University of trento logo

Artlink Magazine special issue. Alan M Turing by Sara Turing. ACM interview with Robert Soare. White Cat Black Cat comic. Blue Sky Kids, pp. Incomputability After Alan Turing. Phil Trans Royal Soc. Bletchley Park Turing Special. Tom Vickers recalls Alan Turing.

Take Tea with Turing. Alan Turing Monopoly board. Konrad Zuse und die Schweiz. Bruderer on Turing and Zuse. La strana vita di Alan Turing. A Most Secret War. Turing at 'Gay to Z'. AT and Enigmatic Statistics New! Historia y Vida article New! Jerry Roberts stamps New!

Daily Life 2018

Turing on Emotions New! Strange Life and Death, Pt. Kate Russell on Turing. Bletchley Park Post Office. Alan Turing Codebreaker film. ATY Lectures from Calgary.

A Turing Phase - podcast. Rudy Rucker trento Game'. Alan Turing - The Sacred Texts. La Macchina di Turing from Jejum e guerra espiritual. Turing Year on Hong Kong radio. Public Meeting in Hong Kong, Pt. Hong Kong Speaker Lunch, Pt. Alan Turing Hong Kong activities.

Turing and his University. Via Crucis Alan Turing. Parliamentary Debate on Turing. Samson Abramsky on Turing. Keith Devlin on Turing's Work. Firecatcher at Bletchley Park PO. Tartu ATY Conference film. Dayo Wong performs for Turing. Turing aurait ans. Hong Kong Alan Turing Exhibition. Der Urahn aller Computernerds. Strange Oceans of Thought. Everything is absent in being, and present in becoming. The world is sinking. Or we rise together. Are we together in this? Some exhibitions make themselves.

Sometimes exhibitions decide to happen in their ontologies, and like Trento, they drop into our realities through the air. They can spring from a source greater than logo curators or practitioners. Regarding the common space modelo de bibliografia abnt share through curating, On the Grounds has often felt this way.

Trento if a force greater than history, the artists, writers, activists, university of trento logo, the people logo perhaps whenua itself — urged us into this composition.

Picturing or knowing the land has historically been used as a device to forge university national identity. Such a curso de gestao de saude perspective privileges controlling and shaping the land over allowing the land to shape oneself.

We have investigated a gap, a necessity, an urgency to bring together our collective references, understandings, and unique relationships with our location. We university the location go abstract. We propose to unlearn our privileges. Whenua is a life-force: It logo whakapapa and our history. As Tau Iwi curators, we have been influenced by local, authentic, and sensitive ways of relating to the land. On the Grounds has been formed by these ways. We are inspired by the tangata whenua and their generosity and hospitality.

We respect their spirits, hear their whispers exercicio profissional de enfermagem feel their minds.

It is our hope that the greater force of whenua, beyond each individual practitioner, is present within these walls. Starkwhite presents Billy Apple: You would walk past a house in London with a sign up saying For Sale, then there was one in a shop or on a car window They mark the shift from art connoisseurship to the extraordinary commodification of art works that we are experiencing today.

A more recent focus has been on ideas of authenticity within the image and how this is linked to the powerful undercurrent of nostalgia in historical imagery.

Created for the Adelaide Biennale of Art: Nature — the world and its matter, whether alive or inert — becomes a magic object in and of itself for Mellor. With Aboriginal and Anglo-Australia heritage, Mellor draws on Western traditions and indigenous cultural perspective to create imagery that suggests multiple ways of approaching the conceptual space of our environment. New Zealand is a country celebrated for its natural beauty, its vast landscapes appearing on tourist posters and in feature films worldwide.

He offers us a reworking of our own landscape through his own heritage, giving it a cultural inflection that allows New Zealanders to look through new cultural eyes - to look afresh at what we thought we knew. Presenting the work in the style of a one-and-a-half-millennia-old tradition, Jin Jiangbo has made the familiar unfamiliar. With his New Age and The Sanctuary series, Gavin Hipkins presents landscape vistas and fragments of nature, overlaid with buttons, beads and lace, and produced under the seductive guise of pictorial photography.

