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Journal articles on the topic 'Paolozzi'

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Published: 4 June 2021
Last updated: 29 January 2023

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1

Alloway, Lawrence. "Eduardo Paolozzi." October 136 (May 2011): 29–31. http://dx.doi.org/10.1162/octo_a_00035.

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2

Pearson, Fiona. "Eduardo Paolozzi 1924-2005." Sculpture Journal 14, no. 1 (January 1, 2005): 89–93. http://dx.doi.org/10.3828/sj.2005.14.1.9.

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3

Pearson, Fiona. "Eduardo Paolozzi 1924–2005." Sculpture Journal 14, no. 1 (December 2005): 89–93. http://dx.doi.org/10.3828/sj.14.1.8.

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4

Soares, Afonso Maria Ligorio. "DE BOTTON, Alain. Religião para ateus. Trad.: Vitor Paolozzi. Rio de Janeiro: Intrínseca, 2011." Revista de Estudos da Religião (REVER). ISSN 1677-1222 12, no. 1 (August 2, 2012): 271. http://dx.doi.org/10.21724/rever.v12i1.10495.

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5

Hare, David. "For Eduardo Paolozzi, art was everywhere." Sculpture Journal 14, no. 1 (January 1, 2005): 5–7. http://dx.doi.org/10.3828/sj.2005.14.1.2.

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6

Hare, David. "For Eduardo Paolozzi, art was everywhere." Sculpture Journal 14, no. 1 (December 2005): 5–7. http://dx.doi.org/10.3828/sj.14.1.1.

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7

Arribas, Àngels. "FLOOD RECOVERY PROJECT OF THE EDUARDO PAOLOZZI ARCHIVE." Studies in Conservation 47, supplement2 (September 2002): 2. http://dx.doi.org/10.1179/sic.2002.002.

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Arribas, Àngels. "FLOOD RECOVERY PROJECT OF THE EDUARDO PAOLOZZI ARCHIVE." Studies in Conservation 47, sup2 (September 2002): 2. http://dx.doi.org/10.1179/sic.2002.47.s2.002.

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9

Williamson, Beth. "Eduardo Paolozzi and the lost realms of child art." Sculpture Journal 28, no. 2 (January 2019): 229–46. http://dx.doi.org/10.3828/sj.2019.28.2.6.

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10

Aguirre Castro, Mercedes. "Tecnología convertida en mito: la obra artística de Eduardo Paolozzi." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 149–65. http://dx.doi.org/10.7195/ri14.v15i1.1038.

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Eduardo Paolozzi, un artista británico de origen italiano, inició su carrera artística dentro del llamado Pop Art británico con collages que partían de la cultura popular norteamericana y sus objetos de la vida cotidiana y de sus anuncios y revistas, utilizando monstruos y robots de la ciencia ficción al lado de personajes como Mickey Mouse e imágenes de radios y cohetes espaciales. Posteriormente desarrolló su carrera como escultor produciendo esculturas en bronce, a algunas de las cuales dio nombres de personajes de la mitología clásica (Jasón, Dédalo, Cíclope). Estas esculturas eran creadas a partir de un conglomerado de partes de máquinas y desechos que luego fundía en bronce. Las figuras resultantes reflejan el interés del artista por la idea de la fusión del hombre y la máquina, aunque al final no son ni hombres ni máquinas. Parte de los objetos que componen estas esculturas proceden de la tecnología de la época (ruedas, transistores, motores) de manera que estos productos tecnológicos se convierten en el material del artista: se trata de una técnica escultórica que se denomina “Brutalismo”.
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Arribas, Àngels. "Cold comfort: Flood recovery project of the Eduardo Paolozzi Archive." Conservator 26, no. 1 (January 2002): 3–13. http://dx.doi.org/10.1080/01410096.2002.9995171.

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12

Iorio, L. "Commentary to “LARES successfully launched in orbit: Satellite and mission description” by A. Paolozzi and I. Ciufolini." Acta Astronautica 95 (February 2014): 174–75. http://dx.doi.org/10.1016/j.actaastro.2013.11.010.

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13

Niebrzydowski, Wojciech. "The Impact of Avant-Garde Art on Brutalist Architecture." Buildings 11, no. 7 (July 4, 2021): 290. http://dx.doi.org/10.3390/buildings11070290.

