The machine world we have created is gradually taking on autonomy and power. To remedy this catastrophe, to avert this dispossession, we rely on communication. A magical concept, the new science and liturgy of our new century. Communication, in all its forms, will save our society. Are we sure? Here the author promotes the systematic exploration and radical critique of this new science (which already has its schools, its laboratories and its great priests). Lucien Sfez is professor of political science at the University of Paris. His numerous works have contributed extensively to modern political science.

Scientific effectiveness has imposed the critical search for truth as the ultimate criterion in education, with the hope of a harmonious encounter between truth, individual freedom and social justice. But the subtlety of the ethical and social problems posed by science and technology without providing the means to resolve them makes the Socratic ideal explode. It is the revenge of Protagoras and opinion, of the poetic and the rhetorical. Hopefulmonster has published in Italian the two essays by the same author: Tra il cristallo e il fumo, 1987 and A torto e a ragione. Intercritica tra scienza e mito, 1989.

This essay, long a classic and only now translated into Italian, constitutes an essential reference for the problem of scientific creativity. The result of the reflections of one of the greatest mathematical minds of the twentieth century, it is nourished by a constant direct and indirect dialogue with some of the greatest thinkers, scientists and artists: Poincaré, Einstein, Bergson, Valéry, James, Elmholtz, Bernard, Polya, Galton, de Broglie and others. Jacques Hadamard (1865 - 1963), the initiator of modern functional analysis, made fundamental contributions to numerous fields of mathematics.

Jacques Solomon Hadamard (1865-1963) was a French mathematician, best known for his proof of the prime number theorem, which he proved in 1896.

The book is the catalogue of the solo exhibition that the Galleria Civica d’Arte Contemporanea of Trento dedicated to the work of the Turinese artist Marco Gastini from 22 January to 13 March 1993. Besides the rich iconographic apparatus, the volume opens with a critical essay by Danilo Eccher, followed by a contribution by Francesco Poli and texts by Lisa Parola, one of which is dedicated to the artist’s most recent works at the time. Parola is also responsible for the extensive biographical and bibliographical notes that closes the catalogue.

This book forms the catalogue of the group exhibition of the same name, curated by Dede Auregli, held at the Villa delle Rose in Bologna from 24 January to 11 April 1993. The group exhibition, with works by international artists such as Massimo Barzagli, Thomas Bernstein, Vittorio Corsini, Thomas Grünfeld, Vincent Shine, Wastijn & Deschuymer and Craig Wood, reflects on the theme of nature and landscape, on its logical representation and on the multiple directions of meaning that this theme suggests to the sensitivity of contemporary artists. In addition to an introductory text by the curator, the volume includes an essay by Stefano Zecchi.

This monograph devoted to the artist-director duo Yervant Gianikian and Angela Ricci Lucchi traces a large part of their work from the early 1970s to the 1990s. Thanks to a conversation curated by Sergio Toffetti and Daniela Giuffrida, it reconstructs the thread of a journey that begins with Angela Ricci Lucchi’s training in Salzburg with Oskar Kokoschka and the early film experiences of Gianikian; films that use found objects to focus on the themes of memory. The meeting of the directors’ artistic practices and their respective lives has fostered attention on the theme of the “catalogue”: the true pole around which Gianikian|Ricci Lucchi’s poetics revolves and unfolds. In addition to the aforementioned interview, the book includes texts by Alberto Farassino, Janis Crystal Lipzin, Scott MacDonald, and Michel Hommel, and is completed by texts by the filmmakers featured in the book.