Piazza Del Research Articles

Consciousness and the Social Brain by Michael S. A. Graziano (review)

issn 0362-4021 © 2015 Eastern Group Psychotherapy Society group, Vol. 39, No. 2, Summer 2015 177 1 Correspondence should be addressed to Eva Catenaccio, 24 Coventry Lane, New Rochelle, NY 10805. E-mail: Eva.Catenaccio@med.einstein.yu.edu. Book Review Consciousness and the Social Brain. By Michael S. A. Graziano. New York: Oxford University Press, 2013, 280 pp. Reviewed by Eva Catenaccio1 Selecting a book on neuroscience for review in a journal for clinical group psychotherapists may seem counterintuitive and surprising. What significance does contemporary brain research have for the therapist who is steeped in the care of patients? Nonmedical readers are often turned off by sensationalist articles in the popular press that reduce complex psychological phenomena to abstract biological processes on a molecular level. These explanations are frequently unsatisfying and seem to offer little application to the everyday practice of psychotherapy. Enter Michael Graziano, a Princeton neuroscience professor who combines both his wealth of knowledge as a neuroscientist and his writing skills to tackle one of the remaining Big Questions: What is consciousness, and how do we have it? This mystery has occupied great thinkers since Hippocrates first housed the mind in the brain and Descartes suggested the presence of a magical fluid, res cogitas, which acted as the “mental substance.” In his book Consciousness and the Social Brain, Graziano provides an accessible, logical, and ultimately fascinating account of his neuroscientific theory regarding the nature of human consciousness. He details his hypothesis with examples from decades of clinical and experimental neuroscience research with the goal of providing a mechanistic rather than a magical explanation for human conscious experience. In essence, Graziano argues that the same parts and processes of the brain responsible for self-perception are also instrumental for our understanding and perception of others. Why we are endowed with a social brain—according to Graziano—is a question that has already been settled by Darwin. Human consciousness and social cognition have evolved together because it is advantageous to have 178 catenaccio a way of predicting both your own and others’ behaviors. It is well established that humans are capable of creating descriptions of other minds; watching a friend hungrily contemplate a slice of cake, you can make an educated guess about his or her intentions. It is also useful for generating social cohesion, empathy, and cooperation . As the most socially intelligent species on the planet, humans have been able to achieve incredible evolutionary success. The theory is titled the attention schema hypothesis, and in brief, it states that “awareness”—a more precise definition for what we colloquially call “consciousness ”—is the description the brain produces of its own attentional state. Attention, from a neuroscientific perspective, is a cognitive tool for data handling, a way of boosting signal strength in a sea of competing stimuli. When you attend to something , those signals are amplified until they outcompete the rest. Awareness, in turn, is the brain’s representation of that process. A recurring example in the book is that of gazing at a green apple—your visual system computes that the wavelength of the reflected light is in the green spectrum, but you can also report having a conscious experience of the apple, of its color or its shape, that you can describe and put into words. You have an awareness of yourself as an observer. Graziano links his theory to neuroanatomy by exploring the contributions of brain regions at the junction of the temporal and the parietal lobes, an area situated a little above the ears. A patient with damage to these regions—from a stroke, for example—can suffer from “neglect syndromes,” in which the person’s spatial awareness is compromised. A famous example refers to a Milanese patient who was asked to describe the Piazza del Duomo while looking at it from two different sides (Bisiach & Luzzatti, 1978). When he visualized himself standing on one side, he described only the half of the square to his right, unaware that he had left out the entire left side of the scene. When asked to imagine instead standing on the opposite side, facing the cathedral, the patient described all the structures he had previously neglected and left out...

Vitalità del negativo/Negativo della vitalità

Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.