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Brutalism was an architectural trend that emerged after World War II, and in the 1960s and 1970s, it spread throughout the world. The development of brutalist architecture was greatly influenced by post-war avant-garde art. The greatest impact on brutalism was exerted by such avant-garde trends as art autre, art brut, and musique concrète. Architects were most inspired by the works of such artists as Jackson Pollock, Jean Dubuffet, Pierre Schaeffer, Eduardo Paolozzi, and Nigel Henderson. The main aim of the research was to identify and characterize the most important ideas and principles common to avant-garde art and brutalist architecture. Due to the nature of the research problem and its complexity, the method of historical interpretative studies was used. The following research techniques were employed: analysis of the literature, comparative analysis, multiple case studies, descriptive analysis, and studies of buildings in situ. The research found the most important common ideas guiding brutalist architects and avant-garde artists: rejection of previous principles and doctrines; searching for the rudiments; mirroring the realities of everyday life; glorification of ordinariness; sincerity of the material, structure, and function; use of raw materials and rough textures.
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14

Ben Shoshan, Liat Savin. "Architecture, cinema, and images of childhood in 1950s Britain." Architectural Research Quarterly 22, no. 2 (June 2018): 115–26. http://dx.doi.org/10.1017/s135913551800043x.

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In 1956, Independent Group member Eduardo Paolozzi, close friend and collaborator of Alison and Peter Smithson, starred in the film Together, directed by Lorenza Mazzetti, who had met him while a student at the Slade School of Fine Art. Strikingly, the imagery and setting of the film shares much in common with the images used by the Smithsons in their work, particularly those by Nigel Henderson, of children playing in the East End. Together is a 52-minute film screened in 1956, as part of Free Cinema programme. East London, with its narrow streets, riversides, docks, and multiple bomb sites, as well as the manner in which this location was shot, expressed the sense of disharmony – even chaos; a scenery patched together out of the remnants of prewar daily routines; a mix of dwellings, cranes, industry, and children running among the ruins. Looking more closely at Free Cinema's use of image and at the postwar concern with childhood allows us to better understand how and why children figured in the Smithsons’ work and how they came to inspire a new creative consciousness in New Brutalism more generally.
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15

Walsh, Victoria. "Reordering and Redistributing the Visual: The Expanded ‘Field’ of Pattern-Making in Parallel of Life and Art and Hammer Prints." Journal of Visual Culture 12, no. 2 (August 2013): 222–44. http://dx.doi.org/10.1177/1470412913492398.

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In August 1954, the artist–photographer Nigel Henderson and the sculptor Eduardo Paolozzi set-up Hammer Prints Ltd to sell and promote their designs for wallpapers, curtains and ceramics. Marginalised by art history as a category of applied arts, Hammer Prints was, however, inextricably tied into the ideas and experimental cross-media work of both artists at this time. This article resituates the ethos and designs of Hammer Prints within the wider aesthetic concerns and strategies of the Independent Group which the two artists were engaged with and, in particular, to the reordering of the visual first proposed by the artists in collaboration with the architects Alison and Peter Smithson in the seminal exhibition Parallel of Life and Art (Institute of Contemporary Arts, 1953), the year before Hammer Prints was established. As the article argues, a more complex account of Hammer Prints exists once it is reconnected to both artists’ interest in gestalt principles of perception, contemporary theorisations of ‘pattern’, and ontological questions of art posed by Malraux’s idea of the ‘imaginary museum’ and Duchamp’s idea of the ‘portable museum’. It concludes by locating the designs of Hammer Prints within the new field of communication theory developed by Gregory Bateson.
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16

Wigzell, Freya. "‘opened out […] like an oyster shell': the Roach bed Portland stone cladding of the Smithsons’ Economist Building." Architectural Research Quarterly 24, no. 2 (June 2020): 169–82. http://dx.doi.org/10.1017/s135913552000024x.

