From the Latin celor, colour conceals. The one that conceals least is perhaps grey. Rather, grey lends itself to bringing out others, even the lightest, even white. Compared to the proud purity of white, grey seems to reduce itself to mere support and lend itself to making it stand out more. Some artists, however, from the Renaissance to contemporary times suggest to us that the shyness of grey is the only one capable of enhancing the underlying design of the painting and, therefore, its truth.

Since the sixteenth century, artistic anatomy – a branch of medical science subordinated to the Fine Arts – has understood itself as a comparative investigation halfway between forensic dissection and the analysis of classical art and live bodies. Its teaching was first instituted in Italy by the 1802 curriculum of the national Fine Arts academies, but underwent a drastic transformation at the turn of the century, as the rise of photography brought about both a new aesthetics of vision and an increase in the precision of iconographic documentation. In this article I will attempt to provide a history of the teaching of this discipline at the close of the nineteenth century within the Accademia di Belle Arti di Brera in Milan, with a focus on its ties to contemporary French practices. Drawing on archival materials including lesson plans, letters and notes from the classes of the three medical doctors who subsequently held the chair (Gaetano Strambio, Alessandro Lanzillotti-Buonsanti and Carlo Biaggi), I will argue that the deep connections between their teaching of the discipline and their work at the city hospital reveal a hybrid approach, with the modern drive towards live-body study unable to wholly supplant the central role still granted to corpses in the grammar of the visual arts.

This study aimed to investigate the electromyographic parameters of lumbar muscles during the Biering-Sorensen test (BST) in people with and without non-specific chronic low back pain (NCLBP). Thirteen healthy controls and thirteen NCLBP patients participated in the current study, where they performed the 90s-BST, while the surface electromyography (sEMG) was recorded from the erector spinae (ES) at L1 and L3 level and lumbar multifidus (LM) at L5 level, bilaterally. Spectral and nonlinear analyses were applied by calculating mean power frequency (MPF), fractal dimension (FD) and the percentage of determinism (%DET) in the 10-second non-overlapping time-windows and EMG-EMG coherence during the first half and second half of the BST. Also, the slopes of the linear fitting curves of MPF, FD and %DET were calculated. NCLBP group had significantly lower rates of changes in MPF, FD and %DET compared to asymptomatic controls in the ES(L3) and LM. Coherence in left-right LM and in the right ES-LM increased significantly in the gamma band in the Control group with no increase in the NCLBP group. Our findings indicated that compared to people with NCLBP, the sEMG signals of lumbar muscles of people without NCLBP were more regular and less complex during the 90s-BST.

I am currently the director general of Pinacoteca di Brera, an Italian. The COVID-19 pandemic has allowed me to connect many of the seemingly separate arguments I have struggled with for most of my professional life. So in these months when Italy was in strict lockdown, I asked myself what would—or should—a museum look like in a post-COVID world, what is its role, and how should it be supported? This reflection ponders on the challenges we are facing and describes a proposal, starting with my autobiography.

In the present work, a complete non-invasive scientific investigation of six Utagawa Kunisada's woodblock prints (nishiki-e) belonging to the Oriental Art Museum "E. Chiossone" (Genoa, Italy), was performed in situ. The campaign started with high resolution multiband imaging (visible, multiband fluorescence, near infrared) followed by reflectance transformation imaging (RTI) to characterize and highlight the peculiar printing techniques and the condition of the support. Then fiber optics reflectance spectroscopy (FORS), spectrofluorimetry, Raman and reflectance Fourier-transform infrared (FTIR) spectroscopies were successfully applied in synergy for the investigation of the printing materials (pigments, binders, support). The results obtained represent a set of very important information for these never-before-studied works of art, useful to the different professionals involved: historians, conservators and curators. The materials identified were completely in agreement with those traditionally used in the Edo period in the 19th century, while the computational imaging technique RTI gave an additional amount of information in terms of surface characterization that could not be overlooked when studying these works of art. RTI data were further processed to enhance the texture visualization.

The genus Paphiopedilum is well known as the lady’s slipper orchid in Orchidaceae family. Paphiopedilum bellatulum (Rchb.f.) Stein 1892, has important medicinal and ornamental value, which occurs in the tropical Asia. However, in recent decades, it was threatened with extinction by significantly reduced small population size. In this study, we sequenced and characterized the complete chloroplast genome of P. bellatulum based on the Illumina Hiseq platform. The size of P. bellatulum chloroplast genome was 156,567 bp, including a large single-copy (LSC) region of 88,243 bp, a small single-copy (SSC) region of 3652 bp, and two inverted repeat regions (IRs) of 32,336 bp. The overall GC contents of the chloroplast genome were 35.71%. A total of 122 genes were annotated, including 76 protein-coding genes, 38 transfer RNAs (tRNAs), and eight ribosomal RNAs (rRNAs). The phylogenetic analysis indicated that P. bellatulum formed a close relationship with another Paphiopedilum species P. wenshanense. The results will provide helpful genetic resource for further phylogenetic studies of the genus Paphiopedilum.

This article examines the cameraless negatives revealing the imprints of four fingers obtained in Turin in February 1907 during the second of two séances with renowned medium Eusapia Palladino organized by physiologists Alberto Aggazzotti, Carlo Foà and Amedeo Hertlizka. By looking at the material and performative components of the séance, it presents spiritualist cameraless photography as a productive tool for rethinking and reframing the photographic medium from a cross-disciplinary perspective questioning medium specific histories and dominant genealogies.

Forest ecosystem is the most important terrestrial ecosystem type of species diversity in the world. The protection and sustainable use of forest ecological diversity is of great significance to forest protection and sustainable management. In order to maintain biodiversity, the traditional concept of forest resources management must be changed. In recent years, the mining and application of big data have become the frontier content of international ecological diversity and macroecology research. By establishing the discrete dynamic model of forest ecological diversity change, this study finds a method that can keep the number of trees stable in a short time and ensure the sustainable development of forest resources. This article studies and constructs the forest information system and constructs an open-source WebGIS (network geographic information system) scheme for the field of spatial information and supporting OGC (occupationally generated content). At the same time, the grey theory GM (1,1) model is used to predict the development trend of forest resources in China. The results show that under the promotion of policies and research projects, China’s forestry development has realized the double growth of forest area and volume, and the forest coverage rate has reached a new level.

Nicola Vitale walks a side path to the smooth march of technocratic rationalism. A rationalism dried up in the imagination, in the capacity for vision, in the sense of community belonging that makes us human beings, as Aristotle taught. Snow White, from a Disney fairy tale, returns to its symbolic powerful significance of alchemical narration where everything, even the most divisive evil, finds meaning and place.