A reduced algorithm from Faugeras-Bethods theorem in labeling problems

This paper illustrates a new approach to labeling ("object classification") problems, and it targets the simplification of a (computationally) complex algorithm based on Faugeras and Berthod's theorem.

Artificial Neural Networks in Financial Modelling

The study of Artificial Neural Networks derives from first trials to translate in mathematical models the principles of biological processing. An Artificial Neural Network deals with generating, in the fastest times, an implicit and predictive model of the evolution of a system. In particular, it derives from experience its ability to be able to recognize some behaviours or situations and to suggest how to take them into account. This work illustrates an approach to the use of Artificial Neural Networks for Financial Modelling; we aim to explore the structural differences (and implications) between one- and multi- agent and population models. In one-population models, ANNs are involved as forecasting devices with wealth-maximizing agents (in which agents make decisions so as to achieve an utility maximization following non-linear models to do forecasting), while in multipopulation models agents do not follow predetermined rules, but tend to create their own behavioural rules as market data are collected. In particular, it is important to analyze diversities between one-agent and one-population models; in fact, in building one-population model it is possible to illustrate the market equilibrium endogenously, which is not possible in one-agent model where all the environmental characteristics are taken as given and beyond the control of the single agent.artificial neural network, financial modelling, population model, market equilibrium.

A Data Set Generation Algorithm in Combinatorial Auctions

The generation of realistic data sets in a Combinatorial Auction may be a challenging problem. Well-formed data sets are very useful in the evaluation of algorithms trying to solve the winner determination problem. In this paper a general data set generation scheme is presented, both from an algorithmic and economic point of view. As a case study, a possible auction setting is discussed where the goods on sale are connections between points in space.bid, combinatorial auction, data set generation.

Discussione sulla traduzione di ‘Questi fantasmi’, di Eduardo De Filippo: Con derecho a fantasma, versione spagnola di Jaime de Armiñán e messa in scena di Fernando Fernán Gómez

We have analyzed the Spanish translation of the pièce by Eduardo De Filippo’s Questi fantasmi (These ghosts, 1945), carried out by Jaime de Armiñán in 1959, and specifically required for the stage under the direction of Fernando Fernán Gómez, which was presented with the title Derecho a fantasma. Since the very title, not literally translated into Spanish, Jaime de Armiñan’s text wants to merge the unknown, the magical, the surreal, the mystery of the pièce, with the idea of a typically familiar boarding house ​ —which was quite common at that time in Spain—. We found out that while the original text was ironically more subtle and poetic —serving as a universal metaphor for the crisis of values in the second half of the twentieth century— the translation lightly alters the aim of the Italian comedy emphasizing the humour, sometimes senselessly, and making a large use of the digressions and compensations techniques. Moreover, the relationship described and analyzed in this translation is between the work by Eduardo De Filippo, Jaime Armiñán’s translation and the drammatic thought of Fernando Fernán Gomez, with their respective poetry that derive from their worldviews, theatre ideas, and time. Even though the translation proves to be considerably affected by the fact of being designed for the adaptation for the stage, the two Spanish authors have had the merit of introducing Eduardo De Filippo’s theatre in Spain, a task which had eventually impacted on their activities

Il valore dei valori nella pubblicità italiana come ambito per l'apprendimento della lingua

In our didactic experience of the Italian language, we have often made use of Italian advertisements which have proved to be useful for intercultural comparisons; and above all to stimulate critical awareness of some social values and their manipulation by the media. To this end, we have concentrated on the thematic and figurative values considered from the discursive strategies' perspective used in the corresponding advertisements, in order to describe their value. During the Italian language lessons, the analysis was often conceived in a heuristic way, focusing on the results and then hypothesizing historical causes of a cultural, sociological, political and economic nature.Nella nostra esperienza didattica della lingua italiana, ci siamo avvalsi spesso di annunci pubblicitari italiani che si sono rivelati utili per comparazioni interculturali; e soprattutto per stimolare la consapevolezza critica di alcuni valori sociali e della loro manipolazione dai media. A tal scopo, ci siamo concentrati sui valori tematici e figurativi considerati a partire dalle strategie discorsive in uso nelle pubblicità corrispondenti, in modo da descrivere la loro valenza. Durante le lezioni di lingua italiana, l'analisi è stata spesso concepita in modo euristico, soffermandoci sui risultati per poi ipotizzare cause storiche di tipo culturale, sociologico, politico ed economico

Factores protectores y de riesgo del sueño de los niños pequeños y del estrés de los padres

