Tracce mnestiche e itinerari mediterranei. La 'grecità' in Paolini e Kounellis: 1960-1980

This study will envisage the possibility of analyzing the value of 'Greekness' in the production of Giulio Paolini and Jannis Kounellis by proposing a cartographic itinerary. We will try to clarify how the use of 'Greekness' is entirely part of a reliable authorial reflection, developed since the early 1960s, extraneous to roaring and imaginative postmodern solutions.Il presente contributo intende approfondire il valore della “grecità” nella produzione di Giulio Paolini e Jannis Kounellis proponendo un itinerario cartografico. Si cercherà di esplicitare come il ricorso alla “grecità” rientri a pieno titolo in una solida riflessione autoriale, maturata sin dai primi anni Sessanta, estranea a ruggenti soluzioni postmoderne.  &nbsp

HAPTIC FEELING: GENEALOGIE TRA STORIA DELL’ARTE, CRITICA E NEW-MEDIA

This doctoral project aims to offer a genealogical investigation of haptic perception in art history. Although haptic perception has been the subject of an extraordinarily articulated and interdisciplinary panorama of studies from the last decade of the 19th century to the new millennium, it has yet to receive systematic recognition in art history and historiography.It was intersecting these directions, the four sections that make up the thesis aim to create a cohesive and harmonious treatment. The motility of the hand is the protagonist of the first section entitled Prehistory of the haptic. From iconography to morphogenesis, which, starting from a philological deconstruction of Jeff Koons' Balloon Venus series (2008-2021) and its relationship with the haptic feeling "of positivity", aims to formulate a hypothesis of a reinterpretation of modernist plastic hinged on this prehistoric artefact and on some of its figures, tracing a submerged historiography that could support this critical proposal. he second section of the project, entitled The History of the Haptic - State of the Literature and Critical Reconnaissance initiates an itinerary into the 20th-century development of the notion of the Haptic in the art-historical sphere through a critical re-reading of a panorama of sources, approaches, and orientations. In posing the haptic as a methodological question, the section moves from a critical reconnaissance of Alois Riegl’s role and an examination of the figures elaborated in the historiographic field to analyses the relations between haptics and the historical avant-garde. Following this, the third section of the work, defined as An Alternative History of Haptics, hypothesizes a 'prehistoric' and laboratory genealogy leading back to the 1892 rehabilitation of the term 'haptic/haptics' in the psycho-aesthetic sphere, tracing a network of relations between the scientific side (Wundt, Dessoir, Titchener, Münsterberg, James) and the artistic side (Berenson and Stein). Such an interweaving gives rise to the fourth section of the present work, entitled In the histories of the haptic, and aims to interrogate some selected nodes by which, in the second half of the 20th century, understood as a conceptual figure and interdisciplinary dynamic, a web of case studies has emerged whose analysis can assist the study of haptic feeling in an art-historical perspective and which, from the New York of 1916 up to the 1990s, allows us to highlight how it has grafted itself onto, actively participating in, stylistic issues and the intermediate development of sculpture. Finally, in the third section, entitled “In the sanctuary cave: haptic feeling and new media”, conceived as an appendix, the discussion interrogates the multimodal disposition of the haptic when sculpture takes over complex environmental and intermedial organisms. It again interrogates the paleo-historical framework about the contemporary mediasphere and the modes of evocation of touch widely probed by artists such as Laure Prouvost, Camille Henrot, Julien Prévieux and Marguerite Humeau

Steps Towards a Formal Ontology of Narratives Based on Narratology

Narrative is emerging as a notion that may enable overcoming the limitations of the discovery functionality (only ranked lists of objects) offered by information systems to their users. We present preliminary results on modelling narratives by means of formal ontology, by introducing a conceptualization of narratives and a mathematical expression of it. Our conceptualization tries to capture fundamental notions of narratives as defined in narratology, such as fabula, narration and plot. A validation of the conceptualization and of its mathematical specification is ongoing, based on the Semantic Web standards and on the CIDOC CRM ISO standard ontology

Inside haptic Modernism: Alois Riegl and Anglo-American art criticism and theory

Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the “optical device” postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccentric critical tool to disorientate and dismantle the Modernist and Rieglian oculocentric discourses

Inside haptic Modernism: Alois Riegl and AngloAmerican art criticism and theory

Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the “optical device” postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccentric critical tool to disorientate and dismantle the Modernist and Rieglian oculocentric discourses

L'annotazione dell'aspetto verbale per il trattamento automatico della lingua italiana: esperimenti e valutazioni

