MDJ Editorial guidelines for the authors by md material design

MD Journal GUIDELINES FOR THE AUTHORS

Open Access design Scientific Journal founded (2016) and directed by Alfonso Acocella

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s a premise to the Operational guidelines, the MD Journalâ&#x20AC;&#x2122;s Scientific Direction specifies that the

authors maintain the copyright and the publication rights of their research and writing work. The purpose of the MD Journal Editorial guidelines is to outline and establish a set of rules and general specifications, that are precise and unambiguous, to allow authors to draft articles with common standards, in compliance with the codes and the conventions established in the tradition of scientific literature. However, it is well known that editorial guidelines and rules, while largely similar and shared on an international scale, have minor differences even within the customs and practices of large publishers of scientific books and journals. After reasonably determining the rules and conventions, it is important for the authors to apply them so that their usage is constant and consistent within the editorial format of MD Journal.

Operational guidelines for the authors 3

Images 5

Punctuation 6

Abbreviations 11

Citations 13

Notes 15

Author-Date System 17

version 26.06.2019

OPERATIONAL GUIDELINES FOR THE AUTHORS The structure of each article includes the following succession of elements: Title (max. 55 strokes, including spaces) Possible subtitle (max. 65 strokes, including spaces) Author (with details on institutional affiliation and email address) Abstract in Italian (550-750 strokes, including spaces) Abstract in English (550-750 strokes, including spaces) Keywords (list of 5 keywords in Italian and English). Orcid (code to uniquely identify academic authors) Article text (max. 16,000 strokes, including spaces) Paragraph titles and subtitles (max. 50 strokes) Notes (included in article length) References (included in article length) Image captions (max. 150 strokes, including spaces) Images (max. 10 images) The authors must, additionally, check that their contribution meets the conditions laid down below, or their submission will not be accepted: - the submission was not previously published, nor submitted to another journal, or web site; - the article text, notes, references are drafted in compliance with the style and bibliography criteria specified in the guide lines; - the text and image submission files are in compliance with the format criteria specified. In order to always ensure a blind peer review for the submissions sent (i.e. to maintain the authorsâ&#x20AC;&#x2122; identity anonymous) it is necessary that: - the authors give their name only when sending the file, after the subtitle (followed by their respective ORCID codes); - the draft of the text does not contain references that make explicit the correlation (connection) between the author of the article and the author of any research or publication cited.

Concerning the file with the text of the articles, we specify that it should be sent in .doc (or .docx) format, free of tables, formatting, indents of any kind or type other than those indicated below. The file is named with Author_Keyword at the start of the title; for example: Acocella_Stone.doc; Chiapponi_Biomedical.doc. For the formatting, please follow the instructions below: - justified alignment in Times New Roman, 1.5 pt line spacing; - title and subtitle 12 pt; - text 12 pt; - notes and references 10 pt. The maximum number of image elements to accompany the text (i.e. the entire number of photographs, drawings and tables) is 10. Images – photographs, drawings, graphic diagrams – should be progressively numbered, between square brackets: [fig. 01], [fig. 02]. The table files, instead, should be progressively marked with Roman numbers and enclosed between square brackets: [tab. I], [tab. II]. The text of the articles should include, within it, the numeric indication of the reference image, well in view with respect to the text itself (use colour font or bold) taking care that it corresponds to the numbering of the image-file. At the end of the article, after the References (rigorously drafted according to the guidelines and in chronological order), give a list of the captions for the images and the tables, taking care that it perfectly matches both the numbering along the text of the articles and along the image-files. The images – whether photographs, drawings or graphic diagrams treated as images – must be in .jpg format (or .tiff) and have a minimum width of 15 cm and resolution of 300 dpi (they may be submitted in both RGB and CMYK). The drawings must be submitted in .ai or .eps vector format, in grayscale (or they may be submitted in image format, .jpg or .tiff) and have a minimum base size of 15 cm and a resolution of 600 dpi. The image files (images, drawings, tables) shall be sent in a .zip file (together with or separately from the text-file) entitled “images_name and surname of author” using a large file transfer system such as WeTransfer (recommended), sent to address: mdjournal@unife.it.