Siena, Italy: Medieval Modernity Untouched

photo : tristan porto January–February 2014 • 5 M ost of us have wondered, at some point in our lives, what it would feel like to live in Italy during the days of real family feuds, jousting, and castles. The Tuscan city of Siena, centered in the heart of the Italian peninsula, peaked during the Middle Ages and Renaissance and remains highly connected to its medieval history. If you ever find yourself there, it will likely be the closest you come to a twenty-first-century medieval Italian experience, especially during Palio season. The main event of Siena, the Palio was established in the fourteenth century. Since then, the city has been divided up into contrade, or neighborhood districts. Each district holds a biannual (June and August) jousting competition in the Piazza del Campo, the largest central location of the city surrounded by government offices, churches, and actual medieval castles. This Palio still exists today among the seventeen contrade of Siena and is one of the most revered events throughout Italy. Dario Castagno explains the Palio in great depth in his Too Much Tuscan Sun, making tourists aware of the complexity behind a seemingly simple concept: a horse race and a public gathering. Siena is also famous for one of the most beautiful pieces of architecture I have ever seen—the Duomo di Siena (the Siena Cathedral). The Gothic Romanesque style throughout the cathedral could make even the staunchest futurist melt with its vivacity. An extravagantly decorated room of this cathedral hosts the illuminated Latin books of one of the greatest Renaissance scholars, Pope Enea Silvio Piccolomini. The Piccolomini library has precisely hand-drawn choir books and many other precious religious manuscripts that beautifully combine artwork and literature. Today, visitors are allowed to walk through the entirety of the fully frescoed library and view these books at their leisure. Siena still radiates with the medieval vibrancy of the fourteenth century. It is a city lined with cobblestoned Tuscan hills that will tone your legs in no time. There are beautiful medieval churches, homey little souvenir shops with hand-painted glassware, generations-old bakeries , and chic new shopping districts. This unique balance of the old and new is vividly present in nearly every literary work written in or about the city of Siena. – Janny Gandhi notebook Siena, Italy Medieval Modernity Untouched Books to Read on the Cathedral Steps Too Much Tuscan Sun By Dario Castagno & Robert Rodi The Sword and the Pen: Women, Politics, and Poetry in Sixteenth-century Siena By Konrad Eisenbichler Daughter of Siena By Marina Fiorato Juliet By Anne Fortier Catherine of Siena By Sigrid Undset Janny Gandhi is a prelaw intern at WLT. City Profile ...

Short Communication: THE PAINTING MATERIALS IN A WORK OF THE FUTURIST ARTIST GIACOMO BALLA

The 1915 Giacomo Balla painting Grido dimostrazione in piazza del Quirinale has been studied in detail to investigate the artist's materials. Radiographic analysis revealed the presence of a previous work underneath and thus the existence of a complex stratification of paint layers that make the data interpretation both complex and interesting. Pigments and binders have been identified in an attempt to find correlations with the composition of common commercial paint products available in the first decades of the 20th century. A representative stratigraphy from a complex area of the painting revealed important information about the technical execution of the painting executed on top of the original. This study is intended to increase the knowledge of the painting materials used by Balla and other Futurist artists.

Dynamic identification of historic masonry towers through an expeditious and no-contact approach: Application to the “Torre del Mangia” in Siena (Italy)

Abstract The paper presents a synergic and multidisciplinary approach where laser scanner survey, radar interferometric monitoring and finite element (FE) numerical modelling are used for expeditious and no-contact dynamic identification of monumental masonry towers. The methodology is applied to a real case of great historical interest: the “Torre del Mangia” (Mangia's tower) in Siena (Italy). The tower geometry was acquired through Terrestrial Laser Scanning (TLS) techniques. The tower oscillations were detected using an interferometric radar in “Piazza del Campo”, the square facing the Mangia's Tower, along three alignments, and movement of the structure at several heights were recorded. A FE model, built on the basis of the geometry acquired through the TLS, was used to interpret and verify the physical meaning of the experimental results. Through the discussion of the case study, the paper shows that the proposed approach can be considered as an effective and expeditious method for assessing the dynamic behavior of monumental buildings (and to plan interventions) on territorial scale.