Il riconoscimento e l’annotazione dell’aspetto e dell’azione verbale si configurano come task complessi, in cui interagiscono allo stesso tempo vari livelli di elaborazione linguistica. Proprio a causa della difficoltà di risoluzione dei problemi che riguardano il dominio tempo-aspettuale, l’indagine svolta in questo lavoro si è sviluppata secondo un processo gerarchicamente ordinato in livelli di difficoltà crescente. Tenendo presente che l’orizzonte di riferimento è costituito dalla creazione di risorse annotate per sistemi di Natural Language Processing (NLP), si è cercato, innanzitutto, di rispondere a tre domande riguardanti lo stato dell’arte: 1. Esistono schemi di annotazione che contemplano l’etichettatura di azione e aspetto verbale? 2. Se e quali sono le risorse annotate attualmente disponibili che riportano questi tipi di informazione? 3. Quali e quanti sono i sistemi automatici disponibili utilizzati per la creazione di risorse linguistiche di questo tipo o che sfruttano questi dati per il proprio l’addestramento? Un’attenzione particolare è stata rivolta all’analisi dello schema di annotazione TimeML (Pustejovsky et al., 2003), per l’annotazione di eventi, espressioni temporali e delle loro relazioni, nell’ottica di indagare se e in quale misura vengono proposte metodologie per l’annotazione di aspettualità e azionalità e se queste sono sufficientemente esaurienti ed esaustive. Il lavoro svolto in questa tesi si giustifica proprio alla luce dei risultati ottenuti da quest’analisi. È risultato evidente, infatti, come l’annotazione aspettuale non sia molto diffusa nei corpora, con particolare riferimento alla marcatura dell’aspetto abituale. Tale mancanza è spesso giustificata con l’elevata difficoltà nel distinguere le varie tipologie di aspetto verbale: proprio dalla verifica di questa asserzione prende avvio l’esperimento svolto in questa tesi e l’idea di utilizzare la piattaforma di crowdsoucing CrowdFlower per testare la capacità di utenti non linguisticamente addestrati di individuare una particolare tipologia aspettuale, ovvero l’aspetto afferente alla classe dell’imperfettività gnomica (Bertinetto e Lenci, 2011). La decisione di marcare l’imperfettività gnomica (aspetti abituale, attitudinale, potenziale, generico e Individual Level predicate) è stata dettata dall’interesse per l’individuazione, all’interno dei testi, di frasi che esprimono una generalizzazione di qualche tipo oppure una proprietà che caratterizza un soggetto per un intero periodo della sua vita o per tutta la sua esistenza. Si è cercato, quindi, di capire se possa essere utile/possibile marcare questa particolare classe aspettuale in prospettiva di un’estrazione automatica di informazione di senso comune (Singh, 2002) da testi scritti

The haptics of illusion. An account of touch across theories, technologies and museums

Touch represents one of the latest and most complex frontiers of virtuality: a sense which historically seems to have carried the burden of proof on reality, by definition resistant to illusory environments. The paper begins from this assumption to trace a history of illusion across authors and theorists that have debated the statute of haptics, building a dialogue between philosophical dilemmas and technological developments. Moving both from an aesthetic and psychophysiological viewpoint, the article will root its analysis in an historical-artistic account, augmenting the discussion with a series of case studies from the museum sector. The introduction of haptic technologies within cultural institutions, which dates back to the last three decades, proves an interesting field to test the functions which touch plays in both educational and imaginative scenarios. The open question being whether modern technologies should aim at replicating haptic realism in miming phenomenological accuracy, or whether the most innovative applications need to aspire to a more environmental employment of touch

EVALITA 2009: Description and Results of the Local Entity Detection and Recognition (LEDR) task.

In this paper, we describe motivations and features of the LEDR (Local Entity Detection and Recognition) task at EVALITA 2009. Our work refers to the task of the same name within the Automatic Content Extraction (ACE) program. We adopted the ACE annotation scheme adapting it to the specific morpho-syntactic features of Italian in order to create training and test data to be used in the evaluation of Information Extraction systems for Italian. In this report annotated data and evaluation measures are presented. Moreover, the results obtained by the participating system are showed

La grotta immersiva: multimedialità del paleostorico tra disegno, fotografia, cinema e 3D Autori

La grotta paleostorica si offre come una “immagine-ambiente” paradigmatica nell’intima relazione tra immagini (pitture, graffiti, blocchi scolpiti) e andamento della parete geologica. Spazio conchiuso, avvolgente, buio, in cui “l’immagine va a coincidere con la totalità del campo percettivo, venendo meno la cornice”, essa appare come l’ambiente perfetto per essere esplorato in modalità immersiva a 360°. Un caso emblematico di questo sistema esperienziale è offerto dal recentissimo, sfaccettato programma Meet Our Ancestors (Google Arts & Culture), dedicato al sito di Chauvet-Pont d’Arc, che, attraverso un apparato tecno-mediale e differenti gradi di interazione (AR, VR), permette sia la sovrapposizione tra reale e virtuale, sia l’immersione multisensoriale in un ambiente artificiale. Oggetto di riflessione del contributo sarà la disamina della multiforme nozione di immersività AR e VR in una prospettiva teorica-estetica in relazione a tale ambiente specifico, anche alla luce della sua estensiva applicazione alle principali repliche (Altamira, Lascaux, Chauvet) in fase di pandemia. Il contributo ripercorrerà inoltre le tappe salienti di una lunga storia percettiva perennemente oscillante tra lettura ambientale ed esaltazione iconica: dalle prime illustrazioni di ambito scientifico di fine XIX secolo, alle strategie espositive della prima metà del ‘900, passando per le immagini della cultura di massa, la ri-mediazione dell’arte paleostorica trova uno snodo fondamentale nell’avvento del cinema, per culminare nell’utilizzo del 3D con l’opus di Werner Herzog, The Cave of forgotten dreams (2011)

Evaluation of Natural Language Tools for Italian: EVALITA 2007

EVALITA 2007, the first edition of the initiative devoted to the evaluation of Natural Language Processing tools for Italian, provided a shared framework where participants? systems had the possibility to be evaluated on five different tasks, namely Part of Speech Tagging (organised by the University of Bologna), Parsing (organised by the University of Torino), Word Sense Disambiguation (organised by CNR-ILC, Pisa), Temporal Expression Recognition and Normalization (organised by CELCT, Trento), and Named Entity Recognition (organised by FBK, Trento). We believe that the diffusion of shared tasks and shared evaluation practices is a crucial step towards the development of resources and tools for Natural Language Processing. Experiences of this kind, in fact, are a valuable contribution to the validation of existing models and data, allowing for consistent comparisons among approaches and among representation schemes. The good response obtained by EVALITA, both in the number of participants and in the quality of results, showed that pursuing such goals is feasible not only for English, but also for other languages