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class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://uel.academia.edu/JanaJavornik">Jana Javornik</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of East London</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://leicester.academia.edu/GrahamMartin"><img class="profile-avatar u-positionAbsolute" alt="Graham Martin" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/156189/40499/1481064/s200_graham.martin.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://leicester.academia.edu/GrahamMartin">Graham Martin</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Leicester</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://uncg.academia.edu/GwenRobbinsSchug"><img class="profile-avatar u-positionAbsolute" alt="Gwen Robbins Schug" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/161482/41323/141954071/s200_gwen.robbins_schug.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://uncg.academia.edu/GwenRobbinsSchug">Gwen Robbins Schug</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of North Carolina at Greensboro</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a 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Chappe nella Francia napoleonica" class="work-thumbnail" src="https://attachments.academia-assets.com/120374820/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126508237/La_fortezza_invisibile_il_telegrafo_ottico_Chappe_nella_Francia_napoleonica">La “fortezza invisibile”: il telegrafo ottico Chappe nella Francia napoleonica</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Even in the defensive and fortifying processes, two aspects can be found: the material component ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Even in the defensive and fortifying processes, two aspects can be found: the material component and the immaterial one. If all the constructive, material and structural procedures are the first, for example, all that concerns remote communications (maximum optics) belongs to the second, an indispensable tool to complete an optimal strategy for offensive and/or defensive operations. Remote optical transmissions are closely connected to the management of defensive systems: this is also what happens with the optical telegraph of Claude Chappe, conceived during the French Revolution and adopted by Napoleon for the potential inherent in the strategic and territorial logic, as for the organization, structuring and sending of encrypted messages (which since the sixteenth century had also seen the interest of Leon Battista Alberti. The densest part of the network spreads to France, from Paris to the borders of the nation. In Europe, you will see achievements in Spain, up to Russia. The Lyon-Paris-Venice line also led to the construction of a Lombard-Piedmontese section. The present contribution stems from a conspicuous research, founded on the twenty-year collaboration of Marotta with the FNARH (Fédération Nationale des Associations de Recherche Historique sur la Poste et les Télécommunications). The system included the installation in high positions (hills, towers or bell towers) of a mechanical device, which could be reached at a distance of kilometers. On top of a fixed pole of about 5 m, the apparatus consisted of a central axis (ordinateur) at the ends of which two mobile arms (indicateurs) were fixed which allowed (in the variation of the reciprocal positions and inclinations) to realize multiple signals, at the base of an entire encrypted visual alphabet, arrived in 1841 up to 61000 messages. Multiple types of models made. The contribution will return the chronological developments of the system, in time and space of territories involved, with the relative comparisons of types, models and languages, also through 3D modeling.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="02feaaede267e905a16c8c6803850e0c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120374820,"asset_id":126508237,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120374820/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126508237"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126508237"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126508237; 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664185]").text(description); $(".js-view-count[data-work-id=120664185]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664185; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664185']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664185]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664185,"title":"Un viaggio attraverso la narrazione visiva (lo storytelling): nota introduttiva","internal_url":"https://www.academia.edu/120664185/Un_viaggio_attraverso_la_narrazione_visiva_lo_storytelling_nota_introduttiva","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664184"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation"><img alt="Research paper thumbnail of Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation">Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">E ormai universalmente riconosciuto come la qualita del paesaggio, la sua condivisione e la sua i...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">E ormai universalmente riconosciuto come la qualita del paesaggio, la sua condivisione e la sua interpretazione siano fondamento di identita oltre che un&#39;espressione piu o meno consapevole del rapporto tra societa e territorio: essi possono quindi rappresentare un obiettivo politico, una nuova frontiera capace di orientare le scelte relative al governo di interi territori, nel segno della cultura e dell&#39;integrazione sociale, in vista dell&#39;arricchimento spirituale, civile e materiale di tutti i popoli. Sempre piu emerge la necessita di superare la vecchia dicotomia con cui, all&#39;inizio del secolo scorso, erano visti i due aspetti del paesaggio (estetico e naturalistico) con una separazione che ancora oggi condiziona la nostra cultura e le modalita di rapporto con i nostri paesaggi. In tal senso valgono i fondamentali contributi di Eugenio Turri per le possibili declinazioni che del paesaggio si possono fornire; cosi come l&#39;approccio di Denis Cosgrove sulle componenti iconografiche e simboliche del paesaggio. Non ultime sono da considerarsi le ricerche di Keith Thomas quando parla dell&#39;estetica dell&#39;ambiente partendo dal paesaggio &quot;naturale&quot;. In senso piu ampio, all&#39;interno dell&#39;articolata polisemia sul concetto di paesaggio e sul suo senso, se ne possono in ogni caso estrapolare almeno due principali categorizzazioni: una di carattere scientifico-naturalistico, connotato in senso ecologico, come hanno postulato autori come O&#39;Neill (con altri) nel 1989 o Ingegnoli nel 1991, l&#39;altra di carattere estetico-formale e artistico, da affrontarsi sia in termini piu &quot;oggettivi&quot; e cognitivi, sia in termini piu &quot;soggettivi&quot; e percettivi . Secondo quest&#39;ultima accezione, puo ritenersi legittima una lettura paesaggistica affrontata prevalentemente secondo la cultura della visione, in questo caso declinata in ambito pittorico e artistico</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664184"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664184"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664184; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664184]").text(description); $(".js-view-count[data-work-id=120664184]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664184; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664184']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664184]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664184,"title":"Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation","internal_url":"https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664183"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries"><img alt="Research paper thumbnail of Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries">Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The vision is not only physiological, but knowledge-based: the filter of &quot;visual culture&quo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The vision is not only physiological, but knowledge-based: the filter of &quot;visual culture&quot; - defined by specific statutes - is a way of understanding the complexity of the cultural landscape, the processes that