The current study examined the network of relationships among toddlers’ quality of sleep and emotion regulation, parental bedtime practices and involvement, parental self-perceived social support and stress, integrating a novel combination of psychosocial dimensions into a predictive model of quality of sleep and parental stress in a sample of 80 families with 2–3-year-old children. The results indicated that infants’ emotion regulation, as well as proximal context variables, considering both maternal and paternal psychosocial functioning predicted variance in parental levels of stress. Furthermore, the findings showed that the number of child’s night awakenings reported by mothersand thetimerequested bytoddlersto fallasleep, were significantly related to parental distress levels as referred by both parents.En el presente estudio se examinó la red de relaciones entre la calidad del sueño y la regulación de las emociones de los niños pequeños, las prácticas y la participación de los padres a la hora de acostarse, el apoyo social y el estrés de los padres, integrando una novedosa combinación de dimensiones psicosociales en un modelo predictivo de la calidad del sueño y el estrés de los padres en una muestra de 80 familias con niños de 2 a 3 años de edad. Los resultados indicaron que la regulación de las emociones de los lactantes, así como las variables de contexto próximo, teniendo en cuenta el funcionamiento psicosocial tanto materno como paterno, predecían la varianza de los niveles de estrés de los padres. Además, los resultados mostraron que el número de vigilancias nocturnas del niño comunicadas por las madres y el tiempo solicitado por los niños pequeños para dormirse, estaban significativamente relacionados con los niveles de estrés de los padres según lo referido por ambos padres

Narración, actuación y poesía: el híbrido femenino vs. canon

What are the traits that define female literary production? Is it possible to change the canon of literature by inserting female production with its characteristics without incurring transgressions? Can the canon be opened to new forms of literature? In attempting to ask ourselves these questions, we define the state of the current question on the concept of canon and draw up proposals for subversion of the canon in terms of fusion of genres, analyzing a concrete case of female literary-theatrical production —quite isolated too, and even more if declined in the feminine— in the context of slam-poetry.¿Cuáles son los rasgos que definen la producción literaria femenina? ¿Es posible cambiar el canon de la literatura teniendo en cuenta la producción femenina con sus características sin incurrir en transgresiones? ¿Se puede abrir el canon a nuevas formas de literatura? Intentando hacernos estas preguntas, definimos el estado de la cuestión sobre el concepto de canon y elaboramos propuestas para su subversión en términos de fusión de géneros, analizando un caso concreto de producción literaria-teatral femenina, también bastante aislada —y aún más si se declina en lo femenino—, en el contexto de la poesía

"Cominciamo Bene": vaciar el sujeto y rechazar la representación en el teatro

Testing himself with Artaud’s project and realizing the thought of Gilles Deleuze, in the Italian theatre of the sixties appeared the phenomenon of the most controversial and unclassifiable actor, author and director of recent European theatre: Carmelo Bene. The prolific playwright ―born in 1937 in Salento (province of Lecce, Apulia) the heel of the Italian boot (“Il sud del Sud”), and died in 2002―, is known by most as an ambiguous and particularly eccentric character who prevailed against the traditional theatre and against the avant-garde itself. Still nowadays, eighteen years after his death, he continues to arouse high interest and doubts. His theatre rejects the text, the word with all its signifieds that are reproduced thanks to the traditional representation (with all its agents: author, director, actor and audience). Bene rejects a conception of art that in Western theatre has stagnated, perpetuating imitation according to Aristotelian precepts, thus preventing free and liberating creation. According to Piergiorgio Giacché, Carmelo Bene is the only one who places his actorism above any other role and theatrical vocation (that is, beyond the author and against the director) and accepts the actor’s loneliness to celebrate his freedom and that of theatrical art. However, Carmelo Bene also acts the liberation in the theatre of the signifiers on which he imposes his voice with his modulations and amplifications, to disappear and “lose himself” in the artifice of the “Actorial Machine”.Poniéndose a prueba con el proyecto de Artaud, y actuando y realizando el pensa-miento de Gilles Deleuze[1], en los años sesenta se manifiesta en el teatro italiano el fenómeno del actor, autor y director más controvertido e inclasificable del teatro europeo reciente: Carmelo Bene. El prolífico autor teatral ­―nacido en 1937 en Salento (provincia de Lecce, Apulia), el tacón de la bota italiana (“Il sud del Sud”) y fallecido en 2002― es conocido por la mayoría como un personaje ambiguo y particularmente excéntrico que se impuso contra el teatro tradicional y contra la misma vanguardia. Y aún hoy, dieciocho años después de su muerte, sigue suscitando mucho interés y dudas. Su teatro rechaza el texto, la palabra con todos sus significados que se reproducen gracias a la representación tradicional ―con todos sus agentes: autor, director, actor y público―. Bene rechaza una concepción del arte que en el teatro occidental se ha estancado perpetuando la imitación según los preceptos aristotélicos, impidiendo así la creación libre y liberadora. Según Piergiorgio Giacché, Carmelo Bene es el único que coloca su actorialidad por encima de cualquier otra función y vocación teatral ―es decir, más allá del autor y contra el director―, acepta la soledad del actor para celebrar su libertad y la del arte teatral. Sin embargo, Carmelo Bene lleva a cabo también la liberación en el teatro de los significantes sobre los que impone su voz con sus modulaciones y amplificaciones, para desaparecer y “perderse” en el artificio de la “Máquina actorial” [2].   [1] Gilles Deleuze, Logique du sense, Paris, Ed. Minuit, 1969. [2] Como Giacché destaca, tres son los aspectos que distinguen a Bene y que “[...] costituiscono l’originalità se non addirittura l’origine del suo teatro: la separazione dal Pubblico, la sublimazione della Voce, la sparizione nella Macchina”. Giacché, P., «Nessun Bene. Tre atti unici di Carmelo Bene», en Doppiozero, 16 de marzo de 2017, en https://www.doppiozero.com/materiali/nessun-bene, consultado el 23 de julio de 2020