This open access book provides a comprehensive treatment of recent developments in kernel-based identification that are of interest to anyone engaged in learning dynamic systems from data. The reader is led step by step into understanding of a novel paradigm that leverages the power of machine learning without losing sight of the system-theoretical principles of black-box identification. The authors’ reformulation of the identification problem in the light of regularization theory not only offers new insight on classical questions, but paves the way to new and powerful algorithms for a variety of linear and nonlinear problems. Regression methods such as regularization networks and support vector machines are the basis of techniques that extend the function-estimation problem to the estimation of dynamic models. Many examples, also from real-world applications, illustrate the comparative advantages of the new nonparametric approach with respect to classic parametric prediction error methods. The challenges it addresses lie at the intersection of several disciplines so Regularized System Identification will be of interest to a variety of researchers and practitioners in the areas of control systems, machine learning, statistics, and data science. This is an open access book.
Remote Vision contains an English-Italian bilingual version of the most significant works in poetry and conceptual writing produced so far by Alessandro De Francesco. It is both a self-standing, coherent book and the most exhaustive collection of his poetry ever published in any language; containing a new version of the 2008 book Objects Displaced, the complete 2010 book Redefinition, the composite and still partially unpublished Cistern, the prose Foreign Body in Ascending Motion and the very recent work Inhabited Spaces. All the sections were rearranged for this publication by the author who decided that each section contain the complete English text followed by the complete Italian version, avoiding a face to face translation in order not to interrupt the flow of the reading. The whole book was beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. This book condenses and proposes under a new light all the conceptual and emotional intensity of Alessandro De Francesco's poetry.
Una storia sull’intolleranza e sulla paura del diverso. È la prima volta che gli abitanti di un piccolo borgo abbarbicato su una collina del Meridione d’Italia entrano in contatto con gente diversa da loro. Una famiglia di cinesi arriva in paese e, tra lo stupore generale e l’invidia, vi si impianta velocemente con un ristorante. Il sequestro e l’uccisione di un ragazzo da parte di un mafioso locale, per impedire la nascita di un’area di sviluppo industriale, lo spirito di abnegazione dei cinesi, la loro disponibilità di quattrini e l’acquisizione di una vecchia e gloriosa villa ai margini della campagna, l’adulterio di una donna del Nord, si intrecciano insieme e scatenano la cruda intolleranza dell’intera comunità, la quale si macchierà di un crimine orrendo.
Quando in un ipotetico sistema di potere internazionale tutte le dinamiche umane, perfino il pensiero, il linguaggio e i sentimenti, sembrano sotto controllo, allora a tale sistema non resta che controllare i sogni.
Trame d'ombra, specchi oscuri, intrecci misteriosi. La materia stessa del film, pellicola trasparente e diafana sulla quale si muovono figure d'ombra, induce a pensare che la vocazione privilegiata del cinema sia nel fantastico, come già riteneva Artaud. I fantasmi, silenziose o sonore apparizioni, ci vengono incontro dallo schermo, in bianco e nero o a colori, da Nosferatu a Shutter Island: materia dei corpi come materia di sogni, incubi e visioni, portatori di maschere, generatori privilegiati di archetipi. Metafisico. Fantastico. Film noir. Horror. Termini usuali, ma inadeguati, per certi film. In realtà qui non siamo tanto di fronte a un'inadeguatezza terminologica, che si tratterebbe di superare inventando un termine più adatto, quanto alla generale insufficienza che l'ottica dei "generi" (un'ottica di comodo) dimostra nei confronti di ogni film che investa universi di senso sufficientemente complessi, tali da mettere in gioco qualcosa che potremmo chiamare memoria filogenetica.
Avventure di giovani esploratori maceratesi. Una storia di bambini con una strega, briganti, orchi, animali strani, una mamma sola, un babbo in prigione e altre simpatie che laddove la periferia si confonde con l'infinito prendono forma e vita.
This volume gathers Alessandro De Francesco's essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015. The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author's commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed. Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author's ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought.