IMAGES

The recent, profound changes that came to alter the traditional relationship between written and visual culture, have deeply marked the sector of architecture and design, much more so than other fields of contemporary culture. Over the past few decades, we have increasingly relied on images – especially photographic – which have eroded the space and role of text, the theoretical interpretation work conveyed through writing. The message-image, created by professional specialist photographers, has become the most effective, concise and instrumental means for the strategy specifications of the publishing world to convey information, news, trends and – especially – for a showy display of general and popular information. Architecture and design have recently been increasingly communicated through photography’s codes of visual representation, replacing direct cognitive experience and the depth of interpretative analysis entrusted to research and the written text. It is crystal clear how in many architecture and design journals, the text has become secondary, both in terms of quality and quantity, when compared with the room given to images, especially photographs. It is from these considerations that the editorial policy chosen by MD Journal stems from, to reduce to a minimum the number of images – especially photographic ones – accompanying the text, limiting them to a restricted number and, if anything, integrated to project designs. For those images not owned by the authors - selected and submitted for publication with the articles – it is essential that credits and reference sources are specified accurately and thoroughly. The images used to illustrate the MD Journal articles meet the practice of fair use (Copyright Act 17 USC, 107) as they are used for purposes such as historical and critical comment, research and teaching. (1)

(1) «Fair use is a legislative clause within the Copyright Act (Title 17, § 107), establishing the unauthorized lawful citation or incorporation of copyrighted material in the work of another author, under certain conditions. By way of example, fair use includes: for purposes such as research, teaching, comment, news reporting. Similar principles have been partly introduced in European legislation as well, but only for specially identified cases. For Italy, we refer to Chapter V of the law on copyrights (“Exceptions and limitations”) and in particular to Article 70, which takes into consideration use for the purposes of criticism or discussion, for instructional purposes and for scientific research for non-commercial purposes. (EN)» in Lawrence Lessig, Remix. Making Art and Commerce Thrive in The Hybrid Economy, 2008 (Remix. Il futuro del copyright e delle nuove generazioni, Milan, RCS Libri-Etas, 2009, pp. 275. The quote is on p. 69).

PUNCTUATION

Within the continuous line of writing – which consists of letters, spaces, words, sentences, statements, complex linguistic devices that follow, combine and interact with one other – one special role is played by a series of small signs that shepherd the text, separating the elements that comprise it in order to clarify its sense and intelligibility, highlight individual parts, mark syntactic relationships, suggest pauses, etc. These are all those paratextual linguistic elements known as punctuation. The multitude of meanings and roles assigned to them – segmentation, syntax, emotion and intonation, metalinguistic, rhythm – contribute, in the various and specific contexts of writing, to producing pacing, definiteness, and give sense to the content of text. According to Ilario Bertoletti: «These are the more inconspicuous elements on the page, but if they didn’t exist, the written text would be illegible; we would have a continuum of words juxtaposed any which way. These are the punctuation marks: comma, semicolon, period, colon, quotation marks, ellipsis, dash to separate parts of a sentence and hyphen to join words together, [brackets, question mark, and exclamation point, AN]. Graphemes, as linguists call them, are the smallest linguistic units, which cannot be broken down, and include alphabetic letters, punctuation marks and other symbols.» (2) While there are rules – which can be found in writing manuals – it is a widely held view, especially in modern literary tradition, that the use of punctuation marks within the fabric of the text is a highly individual choice, one reflecting the author’s personal style. Dacia Maraini gives us, for example, a very special view of punctuation marks, such as the sensory display of the reading rhythm: «Punctuation seems to concern the breathing mechanism, the heartbeat.» (3)

(2) Ilario Bertoletti, Metafisica del redattore, Pisa, Edizioni ETS, 2005, pp. 59. The quote is on p. 27. (3) Dacia Maraini, Amata scrittura, Milano, Rizzoli, Bur, 2002, pp. 316. The quote is on p. 147.

Comma. The smallest punctuation mark within the text, the comma introduces a very weak break, by no means a final one (unlike the period) between words, series of words, sentences. The specific role of the comma is to mark the rhythm of the text, give time (breath) to the reader, clarify the syntactic relationship between the sentences that follow one another. Its use – at times insistent and repetitive, at times sporadic and carefully selective – depends on the habits and choices of each author. Used too often, it fragments the continuity and fluency of the narrative fabric; in proper doses and calibrated along the structure of the text, it undoubtedly provides comfortable reading, especially in cases of long and complex sentences. Semicolon. The semicolon is the “composite” punctuation: a syntactical break somewhere between the comma and the period, it amplifies the comma’s pause and dampens that of the period. The semicolon could be compared to a “crease” within the fabric of the text, a graphic element to highlight a curve, a slight change of direction in the development of the argument; but – once this symbol has been passed – we can always expect a resumption of the topic that preceded it. Therefore, a filtering pivot, between two correlated propositions or statements, coordinated with one another; never an absolute (or peremptory) symbol, rather a connective one. While the period closes sentences and ensures independence, the semicolon suspends the current proposition and, immediately afterwards, resumes it with connections and starts. In other cases, the semicolon carries out the role of listing, of ordering long and complex propositions in succession. Period. If words work in sequence to construct the text, it’s only the complete sentence that represents the logical device, the measure of thought; placed at its end, to mark its conclusion is the period: for such a small sign, it’s perfect in its inky minimalism. Something was stated, and now that something has the strength, the identity to exist independently; and thus the period settles in, the strongest and most decisive of all punctuation marks. The period represents a landing place in the development of the conceptual and linguistic structure; a station for a long layover, both when the text presents – in terms of content continuity – a resumption of the recently closed sentence, and when implementing a change of topic by starting a new paragraph. Used with a certain frequency, it’s useful to avoid excessively long sentences that – often – run the risk of twisting themselves into knots and becoming unintelligible and hard to read. 35

