Il sistema dei servizi educativi per le scuole del Piemonte

analisi dei progetti educativi rivolti alle ssuole da parte di regioni, enti locali, prinvati e terzo settor

Repeatability of innervation zone identification in the external anal sphincter muscle

Knowledge of the distribution of the innervation zones (IZs) of the external anal sphincter (EAS) may be useful for preventing anal sphincter incompetence during vaginal delivery. A method proposed for the automatic estimation of the distribution of IZs of EAS from high-density surface electromyography (EMG) was evaluated for repeatability in continent volunteers. Methods: In 13 healthy female subjects (age: 35 11 years) surface EMG signals were acquired using an anal probe with three circumferential electrode arrays (of 16 contacts each) at different depths within the anal canal (15mm distance between the centers of adjacent arrays), during four independent experimental sessions. Three maximal voluntary contractions (MVCs) of 10 sec were performed for each session for a total of 12 contractions per subject. Repeatability of the estimation of the distribution of IZ was tested by evaluating the coefficient of multiple correlations (CMC) between the IZ distributions estimated from the signals recorded from each subject. Results: A high repeatability (CMC > 0.8) was found comparing IZ distributions estimated from signals recorded by each array within the same session. A slightly lower value was obtained considering signals recorded during different sessions (CMC > 0.7), but a higher value (CMC > 0.8) was obtained after aligning the estimated IZ distributions. The realignment compensates for the operator's error in repositioning the probe in the same position during different sessions. Conclusion: This result justifies clinical studies using high-density surface EMG in routine examinations, providing information about IZs of EAS and assessing the possibilities of preventing neuronal trauma during vaginal delivery

Chapter Raccontare i caratteri di un luogo. Dialoghi tra rappresentazione, rilievo e restauro

The 43rd UID conference, held in Genova, takes up the theme of ‘Dialogues’ as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with ‘others’, which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, “dialogue” as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title ‘translated’ into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences

Comparative validation of two patient-specific modelling pipelines for predicting knee joint forces during level walking

Over the past few years, the use of computer models and simulations tailored to the patient's physiology to assist clinical decision-making has increased enormously. While several pipelines to develop personalized models exist, their adoption on a large scale is still limited due to the required niche computational skillset and the lengthy operations required. Novel toolboxes, such as STAPLE, promise to streamline and expedite the development of image-based skeletal lower limb models. STAPLE-generated models can be rapidly generated, with minimal user input, and present similar joint kinematics and kinetics compared to models developed employing the established INSIGNEO pipeline. Yet, it is unclear how much the observed discrepancies scale up and affect joint contact force predictions. In this study, we compared image-based musculoskeletal models developed (i) with the INSIGNEO pipeline and (ii) with a semi-automated pipeline that combines STAPLE and nmsBuilder, and assessed their accuracy against experimental implant data. Our results showed that both pipelines predicted similar total knee joint contact forces between one another in terms of profiles and average values, characterized by a moderately high level of agreement with the experimental data. Nonetheless, the Student t-test revealed statistically significant differences between both pipelines. Of note, the STAPLE-based pipeline required considerably less time than the INSIGNEO pipeline to generate a musculoskeletal model (i.e., 60 vs 160 min). This is likely to open up opportunities for the use of personalized musculoskeletal models in clinical practice, where time is of the essence

Connessioni tra città e immagini per tessere inediti legami sociali. Connections between cities and images to weave unprecedented social links

Negli ultimi tempi le città stanno sempre più adottando, in progetti di riqualificazione urbana e sociale, opere di Street Art, creando legami tra spazio, architettura e immagini, nonché tra il centro e le zone periferiche. Legami anche involontari, creati da percorsi visivi fittizi, dovuti alla ricerca e scoperta di scorci della città sempre nuovi, caratterizzati da disegni in genere pieni di colori e di grandi dimensioni, che divengono protagonisti dell’ambiente. I vari interventi, sia voluti da progetti coordinati sia spontanei, documentano tutti il cambio di ruolo di un’arte ritenuta sino a pochi anni fa del tutto illegale, e che oggi, con i caratteri pregnanti dei suoi disegni spettacolari, diviene un motore di sensibilizzazione a temi sociali, smuovendo la coscienza collettiva più di tante parole. Tali creazioni, in modi differenti, definiscono un vero legame tra più componenti dell’ambiente e i suoi abitanti, rispecchiando le parole del noto matematico e fisico Jules Henri Poincaré, per il quale la “Creatività è unire elementi esistenti con connessioni nuove che siano utili”. In un tale panorama generale dai confini molto ampi si collocano varie esperienze, accomunate da intenzioni e significati nei quali il termine “connessione”, tema del Convegno, trova eco in diverse forme progettuali; la città stessa, attraverso la Street Art, si fa portavoce del desiderio di sensibilizzare la società a intessere legami (di vario genere) per sconfiggere le distanze tra uomo e ambiente e tra uomo e uomo. In recent times, cities are increasingly adopting Street Art in their urban and social regeneration projects, creating links between space, architecture and images, as well as between the city centre and its outskirts. These links are sometimes unintentional, created by fictitious visual routes, due to the search for and discovery of new aspects of the city, characterised by drawings that are usually large and full of colour, which take on a leading role in the environment. The various interventions, whether pursued intentionally as part of coordinated projects or spontaneous, all document a change in role of an art form which was considered illegal until just a few years ago and which today, with the meaningful characters of its spectacular designs, has become an engine for raising awareness in relation to social issues, moving the collective conscience much more than many words. In different ways, these creations create a real link between several components of the environment and its inhabitants, reflecting the words of the famous mathematician and physicist Jules Henri Poincaré, for whom “Creativity is to unite existing elements with new connections that are useful”. This wide-ranging general panorama encompasses a variety of experiences, united by intentions and meanings in which the word “connection”, the theme of the conference, is echoed in various forms of design; the city itself, through Street Art, gives voice to the desire to make society aware of the need to forge links (of various kinds) to bridge the gaps between man and the environment and between man and man

