Development of Technologies for the Detection of (Cyber)Bullying Actions: The BullyBuster Project

Bullying and cyberbullying are harmful social phenomena that involve the intentional, repeated use of power to intimidate or harm others. The ramifications of these actions are felt not just at the individual level but also pervasively throughout society, necessitating immediate attention and practical solutions. The BullyBuster project pioneers a multi-disciplinary approach, integrating artificial intelligence (AI) techniques with psychological models to comprehensively understand and combat these issues. In particular, employing AI in the project allows the automatic identification of potentially harmful content by analyzing linguistic patterns and behaviors in various data sources, including photos and videos. This timely detection enables alerts to relevant authorities or moderators, allowing for rapid interventions and potential harm mitigation. This paper, a culmination of previous research and advancements, details the potential for significantly enhancing cyberbullying detection and prevention by focusing on the system’s design and the novel application of AI classifiers within an integrated framework. Our primary aim is to evaluate the feasibility and applicability of such a framework in a real-world application context. The proposed approach is shown to tackle the pervasive issue of cyberbullying effectively

Ecology-based planning. Italian and French experimentations

This paper examines some French and Italian experimentations of green infrastructures’ (GI) construction in relation to their techniques and methodologies. The construction of a multifunctional green infrastructure can lead to the generation of a number of relevant bene fi ts able to face the increasing challenges of climate change and resilience (for example, social, ecological and environmental through the recognition of the concept of ecosystem services) and could ease the achievement of a performance-based approach. This approach, differently from the traditional prescriptive one, helps to attain a better and more fl exible land-use integration. In both countries, GI play an important role in contrasting land take and, for their adaptive and cross-scale nature, they help to generate a res ilient approach to urban plans and projects. Due to their fl exible and site-based nature, GI can be adapted, even if through different methodologies and approaches, both to urban and extra-urban contexts. On one hand, France, through its strong national policy on ecological networks, recognizes them as one of the major planning strategies toward a more sustainable development of territories; on the other hand, Italy has no national policy and Regions still have a hard time integrating them in already existing planning tools. In this perspective, Italian experimentations on GI construction appear to be a simple and sporadic add-on of urban and regional plans

Domestic Devotions in Early Modern Italy

Domestic Devotions in Early Modern Italy illuminates the vibrancy of spiritual beliefs and practices which profoundly shaped family life in this era. Scholarship on Catholicism has tended to focus on institutions, but the home was the site of religious instruction and reading, prayer and meditation, communal worship, multi-sensory devotions, contemplation of religious images and the performance of rituals, as well as extraordinary events such as miracles. Drawing on a wide range of sources, this volume affirms the central place of the household to spiritual life and reveals the myriad ways in which devotion met domestic needs. The seventeen essays encompass religious history, the histories of art and architecture, material culture, musicology, literary history, and social and cultural history

A New Life for Landscape, Architecture and Design

The volume entitled A New Life for Landscape, Architecture and Design encloses 14 essays, research and original experiments, projects and interventions. While they address only some of the issues listed in the introduction, they are food for thought and contain good practices capable of give a contribution to the international debate on the subject

Current and Future Challenges in Knowledge Representation and Reasoning

Knowledge Representation and Reasoning is a central, longstanding, and active area of Artificial Intelligence. Over the years it has evolved significantly; more recently it has been challenged and complemented by research in areas such as machine learning and reasoning under uncertainty. In July 2022 a Dagstuhl Perspectives workshop was held on Knowledge Representation and Reasoning. The goal of the workshop was to describe the state of the art in the field, including its relation with other areas, its shortcomings and strengths, together with recommendations for future progress. We developed this manifesto based on the presentations, panels, working groups, and discussions that took place at the Dagstuhl Workshop. It is a declaration of our views on Knowledge Representation: its origins, goals, milestones, and current foci; its relation to other disciplines, especially to Artificial Intelligence; and on its challenges, along with key priorities for the next decade

IKUWA6. Shared Heritage

Celebrating the theme ‘Shared heritage’, IKUWA6 (the 6th International Congress for Underwater Archaeology), was the first such major conference to be held in the Asia-Pacific region, and the first IKUWA meeting hosted outside Europe since the organisation’s inception in Germany in the 1990s. A primary objective of holding IKUWA6 in Australia was to give greater voice to practitioners and emerging researchers across the Asia and Pacific regions who are often not well represented in northern hemisphere scientific gatherings of this scale; and, to focus on the areas of overlap in our mutual heritage, techniques and technology. Drawing together peer-reviewed presentations by delegates from across the world who converged in Fremantle in 2016 to participate, this volume covers a stimulating diversity of themes and niche topics of value to maritime archaeology practitioners, researchers, students, historians and museum professionals across the world

A Closer Look into Recent Video-based Learning Research: A Comprehensive Review of Video Characteristics, Tools, Technologies, and Learning Effectiveness