Colon. The colon can be considered as a filtering punctuation mark; an ambivalent device, one that stops and restarts at the same time. They offer a pause between a before and an after in the narration; they come to the text as a “promise” that something compelling (whether declaratory, descriptive, argumentative in nature) will take place soon after. With respect to what precedes them, the colon can be a useful device to “puncture” a discussion, to open a path and make room for a statement that decisively summarises and/or concludes. Not infrequently – in its most classic version, the “scholastic” one – the colon opens a list of objects, people, events. Quotation marks. There are three types of quotation marks: the French ones «…» also called double angle quotes or duck-foot quotes, the English double quotes “…“ or single quotes ‘…’. Double angle quotes indicate a loaned section of text by effectively highlighting them; i.e. they are used to enclose with precision – in opening and closing – the direct citations of other authors. Instead, double quotes can be used in a variety of cases: to mark a different citation contained within another one, the latter enclosed within angle quotes; to highlight a word, slangy expression, irony, etc.; but also to indicate – according to the rules used by MD Journal – the titles of articles, essays, volume chapters. Single quotes are used more rarely. Ellipsis. This sign – consisting of a triptych of dots, and only ever three – in general indicates that the discussion was interrupted, that something peripheral (or superfluous) was wilfully omitted; other times, the ellipsis is there to signal a latency in the argument, partly stated and partly unfilled. Within a citation, the ellipsis, enclosed by square brackets […], indicates, instead, that a portion of text that was deemed inessential was purposely removed. In case the argument continues, it is customary to leave, after the ellipsis, an empty space, and to resume the text with a lower-case letter; when, instead, the ellipsis concludes a sentence, it is not necessary to add an additional period. Simply leave a blank space and restart the text with an upper-case letter. The use of the ellipsis should always be limited, both within the body of the main text and within citations to avoid the look of Swiss cheese.

Dashes and hyphens. Within the Italian language tradition there are two types of linear glyphs used: the hyphen and the en dash. The first, essentially, connects and joins two words, or numbers that we wish to fasten together and combine into a single conceptual framework; the hyphen should not be preceded nor followed by a blank space, to reinforce its role as bond. In general, it’s used for compound terms (historical-artistic, socio-economic, technical-administrative, etc.) or to indicate time frames (AY 2015-2016, 1914-1918…), quantitative data (pp. 25-37…). En dashes – placed to shepherd textual asides – highlight an interruption within the continuity of the text, are stronger than the comma, and less rigid than parentheses. These signs are mostly used in pairs (always preceded and followed by a blank space, except in cases where there is a punctuation mark to the right of the aside) in order to change the pace, prioritise the content of the discussion using subordinate modulations of the statements. Dashes make asides much more obvious and delineated, also thanks to the presence of blank spaces; consequently, in order to avoid undermining the continuity of the text, both syntactically and graphically, it’s best to use them infrequently and not so close together. The distinction between round brackets and dashes lies both in the “content” and “length” of the asides; in general, brackets enclose more marginal arguments or lend themselves especially well to long digressions that the reader can skim, if necessary, or even skip. The en dash can also be used alone before the conclusion of a sentence, i.e. not closed on the right by its twin, but by a period. This usage can be found in cases where the author intends to create a sudden interruption, a true break. While widespread in UK and US usage, the “orphan” use of the dash is, however, very rare in the Italian language. Brackets. These symmetrical punctuation marks, brackets – whether round, square, or curly – surround, enclose, hold within them words, numbers, incidental sentences; they are always used as a pair. Round brackets are the most commonly used ones in writing, and they introduce – with respect to the main argument – secondary propositions: clarifications, details, references, referrals, digressions. Square brackets are less frequent, they are reserved for incursions in the citations of other authors or to differentiate from round ones. Curly brackets, instead, are normally used in the highly formalised language of the sciences (physics, mathematics, chemistry, computers…), which also use other unusual forms of brackets. As already pointed out, square brackets with ellipses […] tell the reader there is an elision, an omitted section within a quoted text. With a similar role – always within a citation – they are used to introduce external information,

