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An often-neglected aspect in the analysis of the Italian Giallo pertains to the complex panorama of technical objects, optical, and sound devices, which contribute to characterise the atmospheres and scenes of crime and investigation. These devices are indicators of both technological and socio-anthropological changes, with a meaningful convergence between cultural practices and cinematographic imagination. In addition, the analysis on their role makes it possible to include the genre in a broader discourse on the relationship between cinema and surveillance. In particular, the essay explores their presence in the Italian Giallo from the post-WWII era to the present day, analyzing some exemplary cases in which visual and sound technologies can be considered both as staging devices – for instance, as surveillance and control tools or cognitive aids for the investigation –, and in terms of the staging of the devices themselves, with a narrative and performative function.

In the contemporary media landscape, the visual component of armed conflicts tends to be articulated in two distinct imaginaries. On one hand, we observe a ‘view from above’ generated by aircrafts, UAVs, and satellites; on the other, we encounter videos and photographs shot with consumer technologies by people on the ground such as regular soldiers, militiamen, guerrillas, NGOs, and civilians. Through the internet, these ‘low images’ have created a new imaginary. Among the devices that mark the iconography of the wars of the new millennium, a prominent place is occupied by minute-sized videographic instruments usually secured on the operator’s head, called helmet cameras. These devices are characterised by two elements: the first-person view and the prosthetic relationship with the human body. The machine vision hence presupposes a form of witnessing inextricably related to the subject’s mobility. Helmet cameras produce an embodied experience of war in which the visual perspective echoes the agency of a body at risk that is exposed to the stimuli and the dangers of the battlefield. Focusing primarily on the television docu-series Taking Fire (2016), the paper aims to explore all the elements that mark helmet cameras as a real topos of the contemporary war imagery, pointing to the relationship between vision, technical device, and body. The essay highlights recurring features of the images on both filmic and content levels, adopting an interdisciplinary perspective. Starting from studies on point-of-view shots and documentary filmmaking, the essay demonstrates how helmet camera images are profoundly influenced by several trends shaping the contemporary media landscape, including the post-photographic approach, the videogame world, the aesthetics of extreme sports, and the social network culture.

As soon as I arrived in Oberkochen, to improve my knowledge of photogrammetry (I was only a good topographer) I was given a small volume entitled "Nur der Name war geblieben" (Armin, 1989): it was the story of the transfer of the famous "Carl Zeiss Stiftung ” ” from Jena to that agricultural village in Swabia, to escape the Soviet ogre. Today, about half a century after those days, I use the Italian version of that title, reduced from the imperfect to the present, to talk about the end of production, by the large German company, of the sector concerning measurement on the ground and on images . Several times I have said and written that human inventions and initiatives generally last a century or so: this is confirmed by the story of the topographical and photogrammetric division of Carl Zeiss: a "season" approximately, in the life of the large company.

The technique of surveying cultural heritage, like this as in general the topographical one linked to the ground, it profoundly changed between the end of twentieth century and the emergence of the new millennium. Everything has changed, from the measuring instruments to the means of calculation, both by now indissolubly related to electronics and information technology. The present author had the fortune of live all the corresponding transformations either from the operational side as well as from the cultural and research, as a university professor of disciplines geomatics, or topography, photogrammetry and cartography. The latest news, in order of time, is the strong transformation of photogrammetry, which as an auxiliary means for production cartographic as it was born, about a century and half ago, it has now become a multifaceted technique indispensable both in land surveying and cultural heritage.

Beginning in the nineteenth century, topographic and then cartographic operations (land registry, defense maps) developed nationally in Europe. All the States participated in it, creating scientific bodies that dictated the fundamental lines. Thus were born the "geodetic commissions". These exist and still operate in the EU, with the exception of Italy. The Italian Geodetic Commission was an Italian public body that was the Italian counterpart of the International Association of Geodesy. In 1975 the commission was declared a non-useful body according to the law of 20 March 1975 n. 70 and then suppressed with the Presidential Decree of 4 July 1977. I avoid the comment, leaving it to the readers.