have generated and transformed it, the lost or recognized meaning. Piedmont landscapes - made of mountains, rivers, plains, fortified - are characterized by strong features, to be investigated to understand the current reality of the scenery, seen (with the Europe Council) as &quot;perceived territory&quot;. Between the eighteenth and nineteenth century in the literature, from Neoclassical to Romanticism, is remarkable the Goethe&#39; example with the &quot;tactile vision&quot;, the nature observation, history and theories of color. The reports of travelers show the perception of coeval landscape: as an example, the De La Lande guide Voyage d&#39;Italie en francois, (...). With the same approaches, a more direct representation of the landscape is given in the art views, such as those of Bagetti, Migliara, Brass, Fontanesi</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664183"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664183"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664183; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664183]").text(description); $(".js-view-count[data-work-id=120664183]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664183; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664183']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664183]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664183,"title":"Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries","internal_url":"https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664182"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664182/Visione_sostenibile_Sustainable_Vision_in_the_Conservation_of_Cultural_Heritage_Project_"><img alt="Research paper thumbnail of Visione sostenibile (Sustainable Vision in the Conservation of Cultural Heritage Project)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664182/Visione_sostenibile_Sustainable_Vision_in_the_Conservation_of_Cultural_Heritage_Project_">Visione sostenibile (Sustainable Vision in the Conservation of Cultural Heritage Project)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Who less sees, thinks nothing in four words Filippo Juvarra emphasizes the close link between vis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Who less sees, thinks nothing in four words Filippo Juvarra emphasizes the close link between visual culture and architecture theory and practices. In this perspective, what meaning can be attributed (by designers or users), to their &quot;own&quot; architecture and their &quot;own&quot; city? Considering the landscape as a heritage to be safeguarded (according to the Europe Council, the landscape is &quot;perceived territory&quot;), new plants for renewable energy &quot;with environmentally sustainable technology&quot; are sustainable also from the point of view of visual consistency, and therefore of the &quot;sustainable vision&quot;? We are all ecologists and believe in eco-sustainability, but we have to take into account also the &quot;sustainable vision&quot; issue, that is managed by formally coherent and congruent actions in the architecture and landscape between text and context in all scales?. The same inconsistencies can be detected for new integrations (or recovery projects) in the historical structure of the city, which is characterized by specific aspects concerning what we might legitimately define its &quot;visual structure&quot;. Similar problems can be finally found when the same visual characters are not analyzed, studied, acknowledged and valued appropriately within restoration and-or conservation projects, both in architectural dimension as well as in the urban one. A careful analysis of these phenomena - disciplinary identified - will avoid that such inconsistencies may exacerbate the increasingly diffused &quot;cultural loss&quot;. In support of this thesis will be mentioned, within a large series of case studies being analyzed, national and international examples, both positively and negatively.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664182"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664182"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664182; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664180]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664180,"title":"Il forte di Gavi in età moderna e contemporanea","internal_url":"https://www.academia.edu/120664180/Il_forte_di_Gavi_in_et%C3%A0_moderna_e_contemporanea","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664179"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico"><img alt="Research paper thumbnail of Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico">Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Da tema antico connotante l&#39;architettura, fino alla piu viva attualita, il colore continua a ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Da tema antico connotante l&#39;architettura, fino alla piu viva attualita, il colore continua a essere un campo di indagine non sufficientemente indagato, soprattutto in campi di rilevante interesse come i Beni Culturali architettonici e (per altri versi) gli spazi e i luoghi delle strutture ospedaliere. In particolare negli ospedali pediatrici, il colore e una caratteristica fisico-tecnica e percettiva di primaria importanza, e una presenza costante nelle loro vite e contribuisce al loro sviluppo psicologico e culturale (con eventuali differenziazioni dovute alle terapie). L&#39;ospedalizzazione rappresenta un momento critico di rottura con la quotidianita e, in eta pediatrica, puo comportare l&#39;alterazione dello stesso sviluppo psicofisico del bambino. Il ruolo della progettazione, anche percettiva, degli ambienti ospedalieri risulta quindi di primaria importanza e puo contribuire ad innalzare il livello di qualita della vita del bambino in terapia. Molti degli stimoli che giungono all&#39;uomo sono infatti di natura visiva: diventa quindi importante prendere in considerazione (quando si progettano luoghi di cura) anche gli stimoli visivi e cromatici che potrebbero influire positivamente sul processo di ripresa e guarigione. Il presente contributo e teso a presentare alcune sperimentazioni che considerano il colore come uno strumento fondamentale per creare atmosfere piu rassicuranti e interattive all&#39;interno dei luoghi di cura. I progetti esposti rappresentano gli esiti del corso di Percezione e Comunicazione Visiva tenuto dalla prof.ssa Anna Marotta (Professore Ordinario di Disegno del Politecnico di Torino), con la collaborazione della scrivente in qualita di assistente alla didattica. Le sperimentazioni presentate portano a confermare che una progettazione consapevole (anche cromatica) puo giocare un ruolo fondamentale nel processo di guarigione: l&#39;ambiente nel suo insieme veicola importanti messaggi non verbali che possono essere interpretati in senso positivo o negativo dai pazienti e dai medici e avere, di conseguenza, delle ricadute sugli esiti delle cure stesse. In questo contesto la ricerca propone l&#39;utilizzo del colore come un elemento fondamentale per rendere piu rassicurante e interattiva l&#39;atmosfera della struttura ospedaliera in quanto costituisce uno dei principali aspetti percettivi e sensoriali che possono influenzare l&#39;esperienza e la valutazione dello spazio da parte dei suoi fruitori. Il colore puo infatti contribuire a creare ambienti percettivamente confortevoli, emotivamente positivi, oltre che favorire la comprensibilita della struttura ospedaliera e facilitarne l&#39;uso. Sono ormai noti i danni provocati da ambienti monocromatici, frutto di interpretazioni normative riduttive e superficiali che non tengono conto dei potenziali effetti del colore: i nostri ospedali sono tra i primi esempi della Sick Building Sindrome, dovuta a un insieme di sintomi non riconducibili ad una causa specifica, ma alla permanenza in un ambiente costruito malsano. Se nel passato l&#39;ospedale era concepito come un contenitore neutro di competenze professionali il cui successo era legato alla capacita di servizio e alla cultura dei singoli professionisti, oggi le organizzazioni ospedaliere determinano i propri obiettivi sulla base della domanda dei clienti/utenti, ognuno dei quali e portatore di specifiche esigenze. E proprio in quest&#39;ottica che la ricerca proposta si inserisce, comprendendo come sia diventata un&#39;esigenza improrogabile per un ospedale &quot;moderno&quot; migliorare