taking care to specify whether these are from the author, publisher, translator, editor: [..., AN], […, PN], […, TN], […, EN]. Question mark and exclamation point. While the question mark appears unambiguous and clear to most, as it sets off a question by the author (often to him or herself), the exclamation point puts greater emphasis on the argument. Its role is to «literally make the reader jump from his seat» (4) as, generally, it’s placed at the end of a very powerful, emphatic statement, designed to provoke surprise. It follows that the exclamation point, for the reason given, should be used extremely sparingly, if not exceptionally, within the fabric of the text. Euphonic D. In Italian, the word forms ad, ed, od – which were once very frequent – are today only used in cases where the following word begins, respectively with a, e, o (in truth, od, is hardly used, even when the following word begins with o). The exception to this rule are nowadays those phrases strictly embedded in our linguistic usage, such as ad esempio (which always has a ‘d’) and then ad eccezione, ad ogni, ad esso, ad essere, ad oggi, where we can choose whether or not to keep the d.

(4) Umberto Eco, Come si fa una tesi di laurea, Milano Bompiani, 1977, pp. 246. The quote is on p. 167.

ABBREVIATIONS

It is good form, when drafting the text of an article, to limit the use of abbreviations, always confining them â&#x20AC;&#x201C; where necessary â&#x20AC;&#x201C; within brackets; the exceptions to this rule are: BC, AD, etc. Abbreviations can be used more freely within the notes and the References. A note on the Latin abbreviations used within the notes for bibliographic references: ivi, ibidem, passim, op. cit. These abbreviations, which are used to refer the reader to previously mentioned works and/or documents, frequently lead to interpretation difficulties when tracing the reference sources. Therefore, the editorial practice here at MD Journal recommends using the Author-Date system (which is brief and unambiguous in intertextual references). Below, are the most common abbreviations that, with a few tweaks, replicate the exhaustive list of the editorial standards of the digital journal Ocula:

appendix(ces) app. article of law art. before Christ BC chapter(s) ch./chs. centigram cg centilitre cl centimetre cm kilogram kg kilometre km square kilometre km2 kilowatt kw circa ca. quoted qtd. series ser. as above u.s. confer cf. anno Domini AD et cetera etc. edition mentioned ed. cit. hectare ha hectolitre hl et alii et al. [not in italics!] issue iss. figure(s) fig./figs. gram g

Idem Id. Illustration illus. megawatt mw metre m cubic metre m3 square metre m2 milligram mg millimetre mm Publisher’s note PN Author’s note AN Editor’s note EN Translator’s note TN number(s) no./nos. unique number u.n. new series n.s. opere citato op. cit. page(s) p./pp. [not pag./pagg. or pg./pgg. !] paragraph(s) par. for example e.g. quintal ql. reprint rpt. century c. following f. /ff. sine editor s.ed. [in incomplete bibliographies] sine data s.d. [in incomplete bibliographies] sine loco s.l. [in incomplete bibliographies] section(s) sec./secs. table(s) T ab. /Tabs. board(s) bd. / bds. title tit. tome t. translated trans. translation trans. Italian translation It. tr. see q.v. verse(s) v./vv. versus vs. volt(s) V volume(s) vol./vols. Watt W

CITATIONS

On the multitude and variety of objects, phenomena, artefacts, subjects pertaining to the physical and abstract worlds, there is, generally, a mass of knowledge, the fruit of observations, analyses, interpretations, narrations, generated by researchers, scientists, cultural figures of the past and modern day. We regularly compare scientific research with the stratified knowledge of the centuries, for a critical contrast and an interest in the further development of ideas, views, concepts formulated (or merely outlined) by others. We relate this knowledge, mostly laid down and recorded in documents and publications, in a variety of ways and for different reasons: at times to make data and information our own; other times to interpret and develop what was already codified; other times still, to bear witness to the contributions of the most important authors by quoting them. In general, we quote to add weight to our arguments or to dwell on an interpretation and/or criticism of others’ statements and assertions. Citations are also useful to highlight and clarify the “scientific debts” towards those who gave us, through their writings, the support points, the suggestions, the intellectual stimuli that gave rise to the necessary “spark” for the current research. Too many citations (except in the case of special research that requires systematic philological work), just like excessively long or not very meaningful citations can indicate laziness, an inability to summarise, to process acquisitions now in the public domain. Normally, quoting a sentence or passage – to reinforce an idea, an investigative direction, a view – assumes that we share the concept expressed by the author; however, at times, we also quote to clarify critical assessments and/or rebuttals of positions expressed by others. The basic rules to follow in every citation are faithfulness to the original text (not allowed: eliminating parts of the text, interpolations, adding comments, specifications, modifications without properly indicating them) and the exact and specific information on the original to make the quote verifiable and, especially, give the reader, if necessary, the opportunity to learn more on the general context where the quoted passage comes from. The citation may be added both within the main body of the article, and within the secondary space of the notes. In the first case, when the citation is no more than three or four lines long, it is incorporated within the text between angle quotes («…»). If, instead, it is longer, it is given its own space with a greater line spacing than the standard one (both above, and below); in this case eliminate the quotation marks. In the case of citations embedded within the notes, instead, it is always necessary to enclose them between angle quotes («…»).