Rappresentare le innovazioni culturali di Adriano Olivetti. La grafica per la conoscenza e il progetto. Representing the cultural innovations of Adriano Olivetti.Graphics for knowledge and design

Adriano Olivetti, figura geniale e all’avanguardia, è ancor oggi un riferimento nella società contemporanea per la modernità del suo pensiero, nell’aver posto inedite radici culturali in diversi settori: dalla fabbrica, all’ambiente, all’architettura, al design e alla grafica, sino alla vita stessa della comunità. Un modello, il suo, in cui l’essere umano era al centro dell’azione aziendale, progettandone su diversi fronti il benessere, personale e collettivo, da elargire a ogni categoria, dai dirigenti agli operai, ai figli dei dipendenti. L’esplicita sua volontà di creare un dialogo tra chiunque gravitasse intorno all’Olivetti, divulgandone principi e idee per una modernizzazione della società, è denunciata nei suoi numerosi discorsi pubblici e negli scritti; parallelamente, tale volontà era amplificata attraverso la pubblicistica, la grafica, la pubblicità e la cinematografia, strumenti voluti al fine di ricercare e sperimentare espressioni comunicative decisamente moderne. Una ricerca, quasi una sfida, in cui Adriano ha coinvolto professionisti noti e non, come promotori dinamici di una comunicazione innovativa, onde diffondere la sua ampia visione sociale e non solo la sua produzione. Partendo da questi riferimenti e dai materiali prodotti in quel fruttuoso periodo della nostra cultura, letti nei loro valori ideologici, pratici ed espressivi, propongo qui, attraverso l’illustrazione, un viaggio nel tempo alla scoperta di quello spaccato storico così stimolante e multisfaccettato, intrapreso in un Atelier universitario. Un viaggio guidato e percorso attraverso il rapporto stretto tra conoscenza e visione, tra documenti, citazioni, suggestioni iconiche e approfondimenti scritti, che ha preso forma in differenti trame narrative, in cui l’illustrazione ha assunto il ruolo centrale nell’organizzare letture a più livelli di approfondimento. Ne risultano percorsi narrativi molto personali, in dialogo scalare tra l’insieme e ogni illustrazione, in equilibrio tra strutture grafico-compositive desunte dalle teorie percettive e della comunicazione e quel tocco di fantasia che segna l’impronta dell’architetto: da tutti emerge il valore primario dell’illustrazione come guida di percorsi espressivi e culturali in grado, anche, di generare emozioni. Adriano Olivetti, brilliant and avant-garde figure, is still today a reference point in contemporary society for the modernity of his thought, in having put down unprecedented cultural roots in various sectors: from the factory, to the environment, architecture, design and graphics, to the very life of the community. A model, his own, in which the human being was at the centre of the company's actions, designing on various fronts the personal and collective wellbeing of each category, from managers to workers and employees' children. His explicit desire to create a dialogue between whoever gravitated around Olivetti, divulging principles and ideas for a modernization of society, is denounced in his numerous public speeches and writings; at the same time, this desire was amplified through publications, graphics, publicity and cinematography, instruments intended to research and experiment with decidedly modern communicative expressions. A research, almost a challenge, in which Adriano has involved well-known and unknown professionals, as dynamic promoters of innovative communication, in order to spread his wide social vision and not only his production. Starting from these references and the materials produced in that fruitful period of our culture, seen in their ideological, practical and expressive values, I propose here, through illustration, a journey back in time to the discovery of that historical cross-section so stimulating and multifaceted, undertaken in a University Atelier. A guided journey through the close relationship between knowledge and vision, between documents, quotations, iconic suggestions and written insights, which has taken shape in different narrative plots, in which illustration has assumed the central role in organizing readings at various levels of depth. What comes out are very personal narrative paths, in a scalar dialogue between the whole and each illustration, in balance between graphic-compositive structures derived from perceptive and communication theories and that touch of fantasy that marks the architect's imprint: the primary value of illustration emerges from all of them as a guide for expressive and cultural paths that can also generate emotions