la qualita dei servizi anche attraverso la cura dell&#39;ambiente</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664179"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664179"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664179; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664179]").text(description); $(".js-view-count[data-work-id=120664179]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664179; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664179']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664179]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664179,"title":"Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico","internal_url":"https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664178"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini"><img alt="Research paper thumbnail of Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini">Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Che cosa puo esprimere, dall&#39;antichita all&#39;attualita, l&#39;architettura nelle sue parti ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Che cosa puo esprimere, dall&#39;antichita all&#39;attualita, l&#39;architettura nelle sue parti e nei suoi processi costitutivi? E quali i metodi per possibili decodifiche? E nel caso degli &quot;stili&quot;? In particolare, nel corso degli ultimi decenni, il tema degli ordini architettonici e stato piu volte ripreso: forse perche in un&#39;epoca in cui buona parte della critica teorica si fonda sulla semiotica, gli ordini si confermano quale linguaggio di forte capacita semantica e simbolica. Cosi, questo contributo si ispira a uno studio di Thoenes sugli ordini, intesi come &quot;sostegno e adornamento&quot;, interpretati non tanto sulla base del loro disegno e in rapporto con gli antichi antecedenti, quanto in relazione alle implicazioni simboliche.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664178"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664178"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664178; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664178]").text(description); $(".js-view-count[data-work-id=120664178]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664178; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664178']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664178]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664178,"title":"Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini","internal_url":"https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664177"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664177/Metodologie_di_analisi_per_larchitettura_il_Rilievo_come_conoscenza_complessa_in_forma_di_database"><img alt="Research paper thumbnail of Metodologie di analisi per l'architettura: il Rilievo come conoscenza complessa in forma di database" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664177/Metodologie_di_analisi_per_larchitettura_il_Rilievo_come_conoscenza_complessa_in_forma_di_database">Metodologie di analisi per l'architettura: il Rilievo come conoscenza complessa in forma di database</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper will describe an analysis method applied to architecture survey, based on the premise ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper will describe an analysis method applied to architecture survey, based on the premise that the same survey is a complex, integrated and stratified knowledge. The method inserts the measurement practice - more or less objectively leaded with traditional methods, updated or advanced - in an approach incorporated and interdisciplinary (especially about historical and critical documentation). The same approach confirms that the true knowledge (even in the age of information technology) is never neutral, but still culturally oriented, thereby influence the project. Clearly the &quot;challenge&quot; of the Research Unit of Turin is to test the comparison of data (collected and compiled for individual processes), to made them as homogeneous as possible (also about to the aspect of vision), but also to compare the main methodological and cultural underlying matrices that allowed the critical selection of the reference data. In parallel, as in other research institutes, even in the Faculty of Architecture of the Politecnico di Torino, the researchers interested in the representation themes speculate about the specific problem of the use of digital instruments for documentation and management of architectural heritage (with particularly attention to cultural heritage). The research development inside the local research unit has to face on one side the profound change brought by innovation and by the use of integrated systems for digital documentation, on the other side - according to the aforementioned methodological premises - aims to promote deepening in specialist fields, from time to time, affected by individual Survey occasions. This paper aims to illustrate an analysis method for architectural Survey based on the assumption that the same survey a process of complex, integrated and layered over time analysis. As has been long anticipated, the node methodologically strong, still to meditate and unravel, lies in the physiological complexity of the mechanisms related to knowledge. While in theory, choosing the criteria, rules and parameters would enable the identification and selection of the characterizing and important elements (within the various constituents of the analyzed architecture), there is not a commonly shared method - within individual disciplines - to decide criteria, rules and parameters. Over time, man has developed a variety of communication systems and languages that makes possible the transmission of information through the use of sign systems or codes shared between issuer and acquirer. The most powerful communication system is certainly the verbal language, by the way the language chart has also a considerable importance, not only as a transcription of verbal language, but also as a representation of signs that resembles the reality it describes. The graphical language of the drawings, has the power to go beyond the verbal language and its associated problems of translation, in fact a sign that identifies a known object, like the sun, is understood by people speaking different languages</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664177"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664177"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664177; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664177]").text(description); $(".js-view-count[data-work-id=120664177]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664177; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664177']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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</script> <div class="js-work-strip profile--work_container" data-work-id="120664176"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini"><img alt="Research paper thumbnail of Dalla storia al progetto nelle immagini" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini">Dalla storia al progetto nelle immagini</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664176"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664176"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664176; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664176]").text(description); $(".js-view-count[data-work-id=120664176]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664176; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664176']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664176]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664176,"title":"Dalla storia al progetto nelle immagini","internal_url":"https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664175"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America"><img alt="Research paper thumbnail of Arte e Teorie del colore nel cinema fra Europa e America" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America">Arte e Teorie del colore nel cinema fra Europa e America</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">&quot;I used to be color blind&quot; recita una canzone di Fred Astaire nel film Girandola (che e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">&quot;I used to be color blind&quot; recita una canzone di