In regards to the criteria used to attribute the citation to the author and reference work â&#x20AC;&#x201C; of all the codified systems of scientific literature â&#x20AC;&#x201C; here at MD Journal we use the Author-Date system (specified below) which is essentially based on two key elements: the intertextual reference and the final References. This system allows, on one hand, to reduce to a minimum the data used for the intertextual reference within the main text, while preserving its fluency; on the other hand, to refer the reader to the end section of the References where all the data on the work quoted are given in detail. Since the References should report the sources that are specifically relevant to the research topic, citations that are more incidental in nature (or, in some ways, peripheral) with respect to the topic researched, could more consistently be marked by progressive superscript numbers that refer to the notes containing the reference bibliographical data in its entirety.

NOTES

Witness to the impossibility of the text to be self-sufficient and complete, notes – a modern version of medieval glosses – represent, within the modern methodological tradition of research, a special and recurring element in the draft of scientific articles. While they can be viewed as “limb prosthetics”, notes are there to support the main text as useful servicing devices to connect, explain, specify, allowing the reader to contextualise and process better the concepts laid out. The creation of notes, whose positioning reflects their wandering nature – at times at the foot of the page, other times on the side, other times at the end of the text, which is the preferred choice here at MD Journal – gives rise to a content that runs in parallel to the main argument but, at the same time, is extremely important. Within the notes, it is possible to add and convey all that information, the considerations, observations, bibliographical references that, in general, are complementary content; at times, however, they offer clues on the deeper thoughts of the author, essential for the scientific research work carried out. The search for a “proper measure” – in terms of intensity and extent – to give to the notes with respect to the development of the main text is a prerequisite to follow with care. Such “balanced measure” (which cannot be defined a priori as it is tied to the specific nature and purpose of each work of research) concerns both the number of notes – which, many say, can never be too many – and their length which should never be excessive. There is a variety to the roles and purposes the notes fulfil, as they integrate and complete the main text: 1. the first is to expand, specify, discuss in detail the contents of the research work by adding, within the note itself, technical elements, comments, details; all while taking care not to place within the notes all the information and data relevant to the research; 2. a second use concerns the possibility of accommodating the citations of other authors to support the concepts expressed within the main text without weighing it down or interrupting its flow; 3. the notes can also report positions and views that do not reflect (or even contrast) what the author states within the article in order to provide a critical and dialectical framework to the research topic; 4. for the purposes of information, the notes can provide bibliographical references related to elements that are peripheral to the specific research topic; in this case, the quoted literature will not then be given in the References; 5. at times, the notes contain the Italian translation for a citation given in the original language within the main text of the article;

6. with respect to scientific communication, which is frequently expressed in specialised language that can be hard to understand for those readers that are not part of the target academic communities, the notes have the function of explaining in simplified form the concepts and scholarly neologisms so they can be clear and understood by many. 7. a recurring condition of the note is to use them for different types of content at the same time: data, comments, annotations, citations, bibliographic details. This type of note – called “mixed” – is, perhaps, more useful as its role is to connect within and without the text, steering and leading the reader; 8. lastly, notes are useful for a public display of intellectual debt towards things or people who, possibly, gave us ideas, inspiration and help (even in

cases where there are no formal records: phenomena, events, conversations, interpersonal discussions).

Operational guidelines for the notes In the text files sent to MD Journal, the notes should not be placed at the foot of the individual pages, but added in list form at the end of the articles, before the References. A progressive number – placed between square brackets [1], [2], [3] – will identify the sequence of the individual notes. Along the body of the article’s text, there should be an indication of where the notes should be inserted by marking them with square brackets [1], [2], [3] rather than a superscript number. Unlike the References – where every publication will be given with the surname preceding the name – the notes will indicate first the name and then the surname, as in the following example: Philip Oltermann, “L’egemonia di Berlino contro l’anima dell’Europa”, La Repubblica, 16 July 2015, p. 15.

