Golgotha, Sidival Fila’s polyptych, is a narrative synthesis of the mystery at the heart of Easter, a meditative journey which expresses the artist’s desire to access the ineffability of the sacred, with cross-references to the city of Venice itself and its beauty — its refined traditions, configuration and reflections in its luminescent, ever-rippling waters.
The vision of an art masterpiece is associated with brain arousal by neural processes occurring quite spontaneously in the viewer. This aesthetic experience may even elicit a response in the motor areas of the observers. In the neurorehabilitation of patients with stroke, art observation has been used for reducing psychological disorders, and creative art therapy for enhancing physical functions and cognitive abilities.
studio storico sulla presenza di Grave Disease nell'arte
Lacunae are the voids left by missing or damaged pieces of artwork, and their presence constitutes a central problem in the aesthetic experience of viewing artwork. However, we hypothesize that experience and knowledge of art might differentially modify viewer reactions to degraded artwork. Here, we investigated the implicit and explicit attitudes of art experts and non-experts towards the aesthetics of perfectly intact and lacunar artwork. Sections of Flemish oil paintings were displayed with or without a degradation mask, which mimics lacunae.
Microbiota are microorganismal communities colonizing human tissues exposed to the external environment, including the urogenital tract. The bacterial composition of the vaginal microbiota has been established and is partially related to obstetric outcome, while the uterine microbiota, considered to be a sterile environment for years, is now the focus of more extensive studies and debates. The characterization of the microbiota contained in the reproductive tract (RT) of asymptomatic and infertile women, could define a specific RT microbiota associated with implantation failure.
The paper aims to highlight the theoretical productivity of the “critical-resistance position” promoted by Tomaso Montanari and Vincenzo Trione, in their recent pamphlet “Contro le mostre” (Torino, 2017), in the context of a new understanding of the curatorial and expositive logic in the contemporary Artworld.
Pictures and words are the primordial ways of communication used by human beings: indeed, one might even conjecture which communication medium arose first. The present paper aims to analyse the deep relationship between pictures and words in ancient Mesopotamia, showing how communication is in fact the result of cooperation between the two: in particular, how pictures prevailed over and preceded words (also today we are used or we prefer to express our thoughts and emotions through pictures).
Il contributo ha per soggetto un piatto in vetro di probabile produzione siriana risalente all'VIII secolo, rinvenuto nel contesto funerario del Famen Temple. La precisa datazione di queste tombe consente un'altrettanto precisa datazione non solo degli esemplari in esse rinvenuti, ma della tipologia a cui essi appartengono.
A work of art is a unit complete in itself; the architectural work is a complex product, an operation of synthesis. When a work of architecture succeeds in concealing this plurality of physical, functional and economic components, resolving itself in the perfection of a single sign, relying on the uniqueness of meaning that springs from its own symbolic charge, it establishes and determines the existence of a common ground between art and architecture.
Background: Antiretroviral therapy (ART) can suppress the HIV-1 replication but is not able to eradicate the virus due to the existence of viral reservoirs. Optimal virological suppression remains often an ideal goal since some patients may show persistent plasma residual viremia (RV). To date, it is unclear if RV may be regarded as an indication of the potency and tolerability of the regimen, adherence, drug resistance, and pharmacokinetics. Recent studies have shown that other factors, closely related to host,
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