They highlight his interest in the unoccupied landscape as a contested space. An amalgam of photogram and the photograph, The Sanctuary works have connoted calligraphy, animation, ghost traces and the late nineteenth century scientific art of chrono-photography. These series also pay homage to oriental and New Age references.

Under this reverent light, the domestic materials Hipkins places on the prints can also be interpreted as worry beads sitting atop of a familiar vernacular landscape: Imagining a solstice celebration with his friends, spiritualism and spirit photography are revisited in the twenty-first century.

Recent projects include a major year survey at University of Queensland Art Museum inand a solo exhibition of his works Primordial: Based in Shanghai, Jin Jiangbo is one of China's foremost recent generation of media artists. Gavin Hipkins is an Auckland-based artist who works with photography and moving image.

Over the last two decades his practice has engaged postcolonial, architectural, and commodity discourses via a range of analogue and digital technologies, photo-installations, and artist videos.

He was the recipient of the inaugural residency for New Zealand artists at Artspace Sydney, in With this new project, WalkWithMe… John Reynolds speculates on the possible nature of those missing hours. Leaning on the psychogeography of Edmond's rich text, Reynolds compiles across a variety of mediums.

Part missing persons archive, part pilgrimage, part art historical vagabondage. Reynolds wanders with accelerations and slowings across Wooloomooloo and Grey Lynn in a plaintive exhortation to WalkWithMe During his recent travels in South East Asia, Laith McGregor has been exploring the conceptual foundations of portraiture, from primitive mark making through to contemporary practice, and the discourses surrounding it, while being immersed in various cultural communities.

Time was slowing down, every day felt like the last and simultaneously the first. I would spend the mornings in the studio, most afternoons exploring, eating, swimming, and then back to the studio at night - the same again the next day. This new body of work attempts to recreate that feeling of isolation, stillness and longing. In Swallow the Sun, McGregor presents a timeless apparition of figures and landscapes with his signature eyelike circles that are at once unfamiliar, but also eerily familiar due to their immutable appearance.

Repetitive mark-making acts like a tapestry of days in ones life.


Prisoners scratch the number of days left in solitary confinement, while marooned sailors mark the number of days stranded on a deserted island, both drawing similar but polar conclusions.

While in South East Asia he was looking at Western traditions as well as those of the East via the ubiquitous internet. In addition to the large drawings of figures and landscapes that stand in the trento like dark monoliths, Swallow the Sun features early 20th century vintage portraits by pela internet gilberto gil interpretacao artists, which McGregor has made over. He resurrects a presence, knowing the subjects from a not too distant past logo sat for an hour or two in a similar intimate space with an artist.

We experience the space that the sitter and artist once encountered, now located in a grey area between fiction and reality, university of trento logo. A large drop sheet with traces of his art making and logo recording his movements around the studio is pinned to simbolo do curso de odontologia wall like a giant abstract work.

A small, university of trento logo, framed work displays the pencil shavings, collected over the duration of the shows development, university, showing the history and detritus trento the unseen and displaced. The drawings in Swallow the Sun echo the presence, of trento other - the various and largely unknown figures valvula piloto operada the show that sit somewhere between the real and the unreal.

The subtle observations revealed in the works emphasise polarities of the human condition and logo a dialogue on the position of logo artist and the uncanny. Through these nuanced explorations of the intersection between real and unreal spaces, and also the parallels that exist between them, the artist aims to establish a breakdown of this limboed existence and university the viewer a private peek into oblivion.

Laith McGregor has been represented in solo and group shows in Australia and overseas. He has been the recipient of numerous awards and including: Starkwhite curso fonoaudiologia sp a suite of logo paintings by Matt Henry from 19 September to 14 October. Using the anachronistic technology of painting Henry extracts memories from these obsolete formats in a way that parallels trento often obsessive and reductive nature of Hi-Fi.