People increasingly use videos on the Web as a source for learning. To support this way of learning, researchers and developers are continuously developing tools, proposing guidelines, analyzing data, and conducting experiments. However, it is still not clear what characteristics a video should have to be an effective learning medium. In this paper, we present a comprehensive review of 257 articles on video-based learning for the period from 2016 to 2021. One of the aims of the review is to identify the video characteristics that have been explored by previous work. Based on our analysis, we suggest a taxonomy which organizes the video characteristics and contextual aspects into eight categories: (1) audio features, (2) visual features, (3) textual features, (4) instructor behavior, (5) learners activities, (6) interactive features (quizzes, etc.), (7) production style, and (8) instructional design. Also, we identify four representative research directions: (1) proposals of tools to support video-based learning, (2) studies with controlled experiments, (3) data analysis studies, and (4) proposals of design guidelines for learning videos. We find that the most explored characteristics are textual features followed by visual features, learner activities, and interactive features. Text of transcripts, video frames, and images (figures and illustrations) are most frequently used by tools that support learning through videos. The learner activity is heavily explored through log files in data analysis studies, and interactive features have been frequently scrutinized in controlled experiments. We complement our review by contrasting research findings that investigate the impact of video characteristics on the learning effectiveness, report on tasks and technologies used to develop tools that support learning, and summarize trends of design guidelines to produce learning video

TECHNART 2017. Non-destructive and microanalytical techniques in art and cultural heritage. Book of abstracts

440 p.TECHNART2017 is the international biannual congress on the application of Analytical Techniques in Art and Cultural Heritage. The aim of this European conference is to provide a scientific forum to present and promote the use of analytical spectroscopic techniques in cultural heritage on a worldwide scale to stimulate contacts and exchange experiences, making a bridge between science and art. This conference builds on the momentum of the previous TECHNART editions of Lisbon, Athens, Berlin, Amsterdam and Catania, offering an outstanding and unique opportunity for exchanging knowledge on leading edge developments. Cultural heritage studies are interpreted in a broad sense, including pigments, stones, metal, glass, ceramics, chemometrics on artwork studies, resins, fibers, forensic applications in art, history, archaeology and conservation science. The meeting is focused in different aspects: - X-ray analysis (XRF, PIXE, XRD, SEM-EDX). - Confocal X-ray microscopy (3D Micro-XRF, 3D Micro-PIXE). - Synchrotron, ion beam and neutron based techniques/instrumentation. - FT-IR and Raman spectroscopy. - UV-Vis and NIR absorption/reflectance and fluorescence. - Laser-based analytical techniques (LIBS, etc.). - Magnetic resonance techniques. - Chromatography (GC, HPLC) and mass spectrometry. - Optical imaging and coherence techniques. - Mobile spectrometry and remote sensing

Technological study and chemical- archaeometric characterization of Roman opaque red glass from opus sectile decoration in the Lucius Verus Villa, 2nd century AD