Review: The Italian Piazza Transformed: Parma in the Communal Age, by Areli Marina

Areli Marina The Italian Piazza Transformed: Parma in the Communal Age University Park: Pennsylvania State University Press, 2012, 192 pp., 102 color and 7 b/w illus. $84.95, ISBN 9780271050706 The mid-thirteenth-century political theorist Brunetto Latini (ca. 1220–94) defined as “public” those things that pertained to rulership, political offices ( offici ), or that were owned by a city, which Brunetto defined as a community gathered together to live according to reason and justice. The public square linked these public things together, providing the space through which their relations were expressed. By analyzing this complex spatiocultural phenomenon, therefore, we can begin to understand how the medieval city understood itself as a spatially embedded community with a concatenation of multiple formal and social representations. The medieval Italian piazza has only recently elicited architectural investigations that treat it as such an integrated urban system, which is why Areli Marina’s new study on the Lombard city of Parma is such a welcome addition. Focusing on the city’s two main squares—the Piazza del Duomo and the Piazza del Comune (today’s Piazza Garibaldi)—Marina foregrounds the importance of approaching the city from a socio-spatial perspective by citing the medieval writer Isidore of Seville (ca. 560–636) to underscore the dual nature of the city as a physical phenomenon, or urbs , and a social network, or civitas . In maintaining this distinction, she claims, modern scholarship has hindered an understanding of how social institutions and the built environment mutually constituted each other. In the first two chapters, Marina traces the separate building histories and spatial geometries of these piazzas, through which Parma’s major political factions vied for control of the city via a reconceptualization of space in the tumultuous thirteenth century. Elaborated from previously published material, the author shows how, beginning in 1196, each addition to the square—baptistery, bell tower, bishop’s palace—created a unified cathedral complex whose ideal proportions were based on translating, expanding, or rotating the proportional systems of the cathedral’s facade.1 It is these spatial relations …

Alvar Aalto and Michelangelo: The emergence of synthesis in urban design

This article draws compositional analogies and unearth aesthetic influences and similarities between the Piazza del Campidoglio (1537) in Rome, designed by Michelangelo, and the Civic Square in Seinajoki (1956), designed by Alvar Aalto; and between the steps of the Piazza di Spagna (1721) in Rome, designed by Francesco de Sanctis and Alessandro Specchi and the amphitheatre of the North Jutland Art Museum (1958) in Aalborg in Northern Denmark, also designed by Aalto. The analysis is based on the journal analogies of the works and in the belief that Aalto's design work is linked to a methodology of ‘synthesis’ in opposition to the ‘analytical’ trend, which characterized rationalist architectural movements, including the Renaissance and the Modern Movement. The purpose of this article is to establish associations which may be either conscious or unconscious, and may not constitute direct relationship, but from which one can create an exercise in critical analysis that is of use to the debate on urban design.

The Waters of Rome: Aqueducts, Fountains, and the Birth of the Baroque City (review)