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Alison & Peter Smithson's Economist Building in London (1960–1964) has been much written about, but one of its most distinctive features – the Roach bed Portland stone cladding – has been relatively little discussed. Although there have been various retrospective explanations for the choice of this previously unused stone, whose surface is marked by cavities of now vanished shells, no direct evidence from the time fully accounts for the decision. Reliance upon inference, and upon retrospective statements, mean that no definitive explanation for the choice is now possible. Some new evidence from archives and interviews, and a re-examination of the contemporary concerns of the Smithsons, and of their artist friends Eduardo Paolozzi and Nigel Henderson, fellow members of the Independent Group during the 1950s, however, suggest a plausible, though speculative, interpretation. When considered in light of the Smithsons' and their friends' interests in pattern, in hidden orders, and in the problems of ‘human association’, the choice of Roach bed Portland stone seems less surprising. More than just ‘pretty’, as Peter Smithson was later to describe the material, it can be seen to connect with a fascination with underlying, non-human, systems of order, while at the same time providing a particularly expressive form of protection for human identity in the modern city.
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17

Guidi-Bruscoli, Francesco. "La Capponiera. Girolamo Muzio. Ed. Beatrice Paolozzi Strozzi and Riccardo Fubini. Accademia toscana di scienze e lettere “La Colombaria”: Serie Studi 216. Florence: Olschki, 2017. 324 pp. + 4 b/w pls. €35." Renaissance Quarterly 71, no. 4 (2018): 1430–31. http://dx.doi.org/10.1086/702040.

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18

Stonard, John-Paul. "Eduardo Paolozzi's Psychological Atlas." October 136 (May 2011): 51–62. http://dx.doi.org/10.1162/octo_a_00042.

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19

Thomas, Elly. "‘Meccano work’: Eduardo Paolozzi’s kits." Sculpture Journal 25, no. 1 (January 2016): 101–15. http://dx.doi.org/10.3828/sj.2016.25.7.

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20

Highmore, Ben. "“Image-breaking, God-making”: Paolozzi's Brutalism." October 136 (May 2011): 87–104. http://dx.doi.org/10.1162/octo_a_00052.

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21

Pearson, Brook. "Ontology in Collage: Paolozzi’s Wittgenstein and Film." Rivista di estetica, no. 46 (March 1, 2011): 103–21. http://dx.doi.org/10.4000/estetica.1641.

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22

Marietti, Marina. "Sacra Rappresentazione e Autorappresentazione nelGiovanni e Paolodi Lorenzo il Magnifico." Italian Culture 26, no. 1 (January 2008): 21–33. http://dx.doi.org/10.1179/itc.2008.26.1.21.

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23

Cesaretti, Enrico. "Preoccnpazione devozionale nellaRappresentazione di San Giovanni e Paolodi Lorenzo de' Medici." Italianist 15, no. 1 (June 1995): 67–82. http://dx.doi.org/10.1179/ita.1995.15.1.67.

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24

VRUBLEVSKIY, A. S., and V. D. UVAROV. "The Influence of Wittgenstein’s Philosophy on the Artistic Language of Eduardo Paolozzi’s «Tapisserie»." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 1-2 (2022): 309–23. http://dx.doi.org/10.37485/1997-4663_2022_1_2_309_323.

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25

Herrmann, Daniel F. "Bronze to aluminium and back again: Eduardo Paolozzi’s use of materials in sculpture, c. 1957-71." Sculpture Journal 14, no. 1 (January 1, 2005): 71–85. http://dx.doi.org/10.3828/sj.2005.14.1.7.

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26

Herrmann, Daniel. "Bronze to aluminium and back again: Eduardo Paolozzi's use of materials in sculpture, c. 1957–71." Sculpture Journal 14, no. 1 (December 2005): 71–85. http://dx.doi.org/10.3828/sj.14.1.6.

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27

Nebbia, Giorgio. "Letture: L. Paoloni (a cura di), Politiche di forestazione ed emissioni climalteranti, Roma, Edizioni Tellus, 2009." AGRICOLTURA ISTITUZIONI MERCATI, no. 3 (March 2010): 199–202. http://dx.doi.org/10.3280/aim2008-003009.

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28

Kauffman, George B. "Lettere a Stanislao Cannizzaro: Scritti e Carteggi 1857-1862; Lettere a Stanislao Cannizzaro 1863-1868 (Paoloni, Leonello)." Journal of Chemical Education 71, no. 10 (October 1994): A262. http://dx.doi.org/10.1021/ed071pa262.2.

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29

Mauro, Paoloni, Valeri Marco, and Paoloni Paola. "Development Perspectives of Relational Capital in Women-Led Firms." International Journal of Business and Management 12, no. 9 (August 15, 2017): 66. http://dx.doi.org/10.5539/ijbm.v12n9p66.