AUTHOR-DATE SYSTEM

Within the investigative work that characterises scientific research, the issue of finding and sharing the document sources consulted and/or available on the topics investigated is always an essential element. This consideration, obviously, also applies to the preparation, drafting and final distribution of the articles at MD Journal. Accessing and referring to the scientific literature at the core of the subject analysed is the practice of every good researcher whose work, institutionally, is geared towards improving and/or producing, in the luckiest cases, new knowledge, original views, innovation. Up to a few decades ago, the means to convey scientific knowledge were solely in paper form – books, journals, documents, witness accounts, diaries and project archives, patent reports and designs, statistical reports etc. – whose identifying data generally came together in a final bibliography from which to draw information on the literature and documents regarding the different research topics. Today, with the advent of the internet, the vast horizon of digital formats and repositories are added to the framework of paper document sources. Therefore, at the end of the articles at MD Journal, we decided to indicate the collection of testimonial sources (books, articles, essays, e-books, web pages, etc.) under the more inclusive term of References. Integral to the methods for citing and recording sources, we adopted the Author-Date system, which was established in the context of technical and scientific subjects in the modern day. The Author-Date system enables an exact and unambiguous correlation between two elements (strictly functional to the development of a reasoned, documented, verifiable argument, typical of scientific communication): the intertextual reference and the list of sources (References) placed at the end of the articles. Such a system always enables verifying precisely the correspondence between the highly concise data of the intertextual reference and the more expanded and detailed data given in the final References. The Author-Date system uses – for intertextual references – the following identifying data: the author’s surname, the date of publication (i.e. the year of the first edition of the book, essay, article, or corresponding digital format), the citation page or pages we wish to refer the reader to for any further examination. Author, date and page are given between round brackets, separated by commas; in certain cases, we also add a semicolon (as specified below). Instead, the References list in chronological order and in precise and complete form, all the identifying data of the sources that constitute the documentary basis of the research.

The Author-Date system – in addition to representing a rigorous criterion to record sources – enables, through intertextual references, to lower the number of superscript notes, limiting them to just those necessary for an explanation of secondary content or to report within the note the contributions of literature not strictly relevant to the topic researched. Consequently, in using such a criterion, the References take on the role of a list of references strictly related to the topic investigated, and are thus useful to a reader or researcher who wished to learn more or to take up the subject by going over the sources indicated. The References, thanks to the chronological order adopted, enable – additionally – the creation of the original temporal framework concerning the formulation of interpretations, views, innovations, helping the reader to place within the proper historical perspective the production of ideas, considering that at times we are used to learning them through reissues or translations of publications made after long periods of time, at other times coinciding with the late distribution of the original documents. The Author-Date system is particularly useful when we need to refer to multiple bibliographical references along the discussion of the argument. It even seems irreplaceable in the case of continuous and/or systematic analysis of the vast literature available on a given argument.

Intertextual references A lot of care and precision should go in writing intertextual references along the body of the articles. The references should contain the identifying correlation data for the scientific literature sources given in the References; this data – as mentioned – is enclosed within round brackets and defined with minimal internal variants. A first case is that of the reference given at the end of the direct citation of a sentence – or longer passage – enclosed in parentheses and placed next to the angle quotes: surname, date, page number(s) are the basic identifying data. direct citation and intertextual reference «Tra gioventù e vecchiaia esiste una simmetria inversa: i giovani hanno poco passato alle spalle e tanto futuro davanti; i vecchi, al contrario, hanno tanto passato alle spalle e poco futuro davanti. Ai giovani si schiudono le speranze, ai vecchi non restano che i ricordi.» (Bodei, 2014, p. 5) in References: Bodei Remo, Generazioni. Età della vita, età delle cose, Roma-Bari, Editori Laterza, 2014, pp. 96. In the case of works edited over time (often containing alterations and updates to the original publication) it is essential to report, after the author, the year of the first edition between square brackets and then the year and page(s) of the edition the citation is drawn from. direct citation and intertextual reference: «Nella progettazione industriale di un prodotto o di una “famiglia” di prodotti è utile considerare la coerenza formale tra le parti e il tutto.» (Munari [1981], 2009, p. 140) in References: Munari Bruno, Da cosa nasce cosa, (1981), Roma-Bari, Editori Laterza, 2009, pp. 383. direct citation and intertextual reference: «Nei venticinque anni trascorsi dalla prima edizione la tecnologia ha avuto cambiamenti di vasta portata.» (Norman [1988], 2013, p. 12). in References: Norman Donald, The Psychology of Everyday Things, 1988 (tr. it. La caffettiera del masochista, Firenze, Giunti, 2013, pp. 333).