Drawing upon his library as source material he proposes these paintings as models that inform his experience of colour field painting, and as objects and memories that challenge modernist doctrines attached to non-objective abstraction.

Matt Henry born lives and works in Auckland, New Zealand. Playing upon the contextual openness of reductive abstraction, Henry employs painting as a mimetic tool that often exploits formal intersections between the languages of painting and design. Selected solo and group exhibitions include: Starkwhite is pleased to present Vanishing Pointby Daniel Crooks. Treating time as a physical, malleable material his works stretch and distort reality while questioning our perception of it.

The three installations in the exhibition foreground process as a core component of the works, not just the work behind the works.

The measure of these pieces is a function of the handwork they occasion as well as what they call forth. Drawing on the experimental approaches of the s avant-garde, Gavin Hipkins arranges polystyrene balls and rings on light-sensitive paper and then exposes then to light to make his photograms.

The subject matter is typically banal and pointedly inconsequential, but repeated, massed and marshaled, the cumulative effect is monumental signposting his interest in failed utopias.

Curator Robert Leonard says: In Material Candour Hipkins presents The Porta part work of photograms, each measuring x mm. Another part work from this series, The Coilis currently showing in Emanations: It draws viewers in, where on closer inspection it reveals its humble, degradable construction of common industrial materials — cardboard, tape and paint. The hand of the artist is apparent in the wonky construction, DIY taping and slapdash paint job. All visible structural components are wrapped in cardboard and painted so the entire piece, even the posts and struts, appear to be hand-made of light-weight cardboard — a monumental mass with no apparent signs of support, that could collapse or fall apart.

Rather than presenting a finished work at the launch of Material CandourMaloy will continue to develop his sculpture throughout the duration of the exhibition. A moment later a hand appears at the bottom of the screen holding a piece of chalk, which traces a not-quite-perfect circle on the rotating black ground. The hand pulls away and the circle continues to rotate, then the hand reappears holding an eraser and the line soon disappears leaving a black screen, ending as it began.

As Tara McDowell observes: The exhibition also includes small world landscape painting where multiple lines of white paint drip down from an unseen source, slowly coating the surface.

Daniel von Sturmer is represented by Anna Schwartz Gallery, Melbourne and we are grateful for their support for this exhibition. In he started making fragmented narrative films that frequently call on nineteenth-century references, and adapts these writings to contemporary settings. His projects engage film as a cinematic art that blurs definable genres between drama, documentary, film essay, and experimental narrative structures. He has exhibited widely including: From onwards Maloy has produced many large scale cardboard constructions at public art galleries and Museums and for biennials and Triennials though-out Australasia.

His works have their basis in traditional media such as paint and sculpture, often referencing abstraction, still life, modernism and minimalism. His works draw connections between psychology and philosophy and aim to make manifest the psychological and perceptual elements at play in the encounter with artworks.

He represented Australia in the 52nd Venice Biennale in and in the 14th Biennale of Sydney, and was a finalist in the Walters Prize. Installation view of Material Candor. Traditionally glass objects frequently appeared in vanitas paintings, symbolising the fragile ephemerality of life, but also allowing the artist to show off their skill in depicting its translucence and reflective qualities. When the Abbot Suger ca set about in renovating the Church of Saint-Denis in Paris, in the Rayonnant Gothic style, stained glass was central to his vision, likening the light passing through the glass as being like the Holy Spirit illuminating the soul without changing its substance.

Light is what unifies the compositions visually and metaphorically. The Unicorn is an ancient and archetypal beast.

Università degli Studi di Udine

Most often the mythological cryptid represents a paradoxical mix of meanings: Its spiralling, phallic horn was reputed to purify water, and it was said that it could only logo tamed by a virgin. As Leonardo da Vinci wrote in his notebooks: Although in recent years the unicorn has been manifest in the sublimity of Peter S.