Reviewed by: The Waters of Rome: Aqueducts, Fountains, and the Birth of the Baroque City Ann Olga Koloski-Ostrow (bio) The Waters of Rome: Aqueducts, Fountains, and the Birth of the Baroque City. By Katherine Wentworth Rinne. New Haven, Conn.: Yale University Press, 2011. Pp. x+262. $65. Since antiquity, the people of the city of Rome have had a complex relationship with their environment. No aspect of that relationship was more important than the provision of water for the city. From the time of the Roman Empire, leading Romans expanded their power in their capital city through beautification projects involving both infrastructure and water features of great technological sophistication. Katherine Wentworth Rinne's book explains with clarity and cleverness how water impacted Rome in the later periods of the Renaissance and into the baroque. She reveals how water flowed across the full spectrum of Roman life, reaching both pontiffs and laundresses, in the crucial years between 1560 and 1630 when Rome transformed from a medieval to a baroque city. Rinne successfully accomplishes her goal by solidly supporting her arguments with contemporary texts and high-quality photos, plans, and maps. The book is divided into nine chapters with an introduction, epilogue, comprehensive notes, and bibliography. These touch on broad themes, from the re-use of ancient aqueducts to fountain design, the spread of water systems from the center of the city to surrounding hilltop estates and gardens, the role of the Tiber River in the city's life before the extensive development of the fountain system, the hierarchy of Rome's water use, and the history of its streets and drains. With the exception of the sixteenth-century fountain architect Giacomo della Porta and his assistant Bartolomeo Gritti, Rinne is not as interested in fountain authorship as she is in its patronage. While traditional scholars may be skeptical of this choice, the book nevertheless leads to fresh thinking about technology and society and about how Rome's fountain art related to urban development and urban infrastructure. Chapter 1, "The Tiber's Flow," considers the use of the river by Rome's churches, monasteries, hospitals, gardens, bathhouses, and manufacturing enterprises before any of the ancient aqueducts were restored or replaced (Acqua Vergine 1560-70; Acqua Felice 1585; Acqua Paola 1607-12). Rinne documents in chapter 2, "The Acqua Vergine and Renovatio Romae," that Pius V's renovatio Romae (restoration of Rome) was a response to the profound sense of physical devastation that hovered over the city as a result of the sack of Rome in 1527 and the horrific Tiber flood of 1530. Rinne argues that the abandonment of the Tiber (polluted by tanners, shops, mills, and illicit dumps) for water brought by the refurbished Acqua Vergine both helped the papacy restore the faithful to the church after the Council of Trent (p. 5), and led to improved hydraulic technology and public health. [End Page 698] In chapter 3, "Surveying the City, Distributing the Water," we learn about water distribution and the need for new water resources when fountains were added to the system in order to equalize pressure throughout. Guglielmo della Porta (1570s) developed a new distribution strategy and saw that water itself was a material that could shape fountain design. Because of his brilliant understanding both of gravity and of the topography of the Campo Marzio, he emerged as a master fountain designer, unequaled for nearly fifty years, until Gian Lorenzo Bernini transformed Rome with his most famous fountains (the Triton, Four Rivers, and Barcaccia, or "Little Boat" of the Piazza di Spagna), and ultimately Nicola Salvi produced the Trevi Fountain by 1762. By 1630 there were eighty documented public fountains in Rome and hundreds of private ones, each connected to one of these aqueducts by hidden underground conduits. Chapter 4, "The Fountains of Giacomo della Porta," focuses on six great fountains: Piazza del Popolo, Piazza della Rotonda, Piazza Colonna, Piazza Navona, Piazza Giudea, and Piazza Mattei. The chapter explains why it took some 120 years (1453-1570) to restore the Acqua Vergine and another twenty-one (1570-91) for della Porta to build the first magnificent fountains in this new Rome. Chapter 5, "Undercurrents and Water Lust," chapter...

High-titer Anti-aquaporin-4-IgG-associated Myelitis in Rhupus Syndrome: Figure 1.

To the Editor: Severe organ damage, especially central nervous system (CNS) involvement, has rarely been reported in patients with rhupus syndrome (RS). Two recent articles in The Journal of Rheumatology 1,2 have discussed this condition, which is a challenge in rheumatology. A 51-year-old woman was referred to our center for longstanding polyarthralgia, fever, malaise, and malar rash associated with a history of neurological abnormalities. In 1999 the patient felt a sudden pain in her back between the shoulder blades and then developed weakness of the upper extremities and paresthesias at the lower ones. No urinary symptoms were found. During the physical examination a decrease of arm strength was recorded, and a loss of sense of touch and of pain from the nipples through the feet. Scans of T2-weighted sequences of magnetic resonance imaging (MRI) of the spine showed a hyperintense lesion involving the medulla from level C5 to T7. An MRI scan of the brain was normal. Examination of the cerebrospinal fluid showed a high protein content and pleocytosis. … Address correspondence to Dr. S. Sciascia, CMID, Struttura Complessa a Direzione Universitaria di Immunologia Clinica, Ospedale Torino Nord Emergenza San G. Bosco ed Università di Torino, Piazza del Donatore di Sangue 3, 10154 Turin, Italy. E-mail: savino.sciascia{at}unito.it

"Piazza del Popolo" o el tono del desterrado

O artigo discute as relações entre a poesia de Jaime Gil de Biedma, poeta espanhol que pertence à denominada Geração de 1950 e a configuração do êxodo e do desterro dos espanhóis republicanos em 1939. Para empreender a discussão, o texto se centra no poema “Piazza del Poppolo” e busca compreender a produção de poemas sociais de Gil de Biedma sob uma ótica que não se limita a percebê- los pela via do panfletário ou do poema político ruim, mas como uma escritura que transcende um projeto estético-político para estabelecer-se, fundamentalmente, como uma proposta solidária e estética, que vai além das proposições teóricas e partidárias e que instaura uma nova visão do que seria um poema vinculado a um programa social: um poema capaz de articular arte e compromisso sem perder-se no mar de verbos panfletários, capaz de conjugar testemunho, solidariedade e estética.---Artigo em Espanhol