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The purpose of the paper is to analyze the strategic role of relational capital for the achievement of sustainable development in Italian micro and small tourist businesses run by women. The paper focuses on the tourism enterprises because that sector constitute 10 % of the Italian GDP. The qualitative research methodology that has been used is that of case study research (Yin, 2009). Such process consisted in a survey with an ad-hoc questionnaire developed to analyze the distinctive features of a woman-owned micro and small enterprise that can be identified with the CAOS model (Paoloni, 2011). The paper applies the CAOS model examining the personal characteristics of the female entrepreneur (C); the environment in which the in SMEs operates (A); organizational and managerial aspects (O); and the motivations for manage a new business (S). This model is able to link these factors and classify different types of connections, it is possible to identify the kind of existing relations. The paper intends to help address a gap in the existing literature regarding the management and governance of tourism firms run by women. The paper can contribute to improving the competitiveness Italian enterprises studying how women entrepreneurs manage her business.
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30

Gonizzi Barsanti, Sara Gonizzi, Santiago Lillo Lillo Ginger, and Adriana Rossi. "Digital Data and Semantic Simulation—The Survey of the Ruins of the Convent of the Paolotti (12th Century A.D.)." Remote Sensing 14, no. 20 (October 15, 2022): 5152. http://dx.doi.org/10.3390/rs14205152.

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In the presence of architecturally significant ruins, restoring and disseminating the idea of a testimony that has survived the destructive work of time is a cultural and social necessity that the use of advanced methods and tools allows to communicate in a timely and comprehensive manner. The integration of 3D surveying techniques and digital information production and management processes (graphic and alphanumeric, i.e., geometric information) makes it possible to put in place multifaceted and effective strategies. The article aims at describing the process of data acquisition (using applied photogrammetry) of the remains of a medieval cloister located on the outskirts of ancient Oppido Mamertina (RC, Italy). The use of the acquired point cloud, cleaned and optimised, made it possible to extract suitable orthophotos from which to derive the matrix profiles of the vaulted roof system. The information organisation of the model, which can be queried on time despite the generic level of detail, leads us to meditate on the change taking place in the field of documentation for urban environmental design and maintenance.
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31

Goodstein, Judith. "Twentieth Century Physics: Essays and Recollections: A Selection of Historical Writings by Edoardo Amaldi. Giovanni Battimelli , Giovanni Paoloni." Isis 92, no. 1 (March 2001): 206–7. http://dx.doi.org/10.1086/385133.

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32

Kauffman, George B. "Lettere a Stanislao Cannizzaro 1868-1872; Stanislao Cannizzaro: Scritti di Storia Politica e Chimica; Corrispondenza Varia (ED. Paoloni, Leonello)." Journal of Chemical Education 73, no. 8 (August 1996): A178. http://dx.doi.org/10.1021/ed073pa178.1.

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33

Kołakowska, Beata, and Bogusława Konarzewska. "PUBLIC ART IN THE ERA OF URBAN TRANSFORMATIONS. A CASE STUDY OF EDUARDO PAOLOZZI’S ARTISTIC OUTPUT IN EDINBURGH AND IN LONDON." space&FORM 2020, no. 43 (September 21, 2020): 199–214. http://dx.doi.org/10.21005/pif.2020.43.c-06.

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34

MAIOCCHI, ROBERTO. "GIOVANNI PAOLONI e RAFFAELLA SIMILI (eds.), I Lincei nell'Italia unita. Roma: Bretschneider, 2004. 255 pp., ISBN 88-7689-192-7." Nuncius 21, no. 2 (January 1, 2006): 425–26. http://dx.doi.org/10.1163/221058706x01071.

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35

Pomorski, Romuald. "Revision of the genus Onychiuroides Bagnall, 1948 (Collembola: Onychiuridae: Onychiurinae)." Insect Systematics & Evolution 37, no. 1 (2006): 39–69. http://dx.doi.org/10.1163/187631206788831542.