Fred Astaire nel film Girandola (che era stato progettato a colori) nel 1938, cioe pochi anni dopo l&#39;emigrazione di Josef Albers (autore di Interazione del colore) dal Bauhaus all&#39;americana Black Mountain University. Se Maurice Merleau Ponty riprende tali tematiche, paradossalmente Rudolph Arnheim (pure autore di una sua teoria del colore) nega l&#39;espressivita poetica del colore (ritenuto un &quot;ibrido&quot;di mezzi) nel suo testo Film come arte, del 1933, ripreso nel 1960. Per non citare cromatismi e silhouettes di Via col vento (1940), non a caso Il ritratto di Jennie (1949) - da William Dieterle realizzato in bianco e nero - prevedeva simbolicamente sequenze virate in diversi colori e un finale in technicolor. E quale puo essere il riscontro reale (ad esempio) per la coppia diametrale armonica goethiana di giallo e blu, che Michel Curtiz sceglie nel 1946 per il film Notte e di, sulla vita di Cole Porter? Coppia armonica ritrovata peraltro in Traffic con Michel Douglas, in cui il giallo indica la solarita messicana e il blu indica l&#39;intellettualita di Filadelfia. Sotto il profilo della cultura d&#39;arte e del colore, Vincente Minnelli riporta risultati esemplari in opere come Un americano a Parigi, attraverso la citazione di autori quali Renoir, Van Gogh, Dufy,Toulouse Lautrec, Utrillo, Rousseau, Picasso, e altri, mentre Alfred Hitchcock cita il gestaltico effetto Match in Vertigo, spingendosi inoltre a riproporre puntualmente le situazioni visive di Edward Hopper. Il colore risulta decisamente caratterizzante nei titoli di testa o di coda di Saul Bass (come per esempio nell&#39;Uomo dal braccio d&#39;oro, di Otto Preminger, o in Casino, di Martin Scorsese). Lo stesso accade nei film americani degli anni &#39;50, come Artisti e modelle, di Jerry Lewis; o in quelli d&#39;animazione, come i disneyani Fantasia, del 1940 o Alice nel paese delle meraviglie, del 1951. Del pari, lo scenografo Dante Ferretti colloca alcune scene dell&#39;Eta dell&#39;innocenza (di Scorsese) in ambienti tinteggiati in Patent yellow (o giallo Turner), situando (anacronisticamente, in un racconto ambientato nella New York del 1870) il dipinto l&#39;Arte, le carezze e la Sfinge, che Khoppf dipingera solo nel 1896.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664175"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664175"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664175; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664175]").text(description); $(".js-view-count[data-work-id=120664175]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664175; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664175']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664175]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664175,"title":"Arte e Teorie del colore nel cinema fra Europa e America","internal_url":"https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664173"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664173/Politecnico_di_Torino_I_e_II_Facolt%C3%A0_di_Architettura_DINSE_Dip_Scienze_e_tecniche_per_i_processi_di_insediamento"><img alt="Research paper thumbnail of Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. Scienze e tecniche per i processi di insediamento" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664173/Politecnico_di_Torino_I_e_II_Facolt%C3%A0_di_Architettura_DINSE_Dip_Scienze_e_tecniche_per_i_processi_di_insediamento">Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. Scienze e tecniche per i processi di insediamento</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664173"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664173"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664173; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664173]").text(description); $(".js-view-count[data-work-id=120664173]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664173; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664173']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664173]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664173,"title":"Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664167]").text(description); $(".js-view-count[data-work-id=120664167]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664167']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664167]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664167,"title":"Progetti e strategie per la cittadella di Alessandria: un panorama complesso e incompiuto","internal_url":"https://www.academia.edu/120664167/Progetti_e_strategie_per_la_cittadella_di_Alessandria_un_panorama_complesso_e_incompiuto","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664165"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120664165/Two_theories_for_a_model_the_querelle_between_Klee_and_Ostwald"><img alt="Research paper thumbnail of Two theories for a model: the “querelle” between Klee and Ostwald" class="work-thumbnail" src="https://attachments.academia-assets.com/115741986/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120664165/Two_theories_for_a_model_the_querelle_between_Klee_and_Ostwald">Two theories for a model: the “querelle” between Klee and Ostwald</a></div><div class="wp-workCard_item"><span>Cultura e Scienza del Colore - Color Culture and Science</span><span>, Dec 1, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Framed in the time of history, the comparative theories of colour expressed not only give us a so...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Framed in the time of history, the comparative theories of colour expressed not only give us a sort of "distillate" of chromatic culture, but also constitute a precious instrument of investigation, useful in the syncretic comparison of thoughts and positions, sometimes very different from each other, as in the case of the "querelle" between Paul Klee and Wilhelm Ostwald, a question proposed here again. This type of comparison, addressed in the 2017 conference on circular models, is developed here on biconical models, starting with those of Wilhelm Ostwald and Paul Klee, assuming and confirming the classification and analytical structuring of the models through the parameters adopted in Polychrome (Marotta 1999). It should be remembered that Klee publicly took a stand against Ostwald's theory and his model, but in fact assumed the essential geometry of the model of the chemist himself. The present investigation therefore aims to better clarify (in the face of formal analogies) the differences in objectives and scientific and artistic content. The work confirms that the position taken by Klee and his followers was partly prejudicial, linked to his artistic training and related experiences in the field, to which his intellectual milieu was no stranger. The position of the chemist is symmetrical, linked to the rigor of his scientific profile (although completed by the practice of painting). The substantial rapprochement of their respective convictions confirms the open-mindedness and maturity to which the two protagonists have arrived. In addition to describing cultural matrices, parameters and essential characteristics of the models examined, of particular interest is the scope of the applications already put in place of the models, or possible future developments, also connected to new methodologies (such as virtual and digital) in the color project, up to the experiments in concrete and material production. The most innovative digital virtual modes will allow to verify the analogies and differences (of forms and contents) of the respective models.