figuren ‘trans woman of color’ av russisksprĂ„klige radfem som et tegn pĂ„ den russisksprĂ„klige interseksjonalitetens totale fremmedhet. Begrepet realia brukes i materialet som en sĂžken etter Ă„ lokalisere det amerikanske raseidiomet og for Ă„ belyse sĂŠrtrekkene ved den post-sovjetiske etnorasiske maktdynamikken. I undersĂžkelsen av raseoversettelse i Timatis hiphop, vises det hvordan Timati, ved Ă„ kombinere amerikansk svart hiphop-estetikk med russisk glamour pĂ„ 2000-tallet, brukte uoversatt amerikansk svarthet som en kosmopolitisk kulturell kapital for Ă„ motvirke volden i den post-sovjetiske rasialiseringen. Ved Ă„ nĂŠrme seg amerikansk svart estetikk gjennom direkte erfaring med ‘kilden’, fikk Timati transnasjonal suksess med sin etnorasiale formbarhet og evne til Ă„ formidle mellom postsovjetiske markeder, lokale Ăžkonomiske eliter, amerikansk raseautentisitet og amerikanske hiphop-kjendiser. Han bidro derimot neppe til Ă„ avhjelpe hiphopens kroniske inautentisitet i Russland. ForsĂžk pĂ„ Ă„ hĂ„ndtere stigmaet fremmedhet og imitasjon, og Ă„ oppnĂ„ sterkere hiphop-autentisitet pĂ„ hjemmebane, markerte en reorientering av Timatis prosjekt for rasemessig oversettelse. Fra 2012-2013 figurerer Kaukasus og kaukasiske maskuliniteter som ‘regionale originaler’, noe som gjĂžr det mulig for Timati Ă„ oversette den amerikanske svarte maskuliniteten som ligger til grunn for amerikansk hiphop-autentisitet. Han tar i bruk ulike strategier, som ‘vikarierende autentisitet’, memetikk og hiphop-homofobi, og skaper en homofobisk hiphop-meykhana-cipher og visuelle, imperiale troper av et kaukasisk sublim. Skjegget som rasemessig/seksuell metonymi er sentralt for Ă„ forstĂ„ Timatis prosjekt for rasemessig oversettelse i 2014-2015, som er involvert i seksuell geopolitikk mellom Ăžst og vest. Gjennom hiphop-modernitet og tvillingfantasien om etnisk raseblanding og sentralasiatiske migranters Ăžkonomiske oppsving i Russland, oppvurderes den etniske andre fra Ă„ vĂŠre symbol pĂ„ en sikkerhetstrussel (skjeggete terrorister) til Ă„ bli moderne, homofob og kul – og slik i stand til Ă„ sikre Russlands organiske og multinasjonale fremtid mot et angivelig korrupt og seksuelt perverst Europa. HĂžydepunktet i Timatis prosjekt for rasemessig oversettelse i 2014-2016 resulterte i oppfinnelsen av en bevisst memetisk karakter, Teymuraz, som iscenesetter rasistiske klisjeer av kaukasiske og sentralasiatiske menn. Teymuraz, som en del av Russlands hybridkulturelle trend med estetisk populisme, resirkulerer elementer fra New East gopnik-stil, sovjetiske og postsovjetiske komedier om menn fra Kaukasus og Sentral-Asia, blander elementer av samfunnskritikk og tilegner seg de subalternes stemmer. Han utgjĂžr med dette et sĂŠregent patriotisk, antirasistisk prosjekt med motstridende implikasjoner. Timatis lekne fremfĂžringer av patriotisme og performativ disidentifikasjon fra USA som kilde til hiphop i 2015 forstĂ„r hiphop-patriotisme som en strategi for Ă„ lokalisere hiphop i den skiftende geopolitiske konteksten av Russlands vending bort fra Vesten. Russiske diskurser om hiphop-autentisitet, som er opptatt av Ă„ oppdage og avslĂžre plagiat i Timatis arbeid, gir stemme til et sĂŠregent arbeid med Ă„ skille ‘ekte’ hiphop fra ‘falsk’ hiphop. Dette arbeidet bygger pĂ„ rasistiske diskurser om handel og umoral, og markerer Timati som ‘fremmed’ - bĂ„de utenfor sjangerens og den russiske nasjonens grenser – og avslĂžrer en russisk etnonasjonal skjevhet som ligger til grunn for russiske diskurser om hiphop-autentisitet. NĂžkkelord: oversettelse, interseksjonalitet, rase, etnorasisk, postsovjetisk, russisk hiphop, rap, russisk rap, grasrotfeminisme, digital feminisme, feministiske kronotoper, feministisk oversettelse, feministisk aktivisme, populĂŠrmusikk, Russland, russofon, oversettelsesstrategier, litteralisme, translitterasjon, homofobi, transfobi, vikarierende autentisitet, memetikk, realia, rasemessig/seksuell metonymi, indeksikalitet, multimodalitet, den kalde krigen, russisk populĂŠrkultur, digital aktivisme, autentisitet, hiphop-maskuliniteter, rasialisering, Kaukasus, Sentral-Asia.What happens to race, gender, and sexuality politics of intersectional feminism and hip-hop when they travel eastwards into post-Soviet Russophone contexts? This thesis explores