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AbstractThe European genus Onychiuroides Bagnall, 1948 is revised. The genus is defined within the subfamily Onychiurinae on the basis of the arrangement of the dorsal posterior cephalic pseudocelli (set in a triangle), presence of 11 setae in the distal whorl of tibiotarsi and the structure of the reduced furca (finely granulated area with 1+1 setulae posteriorly, in contact with the border between abdominal sterna III and IV). Seven new species are described (O. igori sp. n., O. pirinensis sp. n., O. paoloi sp. n., O. cerberus sp. n., O. bojani sp. n., O. peteri sp. n. and O. occultus sp. n.). Nine previously known species are redescribed on the basis of types and new specimens [O. anelli (Denis, 1938), O. bureschi (Handschin, 1928) comb. nov., O. canzianus (Stach, 1934) comb. nov., O. hrabei (Rusek, 1963) comb. nov., O. papillaeferus (Stach, 1946) comb. nov., O. postumicus (Bonet, 1931) comb. nov., O. pseudogranulosus (Gisin, 1951), O. quadripapillatus (Rusek, 1965) comb. nov., O. subgranulosus (Gama, 1964) comb. nov., O. vornatscheri (Stach, 1946) comb. nov.]. Lectotypes are designated for O. anelli and O. vornatscheri. O. paucituberculatus (Stach, 1934) comb. nov., O. beroni (Gruia, 1972) comb. nov. and O. multisetis (Gruia, 1971) stat. & comb. nov. are transferred to the genus Onychiuroides after analysis of the original description. Onychiurus granulosus denticulatus Salmon, 1964 is junior synonym of O. granulosus (Stach, 1930). O. longisetosus (Stach, 1954) comb. nov. is regarded as “species inquirenda”. An identification key to all Onychiuroides species is provided.
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36

Market, Brenna A., Liyue Zhang, Lauren S. Magri, Michael C. Golding, and Mellissa RW Mann. "INVESTIGATING THE MOLECULAR AND DEVELOPMENTAL EFFECTS OF VARIOUS CULTURE REGIMES IN A MOUSE MODEL SYSTEM." Clinical & Investigative Medicine 31, no. 4 (August 1, 2008): 16. http://dx.doi.org/10.25011/cim.v31i4.4814.

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Background/Purpose: Genomic imprinting is a specialized transcriptional mechanism that results in the unequal expression of alleles based on their parent-of-origin [1]. Many imprinted genes are critical for proper embryonic and fetaldevelopment [2] and disruption of genomic imprinting are associated with many development disorders [3]. Recently, increased frequencies of imprinting disorders have been correlated with the use of assisted reproductive technologies (ARTs)[2]. Rigorous and thorough testing of ARTs is required to determine their influence on genomic imprinting and development. I hypothesize that imprinting maintenance mechanisms are disrupted during early mouse development by the environmental insult of culture media used in human ARTs, and that loss of imprinting correlates with delayed embryonic development. Methods: The specific aims of my project are to develop a method to evaluate the methylation and expression patterns of 4 known imprinted genes in individual blastocysts. Results: We have successfully developed a novel method to evaluate both imprinted methylation and expression from a single mouse blastocyst. This method has been tested and results compared to methods used to evaluate imprinted methylation and expression separately; we have determined that results obtained with a combined protocol are equivalent to either alone. I will use this method to evaluate relationships between development rates in culture andgenomic imprinting, as well as the effects of various culture media used formouse and human embryo culture on genomic imprinting. Conclusion: This analysis allow for a more comprehensive study ofthe effects of environmental insult on genomic imprinting and preimplantation embryo development. References: 1. Reik W, Walter J. Genomic imprinting:parental influence on the genome. Nat Rev Genet 2001;2:21-32. 2. Rodenhiser D, Mann M. Epigenetics andhuman disease: translating basic biology into clinical applications. CMAJ. 2006;174:341-8. 3.Paoloni-Giacobino A. Epigenetics in reproductive medicine. Pediatr Res 2007;61:51R-57R.
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37

Paoloni, Mauro, Giorgia Mattei, Niccolò Paoloni, and Giuseppe Modaffari. "CAOS in Italian hospitals during COVID: an analysis of healthcare intangible resources." Journal of Intellectual Capital 23, no. 7 (June 9, 2022): 18–37. http://dx.doi.org/10.1108/jic-12-2020-0365.