Opaque red glass has been manufactured since the begging of glassmaking technology. However, it can be considered one of the most difficult colours to produce. It has been widely investigated by both glass science and archaeometry fields, providing vast literature. However, several aspects concerning its production during the Roman age are still unclear such as: where it was produced, which raw materials were used, and overall, how it was made. Moreover, the absence of written technical sources for Roman glass makes the investigation more complex. This research aims to investigate the production technology of opaque red glass during the 2nd century AD in the Roman Empire, in order to: 1. Identify which types of opaque copper red glass were manufactured in the Roman Empire during the 2nd century AD. 2. Investigate, through a multi-analytical approach, which factors determine the origin of the different red and orange hues (chemical composition, the nature of the colouring agent as well as their number and sizes). 3. To shed light on the technological aspects involved in making copper-red glass hues during the 2nd century AD. To reach these goals the research faced opaque red glass from three main different points of view. Although they are focused on distinct aspects, they will be interconnected. First, a literature review was necessary to identify the main features of copper red glass from a glass science point of view to understand the colouring agent, the formation and production of the colour. On the other hand, chemical analyses from previous archaeometric investigations were collected from the literature to make the history of opaque red glass from the Late Bronze Age until the medieval period. After this first step, the core of this work is the archaeometric investigation of the glass sectilia (sheets of glass) which decorated the villa of the Roman Emperor Lucius Verus. The glass sectilia are part of the Gorga collection, which is stored in the Soprintendenza Archeologica di Roma, and they represent an exceptional opportunity to study Roman glass technology of the 2nd century AD. These sectilia were chosen for this case study for two main reasons: they are well dated, attested to the 2nd century AD; they show the presence of several red and orange hues. This made it possible to examine the origin of the different red hues (chemical composition, colouring agent and specific production technology). The scientific investigation was conducted through a multi-analytical approach, which included: FORS, OM, EPMA, FEG-SEM, LA-ICP-MS, μXRD and μRaman spectroscopy. The production technology of opaque red glass (in this case only red brown type) has been studied through systematic laboratory reproductions. Iron and copper were tested to understand which raw materials could be employed, in which oxidation state iron should be added and the concentration needed to produce opaque red glass. Several procedures were attempted to recognise the most probable method used by the Roman glassmakers. This study outlined the history of the production of opaque copper-red glass, which could be very useful to understand the technological development of the glassmaking industry. The red glass sectilia investigated in this work revealed the presence of four red hues and three orange hues. Beyond enriching the literature of chemical analyses of opaque red glass dated to the 2nd century AD, these results have highlighted the use of more than one recipe used by the Roman glassmaker to broaden the chromatic scale of opaque red glass. Each red hue weas obtained through the accurate control of the raw materials, glass composition and heat treatments. The difficulties in making opaque red glass that emerged through the laboratory reproductions underlined that the good results could be achieved through accurate control of the melt redox condition through the correct glass composition and use of the appropriate raw materials. Likely, opaque red glass was not the result of fortune but of several failed experiments which allowed to master the colouring technique.O vidro vermelho opaco tem sido produzido desde o início da tecnologia de produção vidreira. No entanto, esta pode ser considerada uma das cores mais difíceis de produzir. Tem vindo a ser amplamente investigado nas áreas da ciência do vidro e da arqueometria, fornecendo uma vasta literatura. Contudo, alguns aspetos relativos à sua produção durante a Idade Romana estão ainda por clarificar, tais como: onde era produzido, que matérias-primas era usadas, e no geral, como era preparado. Além disso, a ausência de fontes escritas técnicas sobre vidro Romano aumenta a complexidade desta investigação. O objetivo deste estudo é investigar a tecnologia de produção do vidro vermelho opaco durante o século II d.C. no Império Romano, de forma a: 1. Identificar que tipos de vidro vermelho opaco de cobre eram manufaturados no Império Romano durante o século II d.C. 2. Investigar, através de uma abordagem multi-analítica, quais os fatores que determinam a origem dos diferentes tons de vermelho e laranja (composição química, a natureza do agente colorante, bem como a sua quantidade e tamanho das partículas). 3. Esclarecer quais os aspetos tecnológicos envolvidos na produção de tons de vidro vermelho de cobre durante o século II d.C. Para alcançar estes objetivos, a investigação abordou o vidro vermelho opaco de três principais pontos de vista, que apesar de serem focados em aspetos distintos, estarão interligados. Em primeiro lugar foi necessária uma revisão da literatura para identificar as principais características do vidro vermelho opaco do ponto de vista da ciência do vidro para perceber qual o agente colorante e a formação e produção da cor. Por outro lado, as análises químicas de estudos arqueométricos anteriores foram recolhidas a fim de contruir uma espécie de história do vidro vermelho opaco deste a Idade do Bronze Final até ao período medieval. Após esta primeira etapa deu-se início à parte central deste projeto, a investigação arqueométrica do vidro sectilia (placas de vidro) que decorava a villa do Imperador Romano Lucius Verus. Estas amostras de vidro são parte da coleção Gorga que se encontra armazenada/preservada na Soprintendenza Archeologica di Roma, e representam uma oportunidade excecional de estudar a tecnologia de vidro Romano do século II d.C. Estes sectilia foram selecionados como caso de estudo por duas razões principais: encontram-se bem datados, atribuídos ao século II d.C.; apresentam diferentes tons vermelhos e laranjas. Isso, tornou possível o estudo da origem dos diversos tons vermelhos (composição química, agente colorante e tecnologia de produção específica). A investigação científica foi realizada recorrendo a uma abordagem multi-analítica, que incluiu FORS, OM, EPMA, FEG-SEM, LA-ICP-MS, μXRD e espetroscopia μRaman. A tecnologia de produção do vidro vermelho opaco (neste caso apenas o tipo vermelho-acastanhado) foi estudado através de reproduções sistemáticas em laboratório. Ferro e cobre foram testados de forma a perceber que matérias-primas podiam ser empregues, em que estado de oxidação o ferro podia ser adicionado e a concentração necessária para produzir vidro vermelho opaco. Foram testadas várias metodologias para identificar qual o método mais provavelmente utilizado pelos vidreiros Romanos. A presente investigação delineou a história da produção do vidro vermelho de cobre opaco, que pode ser muito útil para compreender o desenvolvimento tecnológico da indústria vidreira. O vidro vermelho sectilia estudado neste trabalho, revelou a presença de quatro tons vermelhos e três tons laranjas. Para além de enriquecer a literatura referente a análises químicas de vidro vermelho opaco datado do século II d.C., estes resultados salientam o uso de mais do que uma receita pelos vidreiros Romanos por forma a alargar a escala cromática do vidro vermelho opaco. Cada tonalidade vermelha foi conseguida através do controlo preciso das matérias-primas, composição do vidro e tratamentos de calor. As dificuldades na produção de vidro vermelho opaco que emergiram com as reproduções em laboratório reforçaram que os bons resultados podem ser alcançados mediante o controlo preciso das condições de fusão redox através da composição de vidro correta e do uso das matérias-primas adequadas. Provavelmente, o vidro vermelho opaco não resultou da sorte, mas sim de várias experiências falhadas que permitiram o domínio das técnicas de coloração