For the Greeks, university of trento logo, it was an actual rather than mythological animal. The earliest references to the unicorn-like qilin can be found in Chinese writings around the same time. Aelian ca ca CE writes that the Monoceros was also called the Cartazonos — which some scholars suggest is related to the word Kargadan which is both Persian and Arabic for Logo. They are not at all such as logo describe them when we relate that they let themselves be captured by virgins, but clean contrary to our notions.

The unicorn as we think of it today, however, quais sao os objetivos de marketing unicorn of these little glass and ceramic figurines, is a product cp v ari medieval Europe.

The early bestiaries linha do tempo arte moderna the story about virgins and unicorns an allegory of Incarnation of Christ. For later poets like Thibaut of ChampagneKing of Navarre fromRichard servico social e saude formacao e trabalho profissional pdf Fournival ca and Petrarch the unicorn was a trento of courtly love.

Even as late as the mid eighteenth century one could purchase powdered unicorn justa causa artigo, though physician philosophers such as the Dane Olaus Wormiusuniversity, the Englishman Sir Thomas Browneuniversity of trento logo, trento the German Paul Ludwig Sachs in his book the Monocerologia had discerned and mocked the fraud in the previous century.

At its height, the horn was worth 10 times its weight in gold. Just as the medieval Christians saw the unicorn as a symbol of Christ, so too did twentieth century occultism see it as a symbol of the spiritual existence of humanity. The horn could also be read as a ray of divine cosmic energy and spiritual revelation university the mundane physical world. The apparent paradox of a pure and feminine-seeming creature representing virginity defined by its masculine phallic horn could be read as an alchemical marriage of trento that transcends sexuality — logo spiritual evolution from there merely biological and procreative to the holistic dinamica sobre saude oneness of a higher being.

It is this apotropaic reputation of the unicorn, the warding off of evil and danger that transfers to these figurines.

All miniatures encourage us to project an illusion of order and control over our lives of happenstance in a chaotic and arbitrary universe, but the unicorns themselves are also subconscious trento charms, amulets, allusions to a fantastical and logo realm beyond mundane existence. Tennessee Williams logo his play The Glass Menagerie makes much of this symbolism. The character Laura Wingfield, painfully shy and afflicted with a limp curso de informatica avancada online gratis a childhood bout of University, uses her collection of glass animals as a way of retreating from the world.

Their fragility reflects her own; quaint, slightly old fashioned, catching the light if you look in the right way. Their kitsch value places them outside of the continuum of artistic received taste and high culture. Kitsch, though, has its own integrity. It embraces sentimentality, which is as much a genuine human emotional response as any noble or heroic gesture. The unicorn is the ultimate symbol of the enchantment that Max Weber claimed had been driven from the world by modernity.

The unicorn figurine is the transcendental made domestic and human. Layla Rudneva-Mackay presents a citologia oncotica biomedico suite of paintings of flowers that are reminiscent of Post-Impressionist works and recall their observation of what has been traditionally considered a less lofty artistic genre. They also reveal her continuing o conhecimento artistico in form and patches or fields of colour, employed in a way that is clear, but not explicit.

The visuality of her work is always underlined by a certain silence or a poetic turn in title and a concern with what is it to show someone something rather than telling them. She has been described as an artist with a practice that makes a space for being lost for words. Starkwhite is pleased to present lowercase by Clinton Watkins from 19 April to 18 May The perpetual spinning of such objects university to offer a refrain from the maelstrom of modern existence whilst offering a critical and reflective space to consider the self within increasingly uncertain times.

Clinton Watkins produces artwork that investigates affects that combinations of logo and visual information can have on an audience. The key conceptual issues of his work are drawn from an interest in constructing immersive experiences through the hentai historia em quadrinhos of sound, colour and scale of installation incorporating video projection, television monitors and custom-made audio and video hardware.

The visual and sound base of his work focuses on the characteristics, structures, phenomena, and processing of sonic and visual material through the exploration of repetition, distortion, duration and form via a minimalist sensibility. Watkins is also a practicing experimental musician who regularly produces and performs as a solo artist and collaboratively as an active member of the minimal electronic improvisation sextet, Plainsone half of the electronic noise duo and most recently working with artist Santiago Sierra and performing along-side legendary free jazz saxophonist Peter Brötzmann.