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e0e74b94b84480cb44193c7b386dcb1a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115741986,"asset_id":120664165,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115741986/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664165"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664165"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664165; 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Dal Dominio Spagnolo Al Periodo Postunitario","internal_url":"https://www.academia.edu/120664161/Tortona_e_Il_Suo_Castello_Dal_Dominio_Spagnolo_Al_Periodo_Postunitario","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="15186164" id="papers"><div class="js-work-strip profile--work_container" data-work-id="126508237"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126508237/La_fortezza_invisibile_il_telegrafo_ottico_Chappe_nella_Francia_napoleonica"><img alt="Research paper thumbnail of La “fortezza invisibile”: il telegrafo ottico Chappe nella Francia napoleonica" class="work-thumbnail" src="https://attachments.academia-assets.com/120374820/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126508237/La_fortezza_invisibile_il_telegrafo_ottico_Chappe_nella_Francia_napoleonica">La “fortezza invisibile”: il telegrafo ottico Chappe nella Francia napoleonica</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Even in the defensive and fortifying processes, two aspects can be found: the material component ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Even in the defensive and fortifying processes, two aspects can be found: the material component and the immaterial one. If all the constructive, material and structural procedures are the first, for example, all that concerns remote communications (maximum optics) belongs to the second, an indispensable tool to complete an optimal strategy for offensive and/or defensive operations. Remote optical transmissions are closely connected to the management of defensive systems: this is also what happens with the optical telegraph of Claude Chappe, conceived during the French Revolution and adopted by Napoleon for the potential inherent in the strategic and territorial logic, as for the organization, structuring and sending of encrypted messages (which since the sixteenth century had also seen the interest of Leon Battista Alberti. The densest part of the network spreads to France, from Paris to the borders of the nation. In Europe, you will see achievements in Spain, up to Russia. The Lyon-Paris-Venice line also led to the construction of a Lombard-Piedmontese section. The present contribution stems from a conspicuous research, founded on the twenty-year collaboration of Marotta with the FNARH (Fédération Nationale des Associations de Recherche Historique sur la Poste et les Télécommunications). The system included the installation in high positions (hills, towers or bell towers) of a mechanical device, which could be reached at a distance of kilometers. On top of a fixed pole of about 5 m, the apparatus consisted of a central axis (ordinateur) at the ends of which two mobile arms (indicateurs) were fixed which allowed (in the variation of the reciprocal positions and inclinations) to realize multiple signals, at the base of an entire encrypted visual alphabet, arrived in 1841 up to 61000 messages. Multiple types of models made. The contribution will return the chronological developments of the system, in time and space of territories involved, with the relative comparisons of types, models and languages, also through 3D modeling.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="02feaaede267e905a16c8c6803850e0c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120374820,"asset_id":126508237,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120374820/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126508237"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126508237"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126508237; 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664185]").text(description); $(".js-view-count[data-work-id=120664185]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664185; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664185']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664185]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664185,"title":"Un viaggio attraverso la narrazione visiva (lo storytelling): nota introduttiva","internal_url":"https://www.academia.edu/120664185/Un_viaggio_attraverso_la_narrazione_visiva_lo_storytelling_nota_introduttiva","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664184"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation"><img alt="Research paper thumbnail of Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation">Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">E ormai universalmente riconosciuto come la qualita del paesaggio, la sua condivisione e la sua i...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">E ormai universalmente riconosciuto come la qualita del paesaggio, la sua condivisione e la sua interpretazione siano fondamento di identita oltre che un&#39;espressione piu o meno consapevole del rapporto tra societa e territorio: essi possono quindi rappresentare un obiettivo politico, una nuova frontiera capace di orientare le scelte relative al governo di interi territori, nel segno della cultura e dell&#39;integrazione sociale, in vista dell&#39;arricchimento spirituale, civile e materiale di tutti i popoli. Sempre piu emerge la necessita di superare la vecchia dicotomia con cui, all&#39;inizio del secolo scorso, erano visti i due aspetti del paesaggio (estetico e naturalistico) con una separazione che ancora oggi condiziona la nostra cultura e le modalita di rapporto con i nostri paesaggi. In tal senso valgono i fondamentali contributi di Eugenio Turri per le possibili declinazioni che del paesaggio si possono fornire; cosi come l&#39;approccio di Denis Cosgrove sulle componenti iconografiche e simboliche del paesaggio. Non ultime sono da considerarsi le ricerche di Keith Thomas quando parla dell&#39;estetica dell&#39;ambiente partendo dal paesaggio &quot;naturale&quot;. In senso piu ampio, all&#39;interno dell&#39;articolata polisemia sul concetto di paesaggio e sul suo senso, se ne possono in ogni caso estrapolare almeno due principali categorizzazioni: una di carattere scientifico-naturalistico, connotato in senso ecologico, come hanno postulato autori come O&#39;Neill (con altri) nel 1989 o Ingegnoli nel 1991, l&#39;altra di carattere estetico-formale e artistico, da affrontarsi sia in termini piu &quot;oggettivi&quot; e cognitivi, sia in termini piu &quot;soggettivi&quot; e percettivi . Secondo quest&#39;ultima accezione, puo ritenersi legittima una lettura paesaggistica affrontata prevalentemente secondo la cultura della visione, in questo caso declinata in ambito pittorico e artistico</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664184"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664184"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664184; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664184]").text(description); $(".js-view-count[data-work-id=120664184]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664184; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664184']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664184]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664184,"title":"Paesaggi fra realtà e rappresentazione: arte e colore come chiave interpretativa / Landscape between Reality and Representation: Art and Color as way of Interpretation","internal_url":"https://www.academia.edu/120664184/Paesaggi_fra_realt%C3%A0_e_rappresentazione_arte_e_colore_come_chiave_interpretativa_Landscape_between_Reality_and_Representation_Art_and_Color_as_way_of_Interpretation","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664183"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries"><img alt="Research paper thumbnail of Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries">Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The vision is not only physiological, but knowledge-based: the filter of &quot;visual culture&quo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The vision is not only physiological, but knowledge-based: the filter of &quot;visual culture&quot; - defined by specific statutes - is a way of understanding the complexity of the cultural landscape, the processes that have generated and transformed it, the lost or recognized meaning. Piedmont landscapes - made of mountains, rivers, plains, fortified - are characterized by strong features, to be investigated to understand the current reality of the scenery, seen (with the Europe Council) as &quot;perceived territory&quot;. Between the eighteenth and nineteenth century in the literature, from Neoclassical to Romanticism, is remarkable the Goethe&#39; example with the &quot;tactile vision&quot;, the nature observation, history and theories of color. The reports of travelers show the perception of coeval landscape: as an example, the De La Lande guide Voyage d&#39;Italie en francois, (...). With the same approaches, a more direct representation of the