At Sapienza the chair of topography, immediately after the Second World War, was covered by Giovanni Boaga. The great scholar, who at the time was also Direttore Generale del Catasto e dei Servizi Tecnici Erariali, was looking for an assistant. He was introduced to a young Roman, tall and handsome, brilliantly graduated in engineering, who had served in the Royal Army as a lieutenant and was briefly in Stuttgart for relations with the Wehrmacht. The assignment was immediately given to him, but shortly after the engineer entered in the cadastral administration, where he would then conduct his entire career. The young man was Enrico Vitelli, born in 1919; military service in Pavia, where he met a kind and beautiful young lady of excellent family, who would later become his wife.

Corrado Mazzon, nato a Venezia nel 1918 e patrizio veneziano, passò dall'Universití al Politecnico, chiamato da un altro fisico, Mariano Cunietti, di lui minore per un paio d'anni, che era gií nel prestigioso Istituto di Geodesia e Topografia diretto da Gino Cassinis, allora anche direttore del Politecnico (non esisteva ancora la qualifica di "Rettore”, vedi in (Monti, Selvini 2017).

The ex-President of the Italian Society of Photogrammetry and Topography (1995-1998) returns to a subject really dear to him: the reforms on the profession of Surveyor, the proliferation of the Bachelors Degrees for Surveyors and the shameful elimination of the Geodesic Commission of the Italian Republic, deemed "useless institution".

SIFET, the Italian Society of Photogrammetry and Topography, has many honorary members. In this article a proposal for a new one.

Some considerations of Prof. Attilio Selvini on the evanescent role of the Universities, on the ever more incessant emergence of the spin-offs and on the paid courses promoted by these academic spin-offs within the Universities.

How does couple relationship affect partners' wellbeing? We examine a series of possible joints between organized and disorganized forms of attachment to evaluate the output of ri-traumatization or revision of attachment with toxic or therapeutic effects. [ABSTRACT FROM AUTHOR]

Reflections on the second test for the qualifying examination to the freelance profession of surveyor.

The article is a reflection on the actual value of information technology applied to cartography. In particular the author wonders how thousands of data can be really useful in as many databases which are difficult to understand to the same technicians who should have use them.

Background: Gilles de la Tourette syndrome (GTS) is a chronic childhood-onset neuropsychiatric disorder with a significant impact on patients’ health-related quality of life (HR-QOL). Cavanna et al. (Neurology 2008; 71: 1410–1416) developed and validated the first disease-specific HR-QOL assessment tool for adults with GTS (Gilles de la Tourette Syndrome-Quality of Life Scale, GTS-QOL). This paper presents the translation, adaptation and validation of the GTS-QOL for young Italian patients with GTS.

Exactly fifteen years ago, the second of the present authors published on "Bulletin of SIFET" a short article entitled "Dalla SIFIP alla SIFET" (1). There was evoked the activities of the "Società Italiana di Fotogrammetria Ignazio Porro", whose SIFET was the heir. This article resumed the examination of the publications of that Scientific Society, numbered 1 to 21, gathered in a file that was fortunately saved from the destruction of much of the material of the Filotecnica Salmoiraghi, when the big company founded by Ignazio Porro was incorporated in one of many carriages (however brief) that was in auge in the second half of the twentieth century.

Memories of Professor of the X Congress of SIFET, organized by Donnini and Caggiano, held in the majestic Villa Recalcati, to the presence (at that time, unusual) of Undersecretary for Finance Cesare Bensi, the President of the National Council of Engineers, Basso Sergio Brusa Pasqué, and the suppression of the Italian Geodetic Commission.

Birth, Evolution and Revolution of Photogrammetry. The digital transformation, the "Charge Coupled Device", the new recruitment methods and image processing, the RPAS, Direct Photogrammetry... And the Italians?

The article relates some grammatical errors and terminology that were found in the second written test prepared by the Ministry of Education to perform the profession of surveyors. The opinion that the International Federation of Surveyors will make on the reliability and competence of the Ministry of Education and, not only on those who composed the theme but also on those who have graduated, surely innocent, but without having faced a written test worth to be called such, it may not be the best.