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PurposeThis paper aims to analyse the roles of relational capital (RC) and knowledge management (KM) during the COVID-19 in Italian public and private hospitals, considering that intangible elements are essential during periods of uncertainty.Design/methodology/approachAuthors used a qualitative design in a case study on two Italian hospitals that have different ownership structures, which are located in the epicentre of the pandemic in Lombardy. The study was carried out using the CAOS (“caratteristiche personali”, “ambiente”, “organizzazione” and “start-up”) model (Paoloni, 2021), which allows for comprehending and commenting on RC because of the connections between typical factors that influence an organisation. The model also allows for discussion of the use of a network and how it supports organisations.FindingsFindings of the analysis showed that during the management of the COVID-19 health emergency, ownership structure was not a discriminating factor, the created relationships were similar and they were considered in the same way. The relationships were mainly formal (except for contributions by associations or individuals) and temporary. The RC's reactive role in overcoming crises was confirmed, and the findings indicated that this result was possible also, thanks to the KM's role played within the organisation.Originality/valueTheoretical implications of the work are that it contributes to the sparse healthcare literature on intellectual capital (IC) and on RC and its relationships with KM. The practical implications are related to the creation of new relationships during the healthcare emergency between hospitals and the central government, which can be considered a useful lesson for the future. The theoretical implications derived from the analysis are generalisable to all organisations regardless of their type and location, as well as the practical implications are applicable to the entire national territory.
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38

Dal Mas, Francesca, and Paola Paoloni. "A relational capital perspective on social sustainability; the case of female entrepreneurship in Italy." Measuring Business Excellence 24, no. 1 (November 17, 2019): 114–30. http://dx.doi.org/10.1108/mbe-08-2019-0086.

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Purpose Female entrepreneurship has been part of the political agenda internationally. Public entities should promote entrepreneurship in general, and female entrepreneurship in particular, with dedicated resources and programs. Female entrepreneurs are considered a key asset for developing economic growth. However, women experience much more difficulties than men in opening their own ventures. Relational capital is particularly relevant when it comes to female entrepreneurship. The purpose of this study is to analyze the factors that affect the opening of new ventures and the role of relational capital in female entrepreneurship, taking into consideration the Italian context during the financial crisis. Design/methodology/approach This study uses a mixed-method approach analyzing data from a regional program to enhance the creation of new companies, trying to understand the issues of potential entrepreneurs in general and women in particular. A single case is then investigated using the characteristics – ambience – organization – sustainability model of micro-entrepreneurship and the network relationship model by Paoloni (2011). Findings The analysis highlights how women face much more difficulties in starting new ventures concerning their previous experience if their employment condition finds an extended period of inactivity. Additionally, potential female entrepreneurs are more sensitive to the complexity of the initiative, concerning the required investment and the number of employees, compared to male entrepreneurs. Relational capital is a crucial asset in fostering the success of the venture, especially in the start-up phase. Originality/value The purpose of the study is to contribute to the debate regarding the issues affecting the opening of new companies, as well as the link between relational capital and female enterprises. The paper offers some insights about a program covering a well-sized population during the financial crisis.
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39

Coglitore, Mario. "Le Poste in Italia, 1. Alle origini del servizio pubblico. 1861–1889 Giovanni Paoloni (Ed.) Rome–Bari, Laterza, 2005 342 pp., pbk, ISBN: 8 8420749 7 7 (€25)." Modern Italy 11, no. 2 (June 2006): 228–30. http://dx.doi.org/10.1017/s1353294400009297.

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40

LA VERGATA, ANTONELLO. "GIOVANNI PAOLONI e RAFFAELLA SIMILI (a cura di), Guglielmo Marconi e l'Italia. Mostra storico-documentaria (Roma, 30 marzo-30 aprile 1996). Catalogo, Roma, Accademia Nazionale dei Lincei, 1996, 240 pp." Nuncius 12, no. 2 (1997): 619. http://dx.doi.org/10.1163/182539197x01167.

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41

Wilson, John F. "Paolodi Martino, AndrewPopp, and PeterScott, eds., People, places and business cultures: essays in honour of Francesca Carnevali (Woodbridge: Boydell Press. Pp. xiv+266. 4 figs. 6 tabs. ISBN 9781783272129 Pbk. £19.99)." Economic History Review 71, no. 2 (April 17, 2018): 703–4. http://dx.doi.org/10.1111/ehr.12732.

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42

ABBRI, FERDINANDO. "STANISLAO CANNIZZARO, Sunto di un corso di filosofia Chimica. Commento e nota storica di Luigi Cerruti. Introduzione di Leonello Paoloni, Palermo, Sellerio Editore, 1991, 286 pp. («Biblioteca siciliana di storia e letteratura» 27)." Nuncius 6, no. 2 (1991): 378–79. http://dx.doi.org/10.1163/182539191x01073.