landscape is given in the art views, such as those of Bagetti, Migliara, Brass, Fontanesi</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664183"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664183"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664183; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664183]").text(description); $(".js-view-count[data-work-id=120664183]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664183; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664183']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664183]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664183,"title":"Visual culture in the Piedmont landscapes. Travelers and painters of the eighteenth and nineteenth centuries","internal_url":"https://www.academia.edu/120664183/Visual_culture_in_the_Piedmont_landscapes_Travelers_and_painters_of_the_eighteenth_and_nineteenth_centuries","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664182"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664182/Visione_sostenibile_Sustainable_Vision_in_the_Conservation_of_Cultural_Heritage_Project_"><img alt="Research paper thumbnail of Visione sostenibile (Sustainable Vision in the Conservation of Cultural Heritage Project)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664182/Visione_sostenibile_Sustainable_Vision_in_the_Conservation_of_Cultural_Heritage_Project_">Visione sostenibile (Sustainable Vision in the Conservation of Cultural Heritage Project)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Who less sees, thinks nothing in four words Filippo Juvarra emphasizes the close link between vis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Who less sees, thinks nothing in four words Filippo Juvarra emphasizes the close link between visual culture and architecture theory and practices. In this perspective, what meaning can be attributed (by designers or users), to their &quot;own&quot; architecture and their &quot;own&quot; city? Considering the landscape as a heritage to be safeguarded (according to the Europe Council, the landscape is &quot;perceived territory&quot;), new plants for renewable energy &quot;with environmentally sustainable technology&quot; are sustainable also from the point of view of visual consistency, and therefore of the &quot;sustainable vision&quot;? We are all ecologists and believe in eco-sustainability, but we have to take into account also the &quot;sustainable vision&quot; issue, that is managed by formally coherent and congruent actions in the architecture and landscape between text and context in all scales?. The same inconsistencies can be detected for new integrations (or recovery projects) in the historical structure of the city, which is characterized by specific aspects concerning what we might legitimately define its &quot;visual structure&quot;. Similar problems can be finally found when the same visual characters are not analyzed, studied, acknowledged and valued appropriately within restoration and-or conservation projects, both in architectural dimension as well as in the urban one. A careful analysis of these phenomena - disciplinary identified - will avoid that such inconsistencies may exacerbate the increasingly diffused &quot;cultural loss&quot;. In support of this thesis will be mentioned, within a large series of case studies being analyzed, national and international examples, both positively and negatively.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664182"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664182"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664182; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664180]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664180,"title":"Il forte di Gavi in età moderna e contemporanea","internal_url":"https://www.academia.edu/120664180/Il_forte_di_Gavi_in_et%C3%A0_moderna_e_contemporanea","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664179"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico"><img alt="Research paper thumbnail of Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico">Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Da tema antico connotante l&#39;architettura, fino alla piu viva attualita, il colore continua a ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Da tema antico connotante l&#39;architettura, fino alla piu viva attualita, il colore continua a essere un campo di indagine non sufficientemente indagato, soprattutto in campi di rilevante interesse come i Beni Culturali architettonici e (per altri versi) gli spazi e i luoghi delle strutture ospedaliere. In particolare negli ospedali pediatrici, il colore e una caratteristica fisico-tecnica e percettiva di primaria importanza, e una presenza costante nelle loro vite e contribuisce al loro sviluppo psicologico e culturale (con eventuali differenziazioni dovute alle terapie). L&#39;ospedalizzazione rappresenta un momento critico di rottura con la quotidianita e, in eta pediatrica, puo comportare l&#39;alterazione dello stesso sviluppo psicofisico del bambino. Il ruolo della progettazione, anche percettiva, degli ambienti ospedalieri risulta quindi di primaria importanza e puo contribuire ad innalzare il livello di qualita della vita del bambino in terapia. Molti degli stimoli che giungono all&#39;uomo sono infatti di natura visiva: diventa quindi importante prendere in considerazione (quando si progettano luoghi di cura) anche gli stimoli visivi e cromatici che potrebbero influire positivamente sul processo di ripresa e guarigione. Il presente contributo e teso a presentare alcune sperimentazioni che considerano il colore come uno strumento fondamentale per creare atmosfere piu rassicuranti e interattive all&#39;interno dei luoghi di cura. I progetti esposti rappresentano gli esiti del corso di Percezione e Comunicazione Visiva tenuto dalla prof.ssa Anna Marotta (Professore Ordinario di Disegno del Politecnico di Torino), con la collaborazione della scrivente in qualita di assistente alla didattica. Le sperimentazioni presentate portano a confermare che una progettazione consapevole (anche cromatica) puo giocare un ruolo fondamentale nel processo di guarigione: l&#39;ambiente nel suo insieme veicola importanti messaggi non verbali che possono essere interpretati in senso positivo o negativo dai pazienti e dai medici e avere, di conseguenza, delle ricadute sugli esiti delle cure stesse. In questo contesto la ricerca propone l&#39;utilizzo del colore come un elemento fondamentale per rendere piu rassicurante e interattiva l&#39;atmosfera della struttura ospedaliera in quanto costituisce uno dei principali aspetti percettivi e sensoriali che possono influenzare l&#39;esperienza e la valutazione dello spazio da parte dei suoi fruitori. Il colore puo infatti contribuire a creare ambienti percettivamente confortevoli, emotivamente positivi, oltre che favorire la comprensibilita della struttura ospedaliera e facilitarne l&#39;uso. Sono ormai noti i danni provocati da ambienti monocromatici, frutto di interpretazioni normative riduttive e superficiali che non tengono conto dei potenziali effetti del colore: i nostri ospedali sono tra i primi esempi della Sick Building Sindrome, dovuta a un insieme di sintomi non riconducibili ad una causa specifica, ma alla permanenza in un ambiente costruito malsano. Se nel passato l&#39;ospedale era concepito come un contenitore neutro di competenze professionali il cui successo era legato alla capacita di servizio e alla cultura dei singoli professionisti, oggi le organizzazioni ospedaliere determinano i propri obiettivi sulla base della domanda dei clienti/utenti, ognuno dei quali e portatore di specifiche esigenze. E proprio in quest&#39;ottica che la ricerca proposta si inserisce, comprendendo come sia diventata un&#39;esigenza improrogabile per un ospedale &quot;moderno&quot; migliorare la qualita dei servizi anche attraverso la cura dell&#39;ambiente</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664179"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664179"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664179; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664179]").text(description); $(".js-view-count[data-work-id=120664179]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664179; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664179']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664179]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664179,"title":"Il