The authors study higher form Proca equations on Einstein manifolds with boundary data along conformal infinity. They solve these Laplace-type boundary problems formally, and to all orders, by constructing an operator which projects arbitrary forms to solutions. They also develop a product formula for solving these asymptotic problems in general. The central tools of their approach are (i) the conformal geometry of differential forms and the associated exterior tractor calculus, and (ii) a generalised notion of scale which encodes the connection between the underlying geometry and its boundary. The latter also controls the breaking of conformal invariance in a very strict way by coupling conformally invariant equations to the scale tractor associated with the generalised scale.
The authors study higher form Proca equations on Einstein manifolds with boundary data along conformal infinity. They solve these Laplace-type boundary problems formally, and to all orders, by constructing an operator which projects arbitrary forms to solutions. They also develop a product formula for solving these asymptotic problems in general. The central tools of their approach are (i) the conformal geometry of differential forms and the associated exterior tractor calculus, and (ii) a generalised notion of scale which encodes the connection between the underlying geometry and its boundary. The latter also controls the breaking of conformal invariance in a very strict way by coupling conformally invariant equations to the scale tractor associated with the generalised scale.
This book is about hair," writes Emanuele Lugli in the first sentence of this innovative cultural history of hair as seen through the lens of Lorenzo il Magnifico's Florence. Lugli reflects on the ways writers and artists naturalized religious prejudices, circumscribed social practices, and propagated gender and class subjugation through alluring works of art, in medical and political writings, and in poetry. What, he asks, may've compelled Sandro Botticelli, for example, or the young Leonardo da Vinci and dozens of their contemporaries to obsess about hair? Why take such care in depicting the braids, knots, and textures in their portraits of women specifically? Lugli dives deeply into the cultural production of notions about hair in this period of Florentine history, the way artists, poets, natural philosophers, doctors, politicians, and theologians thought about it, and how they depicted it in their art and writings. From this varied archive, Lugli gathers rewarding insights from practices and beliefs across the disciplines and genres at a crucial time when Renaissance humanists were attempting to define what it meant to live-and be-human. Lugli recuperates overlooked perceptions of hair at the very moment when hair came to be identified as a potential vector for liberating culture, and he corrects a centuries-old prejudice that sees hair as a trivial subject, as a mere female occupation kept on the margins of relevance, relegated to passing fashion or the decorative. As Lugli shows, such oversight is anachronistic, a product of modern biases, and he corrects this by elucidating hundreds of fifteenth-century sources that engage with hair as a fundamental element in the definition of genders, morals, and the laws of nature, and the exercise of power. It is a book that will surprise and delight a wide audience of scholars and anyone interested in the hidden, systemic, creative power that relied on something as unsuspected as hair to coerce people into thinking and behaving according to a code of conduct"--
An interdisciplinary history of standardized measurements. Measurement is all around us—from the circumference of a pizza to the square footage of an apartment, from the length of a newborn baby to the number of miles between neighboring towns. Whether inches or miles, centimeters or kilometers, measures of distance stand at the very foundation of everything we do, so much so that we take them for granted. Yet, this has not always been the case. This book reaches back to medieval Italy to speak of a time when measurements were displayed in the open, showing how such a deceptively simple innovation triggered a chain of cultural transformations whose consequences are visible today on a global scale. Drawing from literary works and frescoes, architectural surveys, and legal compilations, Emanuele Lugli offers a history of material practices widely overlooked by historians. He argues that the public display of measurements in Italy’s newly formed city republics not only laid the foundation for now centuries-old practices of making, but also helped to legitimize local governments and shore up church power, buttressing fantasies of exactitude and certainty that linger to this day. This ambitious, truly interdisciplinary book explains how measurements, rather than being mere descriptors of the real, themselves work as powerful molds of ideas, affecting our notions of what we consider similar, accurate, and truthful.
It would be difficult to find in the history of the sixteenth century a name more fiercely assailed than that of Gianluigi Fieschi. From Bonfadio down to the most recent historians, the Count of Lavagna has received the same treatment at the hands of our writers which the learned vulgar are accustomed to give to Catiline. This levity of judgment is a new proof that history is too high a pursuit for servile minds...
During the Renaissance, measuring played a critical role in shaping trade, material production (ranging from architecture to tailoring), warfare, legal studies, and even our understanding of the heavens and hell. This study delves into the applications of measuring, with a particular emphasis on the Italian states, and traces its wide-ranging cultural effects. The homogeneization of measurements was endorsed as a means to achieve political unity. The careful retrieval of ancient standards instilled a sense of connection and ownership toward the past. Surveying was fundamental in the process of establishing colonies. This study not only examines the perceived advantages of measuring, but it also highlights the overlooked distorting aspect of this activity. Measuring was not just a neutral quantification process but also a creative one. By suppressing or emphasizing information about the material world, measuring influenced people's perceptions and shaped their ideas about what was possible and what could be accomplished.
Sovrappensiero ci porta a vivere 4 giorni con Lorenzo, diciottenneche abita nella Grande Città.Scopriremo le sue ambizioni, i suoi progetti, i suoi amori ed i suoi conflitti, in una narrazione rock a metà strada tra arte, musica e sesso.
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