the role of translation in the circulations of the US Anglophone idiom ‘race as resistance’ in 2012-2018 Russophone adaptations of hip-hop and intersectionality. Drawing on the digital ethnography, discourse analysis, and close reading of a selection of music videos, it empirically analyzes two translation projects: a grassroots Russophone translation-based intersectional feminist page, FIO (Feminist Intersectionality Against Oppression) and – a controversial in Russia – Tatar-Jewish hip-hop entrepreneur, Timati. This thesis, situated at the intersection of gender and sexuality studies, race and ethnicity research, and post-Soviet cultural studies, foregrounds translation in its theoretical framework and methodological research design. Theoretically, the dissertation’s approach to translation is inspired by feminist theory, feminist anthropology, and translation studies, as well as by transnational perspectives on racialization and the growing scholarship on race in Russia. Methodologically it draws on the tools from translation studies and sociolinguistics. Conceptualizing translation as a precondition for travel, as a site of negotiation where things are produced as ‘foreign’ and as a generative rather than imitative process, this thesis asks what racial translation generates and why some translation projects are rendered as more foreign than others. The method is to track the attributions of foreignness and examine the translation strategies used by the two projects mentioned above when rendering English-language racial categories such as ‘white,’ ‘black,’ ‘people of color,’ and ‘women of color.’ The study also uses the multimodal approach that goes beyond the limits of the semantics of ethnoracial categories, allowing for the exploration of racial translation across multiple semiotic modes. Conceptualizing racial translation as saturated in gender and sexuality dynamics, embedded in geopolitical confrontations, and informed by Russian imperial legacies, the thesis argues that racial translation is generative in several central ways. It creates novel and modern idioms (Russophone intersectional feminism and Russian commercial hip-hop), chronotopically positioned types of personhood associated with particular translation strategies or resistance to them, as well as affective responses and contestations of translation choices and translation projects stigmatized or valorized as ‘foreign.’ The translators approach the Anglophone idiom of ‘race as resistance’ as ‘foreign and modern,’ indexing advanced time and place, the USA, brought up to invigorate, repair, and modernize Russophone feminisms and Russian music scenes. Both translation projects position foreignization as a source of modernization, explaining the predisposition for foreignizing translation strategies. However, foreignizing translation strategies and the aversion to literalism within post-Soviet Russophone contexts may render translators themselves foreign, propelling the search for originality, the attempts to negotiate the stigma of translation, and to repair chronic inauthenticity. On the pages of the Russophone intersectional feminist community, the moderators’ predisposition to transliterations generates visceral unease, accusations of unintelligibility, anxieties about the language mixing, and the roles of moderators as cosmopolitan bilingual feminist elites different from ordinary Russophone readers. Intersectionality circulates as a feminist chronotope, envisioned by FIO as a feminist future, a remedy against exclusions within Russophone feminisms such as racism, homophobia, and transphobia. Circulating feminist chronotopes are used in contestations around translation, harnessed on local chronotopic imaginaries such as Russian peasant backwardness and Slavophile parochialism. The literal translation of the category ‘white’ generates figures such as ‘white man’ and ‘white women,’ which enter the Russophone intersectional feminist idiom. The production of anti-racist whiteness-in-translation mobilizes chronotopic figures of backward racist others in comparative contrast with more modern bodies of knowledge and types of personhood. It also propels the questioning of the limits of the translatability of the category ‘white’ for the situated anti-racist