Piazza del Marchese Paolo: An architectural and soundscape design to redevelop an outdoor public space

This paper will report about a design procedure regarding the redevelopment of an open square located in the historical center of Città di Castello, Italy. The square has five entrances and it is surrounded by old buildings. The Public Library of the town is also located at this place. Currently, the square is used as a parking lot. The goal of the design is to redevelop this square matching the given context. For the design procedure, first, the visual and acoustical status of the place will be described. Second, binaural recordings will be carried out to measure the acoustical climate and third, soundwalks will be conducted to help to detect the soundmarks of the area. Moreover, the idea is to transform the space in a pedestrian area and to consider the square as an acoustical “outdoor floor” for the library. The design process will be focused on the preservation of the genuine Soundscape.

Review: Prato: Architecture, Piety, and Political Identity in a Tuscan City-State by Alick M. McLean

Alick M. McLean Prato: Architecture, Piety, and Political Identity in a Tuscan City-State . New Haven and London: Yale University Press, 2009, 250 pp., 35 color and 98 b/w illus. $65, ISBN 9780300137149 With this well-produced book, Alick McLean provides a much-needed study of the urban development and architectural history of the key institutional buildings of one of Tuscany's lesser-known city-states. Between 1351 and 1992 Prato was under the administrative control of its nearby neighbor, Florence; this is perhaps the main reason why this interesting small city has been so easily overlooked as a marginal dependent in the hinterland of that paradigmatic central Italian city. The author's strategy for dealing with the overbearing presence of Florence is to make a strength out of a weakness. In the preface, McLean speaks of the “typicalness” of Prato (viii), identifying it as broadly representative of a swath of similarly diminutive city-states of the twelfth to fourteenth centuries and suggesting that the in-depth study of one will offer a comparative frame for a better understanding of the others. Another ambition of the book is to trace a long history of Prato's urban development from the first documentary references at the end of the tenth century to its subjection to Florence in 1351. While the latter objective is carefully achieved through the chronological sequencing of chapters that chronicle the phases of development in relation to changing institutional arrangements, the former is rather forgotten, as McLean seems rather to overlook comparisons to other “centri minori” in favor of a predominance of Florentine referencing. Set within the fertile Arno valley and upon the …

The Origins of a Miraculous Image: Notes on the Annunciation Fresco in SS. Annunziata in Florence

IN CONNECTION WITH the recent interest in the early modern cult image within the discipline of art history there have been considerable debates and confusion on how to treat the image, which was, o...

URBANISM IN THE STATUTES OF THE 13TH AND 14TH CENTURY

The statute of 1262, enacted under the Ghibelline government, regulated the paving, the widening and the linearization of streets. However, since linearization and widening meant the partial removal of the private property, this operation proved rather difficult. This statute highlights the reality that the then government couldn't show initiative for the improvement of the public space. On the other hand, the statute of 1309-1310 prohibited ballatoio and obliged polifora on the facade of the buildings facing the Main Street and the Piazza del Campo. Because some provisions mentioned“the beauty”of the city as well as“the functionality”, this statute confirmes the concept of urban aesthetic as the basis for the townscape.

Tiber Personal Rapid Transit

The project “Tiber Personal Rapid Transit” have been presented by the author at the Rome City Vision Competition1 2010, an ideas competition, which challenges architects, engineers, designers, students and creatives individuals to develop visionary urban proposals with the intention of stimulating and supporting the contemporary city, in this case Rome. The Tiber PRT proposal tries to answer the competition questions with the definition of a provocative idea: a Personal Rapid transit System on the Tiber river banks. The project is located in the central section of the Tiber river and aims at the renewal of the river banks with the insertion of a Personal Rapid Transit infrastructure. The project area include the riverbank of Tiber from Rome Transtevere RFI station to Piazza del Popolo, an area where main touristic and leisure attractions are located. The intervention area is actually no used by the city users and residents and constitute itself a strong barrier in the heart of the historic city.

