Il diritto alla giustizia: crimini contro l'umanita' e rimedi giurisdizionali per le vittime nel sistema della Corte penale internazionale

Dottorato di ricerca in tutela dei diritti fondamentali. 12. ciclo. A.a. 1996-99. Coordinatore Michele AinisConsiglio Nazionale delle Ricerche - Biblioteca Centrale - P.le Aldo Moro, 7, Rome; Biblioteca Nazionale Centrale - P.za Cavalleggeri, 1, Florence / CNR - Consiglio Nazionale delle RichercheSIGLEITItal

Tour d'occupation(s).Condensateur social des conditions de vie métropolitaine (Londres, GB)

Londres, post-Brexit. Année 2030, la beauté est morte hier. Il ne reste qu'une trace de l'Europe face au Parlement britannique. L'œuvre simple appartient au passé, l'œuvre double se trouve juste à quelques détours de la rivière; dominante, elle surplombe la spéculative “City of London”. Il s’agit d’une figure anormale, attrayante et inconnue, ne suivant pas les limites du contexte qui l’accueille, toujours éprise de sa précédente enveloppe westminstérienne. Un écran - logements - radiographie les urgences sociales de la ville; une structure dégothique - antenne européenne - la soutient; un dépôt souterrain - banque d'art - la finance. La structure violente et les murs rideaux réfringents combattent la transparence facile des gratte-ciel voisins: forteresses de verre, éblouissantes et introspectives. Il s’agit d’un repère éthique pour le commun des hommes; une composition capable de capter l’attention des passants, et de révéler le quotidien connu et redondant de nos vies. Son ambiguïté perceptive glorifie la contradiction et le contrapposto, la fausse symétrie et l'harmonie déviante, le tout déformé et le dividuel. Offrant à la ville des espaces continus - libres et contraints - du sous-sol au ciel, incomplet, mais complet dans sa dualité. L’échelle humaine et l'échelle géante alternent dans une dichotomie d'écoulements et de décrochages, de proximités et de répétitions biaisées, donnant lieu à de nouveau(x) mode(s) d’occupation(s). «Nous sommes fascinés par sa force en action. Laissons-nous surprendre et choquer par le résultat, abandonnons-nous au processus …». [Extrait de l’Enoncé théorique de master

Incomplete Voyage or the Process of Reappropriation of the Fantastic

Contemporary society leaves little space to dream  and allows only for a reduced political engagement, with few shared beliefs. We criticise, but we do not act. We protest in mass, but we are individualistic. We advocate for freedom of thought, but we are prisoners of social media and their images: images, images, images popping out everywhere, overwhelming us, suffocating us.However, representations since antiquity have always had an impact on society, as mirrors and amplifiers of the everyday. They were created to question, describe and re-imagine faiths and situations: wandering tools able to tell a common story, through individual ones. They were not “images for images”, but rather parts of a larger narration expressed through different rituals, inviting a connection with the other. The goal was to see reality with other eyes and to recognise the sur-meaning in it.On the contrary, today we are faced by a different context: the fantastic - the imaginative, dreamy or creative potential of every object or being - is either rejected or fully embraced as a substitute of the surrounding reality. Therefore, the aim of this text is to investigate how to re-create a balanced connection between reality and the fantastic, architecture and ritual, representation and myth. If performance, seen as a key tool for the expression of collectivity, will be the linking thread of the discourse, montage, thanks to its relationship to time, will be the visual, acoustic and temporal vehicle, transporting us through this α-chronic incomplete voyage

Intraclass correlations between observed and fitted hits and false alarms for each model.

<p>Intraclass correlations between observed and fitted hits and false alarms for each model.</p

Une sépulture collective de la fin du Néolithique au cœur du district minier de Cabrières-Péret (Hérault) : la grotte du Rhinocéros 4

International audienc

Collage di carta, collage digitale: concetti di architettura a confronto

In the years following 1968, marked by the international student revolt, some architects refused the traditional type of project and professional practice, enacting a revolution in society through the architectural drawing. This refusal has taken a particular form and manifested itself with an expressive type of drawing, which sometimes took on the features of a manifesto for prefiguring a society to come. As a consequence, a proper universe of images has been generated which has been defined, often with contempt, as \u201cpaper architecture.\u201d Those drawings alluded to an architecture that did not intend to be built, but that wanted to become the expression of a dream for a different society. That \u201cpaper architecture\u201d was revolutionary, as were Piranesi's drawings and Mies van der Rohe's collages. In that \u201cpaper architecture,\u201d collage has played a fundamental role. The collage technique, although in use since the early twentieth century, has acquired a very special value in the cultural, political and ideological climate of the 1960s due to the immediacy and the power of representation of the image. The visionary premises of these drawings from the 1960s will not be lost. The ideas that crystallized on paper will evolve in the following decades, until finding a concrete substance between the end of the twentieth and the beginning of the twenty-first century. The collage technique of the digital age allows architects to outline an image of synthesis with narrative values, impacting the cultural dimension and the form itself of architecture. The digital collage process\u2014with images, signs and colors mounted layer by layer with different software\u2014avoids the realism of the so-called renderings and makes the drawing similar to those created with conventional techniques, although with a novelty: a fantastic realism and a use of perspective altered through calculated forms of pictorialism. The present issue of \uabpiano b\ubb aims to stimulate and collect wide-ranging reflections on the issue of architecture that is narrated and interpreted through a special genre of drawing, which entrusts its creative potential to techniques such as collage, and which intends to be first of all the expression of a cultural dimension, which is substantiated through the image itself and its details