There could be special situations where, in order to identify the source more immediately and unambiguously, it is necessary to be more specific. This is the case for shared surnames, along with publication dates that coincide with the same year. In these cases, it is essential to enter the initials with periods of the authors’ first names, or even the names in full. Without these specifications, we would never be able to immediately identify the corresponding publication in the list of References. direct citations and intertextual references: «La linea, nelle sue molteplici configurazioni, è un segno grafico posto a fondamento di ogni progetto dell’ambito dell’architettura, dell’ingegneria e del disegno industriale.» (Paris L., 2013, p.105) «Quante volte ci siamo soffermati a guardare davanti alle stigliature dei grandi centri deputati alla vendita, “la mostra” di tutta la vasta gamma di utensili di lavoro quali viti, chiodi, ganci, cerniere, pinze …» (Paris T., 2013, p. 6) in References: Paris Leonardo, “La linea digitale”, pp.174-182, in Federica Dal Falco (a cura di), Lezioni di Design, Roma, designpress, 2013, pp. 281. Paris Tonino, “Mass media o il potere dell’oggetto anonimo”, diid n.56, 2013, pp. 6-9. direct citations and intertextual references: «Le aziende di produzione, spesso, sono chiuse in una visione monodimensionale incentrata sul conseguimento di un’innovazione incrementale attraverso l’impiego di risorse interne.» (Acocella Alfonso, 2015, p.18) «Piegare, tagliare e ritagliare, modellare, arrotolare e srotolare, sovrapporre, accartocciare…sono soltanto alcuni modi trasformativi della carta e del cartone di cui si sono avvalsi gli artisti contemporanei per dare forma scultoreainstallativa a materiali duttili e leggeri, fragili ed effimeri, comuni e a “buon mercato” ma, al contempo, ricchi di potenzialità espressive.» (Acocella Alessandra, 2015, p. 174). in References: Acocella Alfonso, md projects 2007-2015, Ferrara, Media MD, 2015, pp. 109. Acocella Alessandra, “Sculture leggere”, pp.174-191, in Alfonso Acocella (a cura), Paper Design, Firenze, Altralinea, 2015, pp. 207.

A second case of intertextual reference, one that is also very frequent, is the one placed after an indirect citation (paraphrased) or to refer to an examination of publications (or specific sections therein); the reference may be to just one author or multiple authors (in the latter case, the authors are separated by a semicolon). intertextual citations of subject reference: The shift from the concept of “industrial design” to “design” is a recent one (Trabucco, 2015, pp. 41-56) in References: Trabucco Francesco, Design, Milano, Boringhieri, 2015, pp. 139. intertextual citations of subject reference: The topic of skills and craft trades in the era of globalisation and digital revolution was recently brought to the attention of the cultural and economic debate. (Sennett, 2008; Micelli, 2011) in References: Sennett Richard, The Craftman, 2008 (tr. it L’uomo artigiano, Milano, Feltrinelli, 2008, pp. 309). Micelli Stefano, Futuro artigiano, Venezia, Marsilio, 2011, pp. 221. A third case of intertextual reference is to refer to works by authors directly mentioned in the text; in this case, merely indicate the date of the work alone after the name (together with any reference pages if specific sections are referred to). intertextual citations of subject reference: The topic of space and its definition of absolute, silent, still emptiness – within the disciplines of art and architecture – was analysed and investigated by Fernando Espuelas (1999), Carlos Martí Arís (2002), Peter Zumthor (2006) in publications translated into Italian. in References: Espuelas Fernando, El claro en el bosque. Reflexiones sobre el vací en arquitectura, 1999 (tr. it. Il Vuoto. Riflessioni sullo spazio in architettura, Milano, Christian Marinotti Edizioni, 2004, pp. 233). Martí Arís Carlos, Silencios elocuentes, 2002 (tr. it. Silenzi eloquenti. Borges, Mies van der Rohe, Ozu, Rothko, Oteiza, Milano, Christian Marinotti Edizioni, 2002, pp. 171). Zumthor Peter, Atmospheres, 2006 (tr. it. Atmosfere. Ambienti architettonici. Le cose che ci circondano, Milano, Mondadori-Electa, 2006, pp. 71).