progetto del colore: multifunzionalità e multisensorialità per l'ospedale pediatrico","internal_url":"https://www.academia.edu/120664179/Il_progetto_del_colore_multifunzionalit%C3%A0_e_multisensorialit%C3%A0_per_lospedale_pediatrico","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664178"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini"><img alt="Research paper thumbnail of Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini">Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Che cosa puo esprimere, dall&#39;antichita all&#39;attualita, l&#39;architettura nelle sue parti ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Che cosa puo esprimere, dall&#39;antichita all&#39;attualita, l&#39;architettura nelle sue parti e nei suoi processi costitutivi? E quali i metodi per possibili decodifiche? E nel caso degli &quot;stili&quot;? In particolare, nel corso degli ultimi decenni, il tema degli ordini architettonici e stato piu volte ripreso: forse perche in un&#39;epoca in cui buona parte della critica teorica si fonda sulla semiotica, gli ordini si confermano quale linguaggio di forte capacita semantica e simbolica. Cosi, questo contributo si ispira a uno studio di Thoenes sugli ordini, intesi come &quot;sostegno e adornamento&quot;, interpretati non tanto sulla base del loro disegno e in rapporto con gli antichi antecedenti, quanto in relazione alle implicazioni simboliche.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664178"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664178"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664178; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664178]").text(description); $(".js-view-count[data-work-id=120664178]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664178; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664178']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664178]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664178,"title":"Sostegno e adornamento. Riflessioni per una semiotica nel disegno degli ordini","internal_url":"https://www.academia.edu/120664178/Sostegno_e_adornamento_Riflessioni_per_una_semiotica_nel_disegno_degli_ordini","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664177"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664177/Metodologie_di_analisi_per_larchitettura_il_Rilievo_come_conoscenza_complessa_in_forma_di_database"><img alt="Research paper thumbnail of Metodologie di analisi per l'architettura: il Rilievo come conoscenza complessa in forma di database" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664177/Metodologie_di_analisi_per_larchitettura_il_Rilievo_come_conoscenza_complessa_in_forma_di_database">Metodologie di analisi per l'architettura: il Rilievo come conoscenza complessa in forma di database</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper will describe an analysis method applied to architecture survey, based on the premise ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper will describe an analysis method applied to architecture survey, based on the premise that the same survey is a complex, integrated and stratified knowledge. The method inserts the measurement practice - more or less objectively leaded with traditional methods, updated or advanced - in an approach incorporated and interdisciplinary (especially about historical and critical documentation). The same approach confirms that the true knowledge (even in the age of information technology) is never neutral, but still culturally oriented, thereby influence the project. Clearly the &quot;challenge&quot; of the Research Unit of Turin is to test the comparison of data (collected and compiled for individual processes), to made them as homogeneous as possible (also about to the aspect of vision), but also to compare the main methodological and cultural underlying matrices that allowed the critical selection of the reference data. In parallel, as in other research institutes, even in the Faculty of Architecture of the Politecnico di Torino, the researchers interested in the representation themes speculate about the specific problem of the use of digital instruments for documentation and management of architectural heritage (with particularly attention to cultural heritage). The research development inside the local research unit has to face on one side the profound change brought by innovation and by the use of integrated systems for digital documentation, on the other side - according to the aforementioned methodological premises - aims to promote deepening in specialist fields, from time to time, affected by individual Survey occasions. This paper aims to illustrate an analysis method for architectural Survey based on the assumption that the same survey a process of complex, integrated and layered over time analysis. As has been long anticipated, the node methodologically strong, still to meditate and unravel, lies in the physiological complexity of the mechanisms related to knowledge. While in theory, choosing the criteria, rules and parameters would enable the identification and selection of the characterizing and important elements (within the various constituents of the analyzed architecture), there is not a commonly shared method - within individual disciplines - to decide criteria, rules and parameters. Over time, man has developed a variety of communication systems and languages that makes possible the transmission of information through the use of sign systems or codes shared between issuer and acquirer. The most powerful communication system is certainly the verbal language, by the way the language chart has also a considerable importance, not only as a transcription of verbal language, but also as a representation of signs that resembles the reality it describes. The graphical language of the drawings, has the power to go beyond the verbal language and its associated problems of translation, in fact a sign that identifies a known object, like the sun, is understood by people speaking different languages</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664177"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664177"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664177; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664177]").text(description); $(".js-view-count[data-work-id=120664177]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664177; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664177']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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</script> <div class="js-work-strip profile--work_container" data-work-id="120664176"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini"><img alt="Research paper thumbnail of Dalla storia al progetto nelle immagini" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini">Dalla storia al progetto nelle immagini</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664176"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664176"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664176; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664176]").text(description); $(".js-view-count[data-work-id=120664176]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664176; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664176']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664176]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664176,"title":"Dalla storia al progetto nelle immagini","internal_url":"https://www.academia.edu/120664176/Dalla_storia_al_progetto_nelle_immagini","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664175"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America"><img alt="Research paper thumbnail of Arte e Teorie del colore nel cinema fra Europa e America" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America">Arte e Teorie del colore nel cinema fra Europa e America</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">&quot;I used to be color blind&quot; recita una canzone di Fred Astaire nel film Girandola (che e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">&quot;I used to be color blind&quot; recita una canzone di Fred Astaire nel film Girandola (che era stato progettato a colori) nel 1938, cioe pochi anni dopo l&#39;emigrazione di Josef Albers (autore di Interazione del colore) dal Bauhaus all&#39;americana