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LA VERGATA, ANTONELLO. "GIOVANNI PAOLONI e RAFFAELLA SIMILI (a cura di), Guglielmo Marconi e l'Italia. Mostra storico-documentaria (Roma, 30 marzo-30 aprile 1996). Catalogo, Roma, Accademia Nazionale dei Lincei, 1996, 240 pp." Nuncius 12, no. 2 (January 1, 1997): 619. http://dx.doi.org/10.1163/221058797x01161.

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SHEA, WILLIAM R. "RAFFAELLA SIMILI and GIOVANNI PAOLONI (eds.), Per una storia del Consiglio Nazionale delle Ricerche. Rome, Edizioni Laterza, 2001. 2 vols. XI+668 and XI+876 pages. Price: € 36,15 per volume. ISBN 88-420-5929-3 and 88-420-6225-1." Nuncius 17, no. 1 (January 1, 2002): 384–85. http://dx.doi.org/10.1163/221058702x00850.

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CIARDI, MARCO. "GIOVANNI BATTIMELLI, GIOVANNI PAOLONI (eds.), 20th Century Physics: Essays and Recollections. A Selection of Historical Writings by Edoardo Amaldi, Singapore-New Jersey-London-Hong Kong, World Scientific Publishing, 1998, 747 pp., ill., ISBN 98-1022-369-2 (Edoardo Amaldi Foundations series, 3)." Nuncius 16, no. 2 (2001): 865–66. http://dx.doi.org/10.1163/182539101x00956.

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Mangone, M., and M. Paoloni. "Answer to the Letter to the Editor of J. Padulo concerning: “Vertebral rotation in adolescent idiopathic scoliosis calculated by radiograph and back surface analysis-based methods: correlation between the Raimondi method and rasterstereography” by Mangone M, Raimondi P, Paoloni M, Pellanera S, Di Michele A, Di Renzo S, Vanadia M, Dimaggio M, Murgia M, Santilli V (2013) Eur Spine J 22:367–371." European Spine Journal 22, no. 10 (August 21, 2013): 2338–39. http://dx.doi.org/10.1007/s00586-013-2954-7.

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CIARDI, MARCO. "GIOVANNI BATTIMELLI, GIOVANNI PAOLONI (eds.), 20th Century Physics: Essays and Recollections. A Selection of Historical Writings by Edoardo Amaldi, Singapore-New Jersey-London-Hong Kong, World Scientific Publishing, 1998, 747 pp., ill., ISBN 98-1022-369-2 («Edoardo Amaldi Foundations series», 3)." Nuncius 16, no. 2 (January 1, 2001): 865–66. http://dx.doi.org/10.1163/221058701x00950.

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Mangone, M., and M. Vanadia. "Answer to the second letter to the Editor of J. Padulo et al. concerning: “vertebral rotation in adolescent idiopathic scoliosis calculated by radiograph and back surface analysis-based methods: correlation between the Raimondi method and rasterstereography” by Mangone M, Raimondi P, Paoloni M, Pellanera S, Di MA, Di RS, Vanadia M, Dimaggio M, Murgia M, Santilli V (2013) Eur Spine J 22:367–371." European Spine Journal 23, no. 4 (January 18, 2014): 924–26. http://dx.doi.org/10.1007/s00586-014-3183-4.

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Fabris, Annateresa. "Diálogos entre imagens: fotografia e pintura na pop art britânica." PORTO ARTE: Revista de Artes Visuais 15, no. 25 (October 9, 2009). http://dx.doi.org/10.22456/2179-8001.10759.

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Abstract:
Os artistas do Grupo Independente demonstram, desde o começo dos anos 1950, um interesse acentuado pelos produtos e pelos ícones da comunicação de massa. A imagem fotográfica ocupa um lugar central na prática de integrantes do grupo como Paolozzi e Hamilton, denotando uma vontade profunda de rever o repertório artístico tradicional e de propugnar a adesão a uma iconografia contemporânea, extraída, em grande parte, do circuito da comunicação social. Enquanto Paolozzi explora claramente a heterogeneidade material da colagem, Hamilton realiza um trabalho mais complexo entre imagem técnica e imagem pictórica. Graças à mediação da pintura, a imagem efêmera da comunicação de massa transforma-se, com ele, num paradigma histórico.
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Petersen, Stephen. "Brutal Aesthetics: Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg." Leonardo, July 29, 2021, 587–89. http://dx.doi.org/10.1162/leon_r_02130.

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