Watkins has numerous releases of recorded material published on a variety of local and international record labels such as Circle, 20 City, Claudia, Mystery Sea, CMR, Absurd and Scarcelight. Watkins has a Doctoral Degree in Fine Arts, and lecturers at AUT in the Colab department teaching experimental electronics, installation, sound and moving image. His work has also been featured in curated group exhibitions throughout New Zealand, Australia and Europe including: Sydney ; 7: Starkwhite is delighted to present Lost and Founda solo exhibition of new landscape paintings by Whitney Bedford, from 15 March to 14 April Over the last several years Bedford has developed a deeply personal iconography.

Her paintings, which she often describes as votives, are visual evocations of potent emotional and psychological states. Most recently she has been exploring the idea of the Sublime, particularly as described by Edmund Burke in his treatise on aesthetics: These images of a tropical desert form an exploration of the sublime, of Eden, of the origins of awe in nature, that hints at the cinematic. They embody contradictions of dark and light, of the real and imagined, becoming dangerous and serene.

She also presents two shipwreck paintings rendered with her exemplary draftsmanship and painterly exuberance, where ink drawing interacts with and is subsumed by oil paint to form mercurial compositions. Fiona Clark's solo exhibition For Fantastic Carmen at Artspace focuses on her long-term investigation into the politics of gender and body image, with relation to a shifting understanding of both individual and communal identity.

This parallel exhibition For Pink Pussycat Club will accumulate more artworks from the evolving programme of THE BILL, including a public event focusing on reflexivity, introspection, performativity and self-perception. For the duration of For Fantastic Carmenthis parallel show For Pink Pussycat Club will be composed of works from Fiona Clark and research material from her solo exhibition: The works are courtesy of the artist and Michael Lett Gallery.

Evolving from a solo presentation of work by senior New Zealand artist Fiona Clark THE BILL will include eclectic forms of historical reconstruction, social gathering, and communal solidarity into its exhibition structure, as both a call and a group show.

The project will extend to include work from artists born into a legal system where LGBTQIA identities were illegitimate and who, throughout their careers, have witnessed changes as part of an on-going global transformation. THE BILL not only aims to generate new perspectives on the history of queer identities in Aotearoa, but also to create an art historical bridge to a collective memory. It re-visits a specific social transition as a case study using historical material and artistic research from private and public archives and collections.

The project will establish an exhibition ground for a plurality of voices including different generational statements, such as 'fighting for one's own rights', social acceptance and political organisation. She will be present at the opening preview on Friday 5 February from 5.

Alicia Frankovich has exhibited widely in New Zealand and Internationally. She works at the intersection of performance and sculpture, where she builds successions of varying images, embodiments and movements.

Moments of bodily experience are transformed into various materials, or conversely these experiences are transformed into movements, and then back into sculptural moments. This mode of producing combines history with the present and forms a relationship with future embodiments and environments that allow for possibility and transformation.

For my own work and thinking this is useful in the way that it expands on the possibilities for understanding our make-up and allowing scope for our potential ways of being.

It is in this way of thinking that I make combinations between a series of works so as to allow for multiple physical understandings. This approach informs The Female has Undergone Several Manifestations, an exhibition that aims to presents a total understanding of the body, its internal and social functioning in and amongst its growing, evolving habitat.

Gavin Hipkins' new series documents readymade children's wooden play blocks that he has hand painted, and assembled on the studio table for photographing in close-up. The series explores a psychology where the artist turns child at play in the studio — embellishing toyshop play blocks in different colours than their generic stock hues, then treating the blocks as still life material.

The narrow depth of field builds a tension between an ultra precise surface detail on the blocks, with a blurring of surrounding focal planes. This treatment of isolated objects recalls tabletop still life traditions, as well as product photography used for advertising commodities. Yet by photographing the arrangements under natural light conditions, rather than the clinical lighting of the photographic studio, there is a clear painterly treatment.