Black Mountain University. Se Maurice Merleau Ponty riprende tali tematiche, paradossalmente Rudolph Arnheim (pure autore di una sua teoria del colore) nega l&#39;espressivita poetica del colore (ritenuto un &quot;ibrido&quot;di mezzi) nel suo testo Film come arte, del 1933, ripreso nel 1960. Per non citare cromatismi e silhouettes di Via col vento (1940), non a caso Il ritratto di Jennie (1949) - da William Dieterle realizzato in bianco e nero - prevedeva simbolicamente sequenze virate in diversi colori e un finale in technicolor. E quale puo essere il riscontro reale (ad esempio) per la coppia diametrale armonica goethiana di giallo e blu, che Michel Curtiz sceglie nel 1946 per il film Notte e di, sulla vita di Cole Porter? Coppia armonica ritrovata peraltro in Traffic con Michel Douglas, in cui il giallo indica la solarita messicana e il blu indica l&#39;intellettualita di Filadelfia. Sotto il profilo della cultura d&#39;arte e del colore, Vincente Minnelli riporta risultati esemplari in opere come Un americano a Parigi, attraverso la citazione di autori quali Renoir, Van Gogh, Dufy,Toulouse Lautrec, Utrillo, Rousseau, Picasso, e altri, mentre Alfred Hitchcock cita il gestaltico effetto Match in Vertigo, spingendosi inoltre a riproporre puntualmente le situazioni visive di Edward Hopper. Il colore risulta decisamente caratterizzante nei titoli di testa o di coda di Saul Bass (come per esempio nell&#39;Uomo dal braccio d&#39;oro, di Otto Preminger, o in Casino, di Martin Scorsese). Lo stesso accade nei film americani degli anni &#39;50, come Artisti e modelle, di Jerry Lewis; o in quelli d&#39;animazione, come i disneyani Fantasia, del 1940 o Alice nel paese delle meraviglie, del 1951. Del pari, lo scenografo Dante Ferretti colloca alcune scene dell&#39;Eta dell&#39;innocenza (di Scorsese) in ambienti tinteggiati in Patent yellow (o giallo Turner), situando (anacronisticamente, in un racconto ambientato nella New York del 1870) il dipinto l&#39;Arte, le carezze e la Sfinge, che Khoppf dipingera solo nel 1896.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664175"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664175"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664175; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664175]").text(description); $(".js-view-count[data-work-id=120664175]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664175; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664175']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664175]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664175,"title":"Arte e Teorie del colore nel cinema fra Europa e America","internal_url":"https://www.academia.edu/120664175/Arte_e_Teorie_del_colore_nel_cinema_fra_Europa_e_America","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664173"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/120664173/Politecnico_di_Torino_I_e_II_Facolt%C3%A0_di_Architettura_DINSE_Dip_Scienze_e_tecniche_per_i_processi_di_insediamento"><img alt="Research paper thumbnail of Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. Scienze e tecniche per i processi di insediamento" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/120664173/Politecnico_di_Torino_I_e_II_Facolt%C3%A0_di_Architettura_DINSE_Dip_Scienze_e_tecniche_per_i_processi_di_insediamento">Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. Scienze e tecniche per i processi di insediamento</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664173"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664173"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664173; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664173]").text(description); $(".js-view-count[data-work-id=120664173]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664173; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664173']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664173]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664173,"title":"Politecnico di Torino, I e II Facoltà di Architettura, DINSE Dip. 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=120664167]").text(description); $(".js-view-count[data-work-id=120664167]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 120664167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='120664167']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=120664167]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":120664167,"title":"Progetti e strategie per la cittadella di Alessandria: un panorama complesso e incompiuto","internal_url":"https://www.academia.edu/120664167/Progetti_e_strategie_per_la_cittadella_di_Alessandria_un_panorama_complesso_e_incompiuto","owner_id":44004965,"coauthors_can_edit":true,"owner":{"id":44004965,"first_name":"anna","middle_initials":null,"last_name":"marotta","page_name":"annamarotta3","domain_name":"independent","created_at":"2016-02-26T14:46:02.560-08:00","display_name":"anna marotta","url":"https://independent.academia.edu/annamarotta3"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120664165"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120664165/Two_theories_for_a_model_the_querelle_between_Klee_and_Ostwald"><img alt="Research paper thumbnail of Two theories for a model: the “querelle” between Klee and Ostwald" class="work-thumbnail" src="https://attachments.academia-assets.com/115741986/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120664165/Two_theories_for_a_model_the_querelle_between_Klee_and_Ostwald">Two theories for a model: the “querelle” between Klee and Ostwald</a></div><div class="wp-workCard_item"><span>Cultura e Scienza del Colore - Color Culture and Science</span><span>, Dec 1, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Framed in the time of history, the comparative theories of colour expressed not only give us a so...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Framed in the time of history, the comparative theories of colour expressed not only give us a sort of "distillate" of chromatic culture, but also constitute a precious instrument of investigation, useful in the syncretic comparison of thoughts and positions, sometimes very different from each other, as in the case of the "querelle" between Paul Klee and Wilhelm Ostwald, a question proposed here again. This type of comparison, addressed in the 2017 conference on circular models, is developed here on biconical models, starting with those of Wilhelm Ostwald and Paul Klee, assuming and confirming the classification and analytical structuring of the models through the parameters adopted in Polychrome (Marotta 1999). It should be remembered that Klee publicly took a stand against Ostwald's theory and his model, but in fact assumed the essential geometry of the model of the chemist himself. The present investigation therefore aims to better clarify (in the face of formal analogies) the differences in objectives and scientific and artistic content. The work confirms that the position taken by Klee and his followers was partly prejudicial, linked to his artistic training and related experiences in the field, to which his intellectual milieu was no stranger. The position of the chemist is symmetrical, linked to the rigor of his scientific profile (although completed by the practice of painting). The substantial rapprochement of their respective convictions confirms the open-mindedness and maturity to which the two protagonists have arrived. In addition to describing cultural matrices, parameters and essential characteristics of the models examined, of particular interest is the scope of the applications already put in place of the models, or possible future developments, also connected to new methodologies (such as virtual and digital) in the color project, up to the experiments in concrete and material production. The most innovative digital virtual modes will allow to verify the analogies and differences (of forms and contents) of the respective models.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e0e74b94b84480cb44193c7b386dcb1a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115741986,"asset_id":120664165,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115741986/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120664165"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120664165"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120664165; 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