Shape and size in anthropological research

The study is concentrated on a review of univariate and multivariate methods of size standardization in anthropological research

Les empreintes de main dans l’art pariétal : possibilités et limites d’interprétations mises en relief par l’anthropologie médico-légale

CD p. 1197-1206International audienc

Les empreintes de main dans l’art pariétal : possibilités et limites d’interprétations mises en relief par l’anthropologie médico-légale

CD p. 1197-1206International audienc

Unexpected Heterocyclic Products from Cycloaddition Reactions of Nonsymmetrical Allenyl Aldoketazines with Substituted Alkynes

International audienc

Combined intra-intermolecular criss-cross cycloaddition reactions leading to perfluoroalkylated fused tricyclic nitrogen heterocycles

International audiencePerfluoroalkylated hydrazones 1a–ewere preparedfrom diethyl hydrazinophosphate andwere engaged in the reaction with 3-substitutedhomoallenyl aldehydes according to Zwierzak’smethod. The resulting non-symmetrical perfluoroalkyl-derived azines reacted in combined intra-intermolecular criss-cross cycloaddition with phenyl isocyanate, phenyl isothiocyanate and dimethyl acetylenedicarboxylate producing fused tricyclic heterocycles. Besides, the thermal cyclization of perfluoroalkylated non- symmetrical azines, without added dipolarophile, was carried out providing fused bicyclic systems

Art, Technique and Ideology: between Italian and Croatian New Tendencies.

The aim of this essay is to show how, from the 1950s to early 1970s, arts and technologies evolved side by side owing to the new practices borrowed from the legacy of abstract art. Both in Italy and Croatia, several left-wing scholars wrote on the relations between art and technology as an important factor of social progress. On this basis, it was implied that the leftist ideology had a decisive effect on the new artistic attitudes. These took place in Zagreb during the Nove tendencije exhibitions, held in 1961 and 1963 respectively, where several kinetic and so-called "programmed" artworks were displayed. However, just after the 1965 edition of Nove tendencije, Italian artistic research was changed by the Arte Povera movement in 1967. As a consequence, the gap between "programmed" art the Left increased. Although in Italy such changeover caused a complete break in the relationship between art and technology, in Zagreb the last Tendencije exhibitions, held in 1969 and 1973 respectively, combined the computer-based and conceptual art trends with left-wing radicalism