post-Soviet praxis in the comment threads, including the shifting category КаĐČĐșазцы/Caucasians. Non-translation of the categories ‘people of color’ and ‘women of color’ generates, amongst other things, the search for a post-Soviet ‘woman of color’ as a Russophone intersectional feminist subject, the canonization of raw translation, the translingual proliferation of ethnoracial categories and the instrumentalization of the figure of ‘trans woman of color’ by Russophone radfem as a mark of Russophone intersectionality’s total foreignness. Finally, the term realia emerged in the empirical materials as the quest for localizing the US idiom of race, adjusting intersectionality to the specificities of post-Soviet ethnoracial power dynamics. Within the project of racial translation in Timati’s hip-hop, I show how Timati marrying of US black hip-hop aesthetics and Russian glamour in the 2000s deployed untranslated foreign US blackness as a cosmopolitan cultural capital to alleviate the violence of post-Soviet racialization. Approximating US black aesthetics through the direct experience of ‘the source,’ Timati’s ethnoracial malleability and capacity to mediate between post-Soviet markets, local economic elites, US racial authenticity, and US hip-hop celebrities brought him international success, yet hardly helped alleviate chronic hip-hop inauthenticity in Russia. Attempts to manage the stigma of foreignness and imitation and hence achieve a stronger hip-hop authenticity domestically marked a reorientation of Timati’s project of racial translation. From 2012-2013, the Caucasus and Caucasian masculinities figure as ‘regional originals,’ allowing Timati to translate the US black masculinity underpinning US hip-hop authenticity through the strategies of vicarious realness, memetics, and hip-hop homophobia in a gay bashing hip-hop meykhana cipher and visual Imperial tropes of the Caucasian sublime. The beard as racial/sexual metonymy is central for understanding Timati’s project of racial translation involved in East-West sexual geopolitics in the period of 2014-2015: through hip-hop modernity and the twin fantasy of ethnoracial mixing and Central Asian migrant economic uplift in Russia, the ethnoracial other is revalorized away from the image of the security threat (bearded terrorist) as modern, homophobic and cool, able to secure Russia’s organic and multinational future against corrupt and sexually perverse Europe. The pinnacle of Timati’s project of racial translation in 2014-2016 resulted in the invention of a deliberately memetic character, Teymuraz, enacting racialized cliches of Caucasian and Central Asian men. Teymuraz, as part of Russia’s hybrid cultural trend of aesthetic populism, recycles the elements of New East gopnik style, Soviet and post-Soviet comedies about men from the Caucasus and Central Asia, mixes elements of social critique, and appropriates the voices of the subaltern, performing a peculiar patriotic anti-racist project with contradictory implications. Timati’s 2015 ludic performances of hip-hop patriotism, coupled with performative disidentifications from the USA as a source of hip-hop, are read as a strategy of hip-hop localization in the changing geopolitical context of Russia’s turn away from the West. Russian discourses of hip-hop authenticity, preoccupied with detecting and exposing plagiarism in Timati’s work, serve to discern ‘real’ hip-hop from ‘fake’ hip-hop. These acts of discernment draw on the racialized discourses of commerce and immorality, marking Timati as ‘foreign’ - both outside the borders of the genre and the Russian nation – thus exposing the Russian ethnonational bias underpinning Russian discourses of hip-hop authenticity. Keywords: translation, intersectionality, race, ethnoracial, post-Soviet, Russian hip-hop, hip-hop, rap, Russian rap, grassroots feminism, digital feminism, feminist chronotopes, feminist translation, feminist activism, popular music, Russia, Russophone, translation strategies, literalism, transliteration, homophobia, transphobia, vicarious realness, memetics, realia, racial/sexual metonymy, indexicality, multimodality, Cold War, Russian popular culture, digital activism, authenticity, hip-hop masculinities, racialization, Caucasus, Central Asia.Doktorgradsavhandlin