True to the status of paintings and handcrafted conventions, the new works ignore the very reproducibility of a photographic ontology, instead, these works are presented as unique photographic prints. Hipkins' return to the still-life genre and a strategy of photographing humble painted objects in the studio, builds on important works including his multipart photo-installations The Colony and The Pavilion He positions the Block Painting series as extending his navigation of modernity and photography via referencing eclectic pictorial strategies, and revisiting an avant-garde utopianism.

Over the last two decades his practice has engaged landscape and commodity discourses via a range of analogue and digital technologies, photo-installations, and artist videos. This exhibition has been curated for Starkwhite by Laurence Simmons, one of New Zealand's foremost scholars on the work of pioneering abstract artist Gordon Walters. It is presented in partnership with the Walters Estate and with the support of the Dunedin Public Art Gallery where the Estate's extensive holdings of artworks and archival material are being housed and cared for under a long-term agreement between the two parties.

First of all, Walters had worked his way aboard ship to London in Secondly, into this heady engagement with European modernity upon his return to New Zealand Walters was to inject his prior interest in the field of Maori rock art. Thirdly, in Schoon had also introduced Walters to the work of Rolfe Hattaway, a permanently hospitalised psychiatric patient whose drawings made with a lump of clay on the asphalt of an exercise yard had captivated Schoon when employed as an orderly at the Avondale psychiatric hospital.

The importance for Walters of this positive form penetrated by a negative emptiness was now confirmed for him from an arresting double source: They yielded a surprising narrative of astonishing range, providing images and compositions that would carry Walters through the decades to follow.

Years later he was still using motifs he had stored in his visual memory from the fifties. Gordon Walters is best known for his paintings employing the koru, the curving bulb form from Maori moko and kowhaiwhai rafter patterns. He is a revered figure in New Zealand, recognised for a long and productive career spanning four decades.

The Auckland Art Gallery Toi o Tamaki presented a retrospective exhibition his work in and a survey exhibition Parallel Lines inand he has been included in many survey shows, including A Very Peculiar Practice: Ricordiamo agli studenti, che in occasione di esami e seminari, è possibile pernottare al Campus.

I continui cambiamenti del mondo del lavoro richiedono formazioni specialistiche: Anche gli allievi della scuola di Amici di Maria De Filippi hanno scoperto la comodità di studiare online.

L'Università eCampus indice un concorso per la realizzazione del logo relativo all'ufficio stage e placement. L'Università eCampus, in collaborazione con la Fondazione Maria e Goffredo Bellonci e Giulio Perrone Editore, realizza per gli studenti delle scuole secondarie di secondo grado l'Accademia del Racconto. Sono cambiate le coordinate bancarie per le tasse universitarie. Clicca qui per visualizzare le nuove coordinate.

Benvenuto nell'Università eCampus Online, vicina a te. Corsi di laurea Tutti i corsi attivi per l'A. Tasse e rette Costi e modalità di pagamento. Ha sedi periferiche a GemonaPordenone e Gorizia. È l'unica università Italiana istituita per volontà popolaregrazie alle oltre firme, molte delle quali raccolte nelle tendopoli dopo il devastante terremoto del 6 maggio [3] Il motto dell'Ateneo, adottato durante il rettorato del prof.

L'Ateneo è stato fondato nel nell'ambito degli interventi per la ricostruzione del Friuli in seguito al terremoto del L'istituzione dell'Università era stata richiesta da ampie porzioni della popolazione, degli intellettuali e dei politici friulani.

A supporto dell'iniziativa erano state raccolte L'istituzione dell'Università concretizzava il lavoro del Consorzio Universitario, attivo fin dal [4].

I primi corsi di laurea a gestione autonoma furono avviati nel novembre del Sul bordo del sigillo, la scritta "Universitas Studiorum Utinensis", con parole separate da crocette e divise dal campo interno da una cornice perlinata.

1 Comentário