Summary In this work we elaborate on the idea of a formal theory for a limited but important part of structural chemistry, that described by Lewis’ methods and VSEPR (Valence Shell Electron Pair Repulsion). For this purpose, recursive functions and propositional functions are defined, that apply to formal expressions of the structure, based on a finite set of symbols. This approach allows for the expression of numerous questions of chemical interest. The formalization of basic structural chemistry based on Lewis/VSEPR method (...) is potentially useful for the automation of the related procedures, but possibly also of some use as complementary material in teaching and as a heuristic tool in structural chemistry. (shrink)

Il testo si apre con una breve descrizione divulgativa della biologia della visione, dalla percezione delle linee complesse ai colori, e di come questa si sia evoluta nel corso dei millenni, da meccanismo pro-sopravvivenza legato all'analisi dell’ambiente naturale e dei propri simili, a strumento di valutazione e apprezzamento della composizione artistica. Indaga le analogie tra lo sviluppo del cervello nei bambini affetti da disturbi dello spettro affettivo e relazionale (autismo) e le rappresentazioni iconografiche degli uomini primitivi, dal paleolitico al neolitico. (...) Un’ampia sezione descrive dinamiche cerebrali dovute ai cosiddetti neuroni specchio e di come questi influiscono sull’espressione e la fruizione dell’opera d’arte, analizzando le produzioni di due degli artisti contemporanei più famosi: Damien Hirst e Jeff Koons, collegati da una complementarità culturale ancestrale, quella tra eros e thanatos, che affonda le radici nell’arte funeraria etrusca. Il testo continua con l’analisi neuroestetica della visione e i suoi effetti sull’organismo umano, seguendo l’evoluzione che ha subito il punto di visuale. Dal basso verso l’alto nel barocco, dal basso a “volo d’uccello” nell’arte futurista e dall’alto verso il basso nella produzione pittorica dell’archistar anglo-irachena Zaha Hadid. Lo stesso punto di vista che fugge i confini della rappresentazione pittorica, fino ad abbandonare totalmente i confini del corpo e le dinamiche cerebrali nell’arte riferita al metaumanesimo e transumanesimo. (shrink)

In Turkey, the period after the establishment of the Republic saw archeological representations play an active role in defining the ancient past and producing new disciplinary knowledge. Visual practices emerged as important sites for the formation of a new conception of the ancient past in the larger context of the political and cultural discourse over the modernization of the country. Based on museum guidebooks, official publications, and archival documents, this paper focuses on the İzmir region after the establishment of the (...) Turkish Republic in 1923 and explores how the ancient past was perceived and displayed in relation to the historical and cultural transformations that occurred in Turkey after the Greco-Turkish War. (shrink)

What is profoundly under question, especially today, in the aftermath of the pandemic, is on one hand the phenomenon of desire, on the other hand the experience and capability of desiring of the human being. Taking a look at the social situation of the country – recalling first the investigation of the 44th Censis Report 2010, the contents of which in some ways are re-proposed in a naturally volved way in the following one of 2020 –, we are given an (...) image that relaunches our thought owards a need to deepen the ontology of desire and a possible educational pedagogy about it. Our society is depicted as “with no inner desire”: a crisis of desire emerges, in the sense of a crisis about the power of having a vision about the future and capacity of planning with excitement. In this paper, recalling Kant and his transcendental productive imagination as well as the new path of affective neurosciences perspective, going through the Theory of Attachment, I aim at opening a possible way to overcome this impossibility to desire arguing a different hermeneutics in comparison to what the tradition, especially that of J. Lacan, left us about this important and vital faculty of the human being. (shrink)

Galen’s commentary on the Hippocratic Aphorisms is transmitted by a large amount of Medieval and Renaissance manuscripts. Some of them remarkably display a “mixed” text, in which Galen’s commentary is combined with passages from the later commentator Theophilus. Most important among these is the Marc. gr. V 9 (coll. 1017), which inserts two large passages by Theophilus into the Galenic commentary (i. e. VI 1-38; VII 12-73). Both of them were copied by the late physician and student of John Argyropoulos (...) in Constantinople, Demetrios Angelos, who was not primarly involved in the production, but purchased the manuscript after completion and restored its text using another commentary on the Aphorisms, which he had at his disposal. This paper aims at investigating codicological, paleographical and philological aspects of the Marc. gr. V 9, in order to retrace the origin of its mixed commentary and place it in its historical-cultural context. (shrink)

The manuscript tradition of Cyril of Alexandria’s apologetical work Contra Iulianum consists altogether of fourteen codices; among these, six are late exemplars of the Renaissance, characterized by a very contaminated text. Despite their limited value for the constitutio textus, they seem to be fundamental to reconstructing the history of the text itself. This philological investigation clearly shows that the six recentiores have to be considered as a group; provides information and details about them – concerning scribes, owners and genesis – (...) definitely useful for tracing a general outline of the timetable of diffusion and circulation of Contra Iulianum in the Renaissance; and furthermore defines relationships between the recentiores and the main manuscripts of the tradition, among which is included the lost so-called Capnioneus. (shrink)

Among the witnesses of Galen’s Quod animi mores has been not yet employed the excerptum contained in the miscellaneous codex of Munich Clm 807, written in 1491 by the well-known humanist Angelo Poliziano. This excerptum seems to depend on the same model as the 1525 editio princeps, the so–called Aldina, which is currently supposed to be lost. It thus represents the only instrument of control for this traditional branch as well as a precious witness to the interest aroused by this (...) Galen’s work and its circulation among classical scholars in the Renaissance Italy. This article provides a critical edition of the excerptum, including with identification, translation and commentary. (shrink)

Abstract:Calvin Warren talks about Heidegger's influence on Afropessimism, and about the philosophical significance of the Harlem Renaissance.