    Chapter 34 - Biocompatibility of nanocellulose: Emerging biomedical applications

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    Nanocellulose already proved to be a highly relevant material for biomedical applications, ensued by its outstanding mechanical properties and, more importantly, its biocompatibility. Nevertheless, despite their previous intensive research, a notable number of emerging applications are still being developed. Interestingly, this drive is not solely based on the nanocellulose features, but also heavily dependent on sustainability. The three core nanocelluloses encompass cellulose nanocrystals (CNCs), cellulose nanofibrils (CNFs), and bacterial nanocellulose (BNC). All these different types of nanocellulose display highly interesting biomedical properties per se, after modification and when used in composite formulations. Novel applications that use nanocellulose includewell-known areas, namely, wound dressings, implants, indwelling medical devices, scaffolds, and novel printed scaffolds. Their cytotoxicity and biocompatibility using recent methodologies are thoroughly analyzed to reinforce their near future applicability. By analyzing the pristine core nanocellulose, none display cytotoxicity. However, CNF has the highest potential to fail long-term biocompatibility since it tends to trigger inflammation. On the other hand, neverdried BNC displays a remarkable biocompatibility. Despite this, all nanocelluloses clearly represent a flag bearer of future superior biomaterials, being elite materials in the urgent replacement of our petrochemical dependence

    Our Mythical Hope

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    Classical Antiquity is a particularly important field in terms of “Hope studies” [
]. For centuries, the ancient tradition, and classical mythology in particular, has been a common reference point for whole hosts of creators of culture, across many parts of the world, and with the new media and globalization only increasing its impact. Thus, in our research at this stage, we have decided to study how the authors of literary and audiovisual texts for youth make use of the ancient myths to support their young protagonists (and readers or viewers) in crucial moments of their existence, on their road into adulthood, and in those dark hours when it seems that life is about to shatter and fade away. However, if Hope is summoned in time, the crisis can be overcome and the protagonist grows stronger, with a powerful uplifting message for the public. [
] Owing to this, we get a chance to remain true to our ideas, to keep faith in our dreams, and, when the decisive moment comes, to choose not hatred but love, not darkness but light. Katarzyna Marciniak, University of Warsaw, From the introductory chapte

    Microplastics Degradation and Characterization

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    In the last decade, issues related to pollution from microplastics in all environmental compartments and the associated health and environmental risks have been the focus of intense social, media, and political attention worldwide. The assessment, quantification, and study of the degradation processes of plastic debris in the ecosystem and its interaction with biota have been and are still the focus of intense multidisciplinary research. Plastic particles in the range from 1 to 5 mm and those in the sub-micrometer range are commonly denoted as microplastics and nanoplastics, respectively. Microplastics (MPs) are being recognized as nearly ubiquitous pollutants in water bodies, but their actual concentration, distribution, and effects on natural waters, sediments, and biota are still largely unknown. Contamination by microplastics of agricultural soil and other environmental areas is also becoming a matter of concern. Sampling, separation, detection, characterization and evaluating the degradation pathways of micro- and nano-plastic pollutants dispersed in the environment is a challenging and critical goal to understand their distribution, fate, and the related hazards for ecosystems. Given the interest in this topic, this Special Issue, entitled “Microplastics Degradation and Characterization”, is concerned with the latest developments in the study of microplastics

    Image and Video Forensics

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    Nowadays, images and videos have become the main modalities of information being exchanged in everyday life, and their pervasiveness has led the image forensics community to question their reliability, integrity, confidentiality, and security. Multimedia contents are generated in many different ways through the use of consumer electronics and high-quality digital imaging devices, such as smartphones, digital cameras, tablets, and wearable and IoT devices. The ever-increasing convenience of image acquisition has facilitated instant distribution and sharing of digital images on digital social platforms, determining a great amount of exchange data. Moreover, the pervasiveness of powerful image editing tools has allowed the manipulation of digital images for malicious or criminal ends, up to the creation of synthesized images and videos with the use of deep learning techniques. In response to these threats, the multimedia forensics community has produced major research efforts regarding the identification of the source and the detection of manipulation. In all cases (e.g., forensic investigations, fake news debunking, information warfare, and cyberattacks) where images and videos serve as critical evidence, forensic technologies that help to determine the origin, authenticity, and integrity of multimedia content can become essential tools. This book aims to collect a diverse and complementary set of articles that demonstrate new developments and applications in image and video forensics to tackle new and serious challenges to ensure media authenticity
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