Originally published between 1909 and 1917 under the name "Harvard Classics," this stupendous 51-volume set-a collection of the greatest writings from literature, philosophy, history, and mythology-was assembled by American academic CHARLES WILLIAM ELIOT (1834-1926), Harvard University's longest-serving president. Also known as "Dr. Eliot's Five Foot Shelf," it represented Eliot's belief that a basic liberal education could be gleaned by reading from an anthology of works that could fit on five feet of bookshelf. Volume XXI features the 1827 novel I Promessi Sposi (The Bethrothed), by Italian writer ALESSANDRO MANZONI (1785-1873), considered the most beloved work in the Italian language. A historical romance inspired by Sir Walter Scott's Ivanhoe, it is the tale of lovers Renzo and Lucia and their quest to be together. Beautifully evocative of its 17th-century setting, it is noted for its dramatic depiction of plague-addled Milan.
This book reveals for the first time the import of a huge network of connections between Tennessee Williams and the country closest to his heart, Italy. America's most thought-provoking playwright loved Italy more than any other country outside the US and was deeply influenced by its culture for most of his life. Anna Magnani's film roles in the 1940s, Italian Neo-realist cinema, the theatre of Eduardo De Filippo, as well as the actual experience of Italian life and culture during his long stays in the country were some of the elements shaping his literary output. Through his lover Frank Merlo, he also had first-hand knowledge of Italian-American life in Brooklyn. Tracing the establishment of his reputation with the Italian intelligentsia, as well as with theatre practitioners and with generations of audiences, the book also tells the story of a momentous collaboration in the theatre, between Williams and Luchino Visconti, who had to defy the unceasing control Italian censorship exerted on Williams for decades.
This is an intellectual biography of the Italian Jewish writer and politician David Levi (1816-1898). Freemasonry, Saint-Simonianism, and the Enlightenment are his vessels for a new, secular, interpretation of Jewish identity and for innovative views on Judaism’s relation with modernity.
This book establishes the role of French writer Charles Baudelaire in the formation of paradigms of modernity in Italian poetry between 1857, the year of publication of Baudelaire’s highly influential collection Les Fleurs du Mal, and 1912, when the first anthology of Futurist poetry, I poeti futuristi, was published in Milan. It focuses primarily on Baudelaire’s influence on the poetry of the Scapigliatura, a long-underrated movement which in the 1860s introduced a thematic and formal modernity into Italian literature, paving the way for Futurism and the twentieth-century avant-garde. This monograph also investigates Baudelaire’s and the Scapigliatura’s interrelated impacts on early Futurist poetry, demonstrating that Futurist poets turned to the works of Baudelaire and the Scapigliatura for inspiration on themes that were considered as distinctly unpoetic – and therefore modern – such as medical-anatomical examination, technological transformation, and abnormal sensuality.
Ariosto in the Machine Age reveals how the most influential poet of the Renaissance was conjured or appropriated to shape Magical Realism, avant-garde painting, Fascist cultural propaganda, and cinema in modern Italy between the birth of Futurism and the end of the Second World War. Based on substantial archival findings, bold iconographic hypotheses, and novel interpretations of literary texts, the book proposes a new account of Italy’s twentieth-century culture through a unique take on Ludovico Ariosto’s early modern poetics and legacy. Starting from the unexpected passéism of Futurists visiting Ferrara on the eve of the First World War, it rereads the development of Giorgio de Chirico’s Metaphysical art and Massimo Bontempelli’s Realismo Magico. The book reconstructs the multimedia archive of the Fascist initiatives for the 1933 centennial anniversary of Ariosto’s death, and then focuses on the passage between Fascist cinema and the birth of neorealism, unearthing unfinished adaptations of the Orlando Furioso by Luchino Visconti and Alessandro Blasetti. Questioning the very concept of reception, this radically interdisciplinary book warns twenty-first-century readers about the risks of monumentalizing the "great authors" of the past.
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