Music Publishers’ Catalogs

Music Publishers’ Catalogs George R. Hill This column lists new and current publishers’ catalogs received since the last issue, and aims at comprehensive coverage. Also included are stock order blanks, agents’ catalogs, catalogs of books on music, catalogs of single series, substantial publishers’ catalogs of single composers, and rental catalogs. Excluded are catalogs that are exclusively retail. The list also includes catalogs published by national music centers and by licensing agencies. Since the list is international in scope, the same body of music may be represented in catalogs issued by more than one publisher or exclusive agent. Cross references have been provided to the publishers and subsidiaries listed in catalog titles and in cases where catalogs have been issued by agents. The cross references are intended only to lead the user to particular catalogs listed elsewhere in the column. Publishers whose catalogs are exclusively on the Web are indicated with only a Web address following the postal address. All Web sites accessed 23 May 2008. Alfred Publishing Company, Box 1003, Van Nuys, CA 91410–1003. http://www.alfred.com/ 2008 music catalog. 623 p. Amadeus Verlag, Hermannstrasse 7, CH-8400 Winterthur, Switzerland. http://www.amadeusmusic.ch/ Neuerscheinungen, Herbst 2007. [1 ℓ.] American Gamelan Institute, see Frog Peak Music. American Institute of Musicology, 8551 Research Way, Suite 180, Middleton, WI 53562. http://www.corpusmusicae.com/ Publications, 2008. 32 p. A-R Editions, 8551 Research Way, Suite 180, Middleton, WI 53562. http://www.areditions.com/ Music Publications, 2008. 45 p. Ashgate, 101 Cherry Street, Suite 420, Burlington, VT 05401–4405. http://www.ashgate.com/ Music theory: new titles and key backlist, 2007. [12 p.] Augener, see Stainer & Bell. Bärenreiter, Heinrich-Schütz-Allee 31–37, D-34131 Kassel, Germany. http://www.baerenreiter.com/ Music for strings, 2007/2008. [August 2007] 43 p. Bärenreiter facsimile: synonymous with authenticity. [March 2007] [6 p. foldout] Rudolf Kelterborn. [August 2007] 35 p. Monteverdi-editions by Rinaldo Alessandrini [August 2007] [2 p.] Johann Pachelbel: Sämtliche Vokal-werke. [February 2008] [8 p.] Opere di Gioacino Rossini. [November 2007] [8 p.] Andreas N. Tarkmann. [2008] [6 p. foldout] Louis Vierne: complete organ and piano works. [ July 2007] [4 p.] Boosey & Hawkes, see B. Schott’s Söhne. Boydell & Brewer, 668 Mount Hope Avenue, Rochester, NY 14620–2731. http://www.boydellandbrewer.com/cats.htm/ . Music, spring 2008. 29 p. Breitkopf & Härtel, Postfach 1707, D-65007 Wiesbaden, Germany. http://www.breitkopf.de/ Musiktheater, 2008. [November 2007] 128 p. Musica Rara, 2008. [ January 2008] 39 p. Wissenschaft, 2007. [2 p.] Neuerscheinungen, Frühjahr 2008. 24 p. Maurice Ravel: Breitkopf Urtext, [February 2008] [4 p.] Max Brockhaus Musikverlag, Weingärten-strasse 2, D-53242 Remagen-Rolandswerth, Germany. http://www.maxbrockhaus.de/ Verlagskatalog. [September 2006] 38 p. [End Page 172] Broude Brothers Limited, 141 White Oaks Road, Box 547, Williamstown, MA 01267–0547. http://www.broudebrothers@verizon.net/ The Broude Trust, 2008. [February 2008] [8 p.] Jean-Baptiste Lully: the Tragédies lyriques in facsimile. [2007] [4 p.] Carus-Verlag, Sielminger Strasse 51, D-70771 Leinfelden-Echterdingen, Germany. http://www.carus-verlag.com/ Chormusik bei Carus: 2850 kleinere Chorsätze. [1 February 2007] 2889 p. Fastenzeit, Passion, Ostern 2008. [December 2007] 34 p. Chorbuch: Mozart, Haydn. [December 2007] [6 p. foldout] Centro Studi Antoniani, Piazza del Santo 11, I-35123 Padova, Italy. http://www.centrostudiantoniani.it/ Catalogo, 2008. 5 p. Conners Publications, 503 Tahoe Street, Natchitoches, LA 71457–5718. http://www.music-usa.org/conners/ 2007–08 catalog. [2007] 33 p. Éditions Costallat, see Alphonse Leduc. Datamics, #40523, 1536 MacArthur Boulevard, Washington, DC 20016. http://www.datamics.com/ Music and other arts. [2008?] [4 p.] Éditions Delrieu, see Éditions Henry Lemoine. Edition Dobrev, Kiril i Metodi 36, 1202 Sofia, Bulgaria. http://www.editiondobrev@abv.bg/ Katalog, 2008. [7 p.] Emerson Edition, Windmill Farm, Ample-forth, North Yorkshire YO62 2HF, England. http://www.JuneEmerson.co.uk/ New issues, autumn 2007. [1 ℓ.] Edizioni musicale Euganea, Piazza Carrara 16–19, I-56126 Pisa, Italy. http://www.edizioniets.com/ Edizione nazionale dell’opera omnia di Alessandro Stradella. [2008?] [6 p. foldout] Falls House Press, Box 7121, Nashua, NH 03060–7121. http://www.fallshousepress.com/ Firmament Musik, Wittelsbacher Strasse 18, D-10707 Berlin, Germany. http://www...

A lateralized bias in mental imagery: Evidence for representational pseudoneglect

One hundred right-handed healthy individuals were asked to imagine a familiar scene (the Piazza del Duomo, Milan) from two opposite viewpoints and report what they could see. For elements that should be visible from the participants' viewpoint, more elements were reported from the left side of the image than from the right, irrespective of view. These results establish that there is a lateralized bias in reporting the details in mental images--representational pseudoneglect. This bias is in the opposite direction and significantly smaller than the bias seen in individuals with representational neglect following right hemisphere damage. Representational pseudoneglect appears analogous to perceptual pseudoneglect and the two may share an underlying mechanism. The results are interpreted as indicating that pseudo-representational neglect arises as the result of a bias in the allocation of attention to the imagined scene.

Order and Ideal Geometry in the Piazza del Duomo, Parma

Research Article| December 01 2006 Order and Ideal Geometry in the Piazza del Duomo, Parma Areli Marina Areli Marina Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2006) 65 (4): 520–549. https://doi.org/10.2307/25068327 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Areli Marina; Order and Ideal Geometry in the Piazza del Duomo, Parma. Journal of the Society of Architectural Historians 1 December 2006; 65 (4): 520–549. doi: https://doi.org/10.2307/25068327 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search This content is only available via PDF. Copyright 2006 The Society of Architectural Historians Article PDF first page preview Close Modal You do not currently have access to this content.

Urban Editing, Historic Preservation, and Political Rhetoric: The Fascist Redesign of San Gimignano

This article provides an overview of the restoration efforts undertaken in the Piazza del Duomo in San Gimignano, Italy, during the Fascist regime. The restoration of the buildings facing the piazza provided the means through which the past could be remastered and manipulated to serve contemporary political ideology. Documentary evidence ranging from architectural drawings to tourist ephemera illustrates how the process of urban editing included both the physical and rhetorical redefinition of urban space. The goal of this essay is to explicate a particular instance of common behavior in an attempt to expand the definition of Fascist-period architecture and simultaneously challenge the comfort with which architectural history claims to be familiar with Renaissance Tuscany.

Geolithology and provenance of materials of some historical buildings and monuments in the centre of Florence (Italy)

Two very important historical areas have been considered in this work. Piazza della Signoria with the Palazzo Vecchio and many other outstanding buildings, is a typical example of the use of sandstone materials characteristic of the Florentine area; Piazza del Duomo with the Cathedral of Santa Maria del Fiore standing in the middle is, on the other hand, an example of other equally typical lithotypes such as the “white” marble and the “red” and “green” “marbles” that decorate the Cathedral. A detailed study as well as the relief and the mapping of the historical buildings in Piazza della Signoria and of the Cathedral of Santa Maria del Fiore, have led to the description of the materials that make them up as well as to the establishment of their quarry provenance. Historical introduction to the Florentine