Still on the topic of intertextual references, it is a good idea to specify that, in the case of contributions by multiple authors (as often occurs with publications of conference papers or technical and scientific international journals), it is worth mentioning up to two authors; afterwards, only indicate the first author followed by et al. direct citation and intertextual reference: «A great amount of research has been developed to study chemical and physical decay of porous materials in aggressive environment. Most of the mechanisms of failure of stones and bricks are wellknown due to advanced studies on microstructure of the materials.» (Binda et al., 1995, p. 453) in References: Binda Luigia, Baronio Giulia, Cantoni Francesco, Rocca Paolo, “Full-scale models for the study of repair techniques on brick masonry”, pp.453-464 in Vincenzini Paolo, (a cura di), Ceramics in Architecture, (International Symposium on Ceramics in Architecture, Florence, Italy June 28-July 1, 1994), Faenza, Techna, 1995, pp. 616. When the publication, or document source, has no author (i.e. it is anonymous) write the title directly in the intertextual reference (or part of it, if too long) followed by the date and page. «E in verità, quando il mio padrone sentì questo, anche se non aveva molte ragioni per stare allegro, rise tanto che rimase per un bel pezzo senza poter parlare.» (La vita di Lazarillo de Tormes, 1988, p. 77) in References: Anonimo, La vita di Lazarillo de Tormes, Milano, Rizzoli, 1988, pp. 316. In case multiple works by the same author are referred to, simply follow the name with the different edition dates, in chronological order and separated by a semicolon. intertextual citations of subject reference: Umberto Eco (1967; 1975; 1980) gave multiple contributions on the subject of semiology during the 1970s and 1980s. in References: Eco Umberto, Appunti per una semiologia delle comunicazioni visive, Milano, Bompiani, 1967, pp. 212. Eco Umberto, Trattato di semiotica generale, Milano, Bompiani, 1975, pp. 420. Eco Umberto, Segno, Milano Mondadori, 1980, pp. 174.

References The References contain, at the end of the article, the sources quoted in the text as well as those that, more in general, are relevant to the research topic and offer them to the reader’s attention; the important thing is to report thoroughly and precisely all the identifying data. Document sources should be listed according to the chronological publication order; it is essential to refer to the first edition. For each year, should there be multiple document sources, list them alphabetically according to the authors’ surnames. In the case of authors who published multiple contributions in the same year, differentiate them – in the References and consequently in the intertextual references – by adding alphabet letters: (… 2014 a), (… 2014 b). In the case of works with editorship, these should be ordered by the editor’s surname; in the case of multiple editors, the first editor’s initial takes precedence. Drafting the string of data to enter in the References follows the criteria specified below for different formats.

Books Surname and name of the Author (of the Editor or Institution) Title of the volume (in italics) Location of Editor’s city (not that of the printer) Editor (of edition consulted) Year of publication (date of the first edition, followed by the edition consulted) Number of pages of the volume. books by a single author Eco Umberto, Come si fa una tesi di laurea, Milano, Bompiani, 1977, pp. 249. Maraini Dacia, Amata scrittura, Milano, Rizzoli, Bur, 2002, pp. 316. Acocella Alfonso, L’architettura di pietra, Firenze, Alinea, 2004, pp. 624. Lanuzza Stefano, Punto, punto e virgola, un punto e un punto e virgola. Meglio che abbondiamo, Viterbo, Nuovi Equilibri, 2004, pp. 108. Bertoletti Ilario, Metafisica del redattore, Pisa, Edizioni ETS, 2005, pp. 59. Cianciullo Antonio e Realacci Ermete, Soft Economy, Milano, Bur, 2005, pp. 270. Ferraris Maurizio, Mobilitazione totale, Roma-Bari, Editori Laterza, 2015, pp. 109.

books with multiple authors Rizzolatti Giacomo, Sinigaglia Corrado, So quel che fai. Il cervello che agisce e i neuroni specchio, Milano, Raffaello Cortina Editore, 2006, pp. 216. books with editors Acocella Alfonso,Turrini Davide (a cura di), Travertino di Siena. Sienese Travertine, Firenze, Alinea, 2010, pp. 304. books attributed to institutions, organisations, associations If the attribution of the document source (volume, report, research etc.) is tied to a government institution, an organisation, an association, etc., the reference should give its complete name. Comieco, Uso e riuso. Il design per il pack in carta e cartone, 2015, pp. 46. Translated books Translated works and contributions should always be given with the title in the original language along with the date of the first edition; followed, in brackets, by the translated edition consulted and all its identifying data. Strunk jr William, The Element of Style, 1918 (tr.it. Elementi di scrittura, Roma, Dino Audino, 2008, pp. 93). Focillon Henri, Vie des Formes suivi de Èloge de la main, 1943 (tr. it. Vita delle forme, Torino, Einaudi, 1990, pp. 134) Asoline Pierre, Henry Cartier-Bresson, l’oeil du siècle 1999 (tr. it. Henry Cartier-Bresson. Biografia di uno sguardo, Milano, Photology, 2006, pp. 263). Barbier Fréderie, Histoire du livre, 2000 (tr. it. Storia del libro. Dall’antichità al XX secolo, Bari, Edizioni Dedalo, 2004, pp. 566). Friedman Thomas L., The Word is Flat, 2005 (tr. it. Il mondo è piatto, Milano, Mondadori, 2006, pp. 582). Augé Marc, Où est passé l’avenir ?, 2008 (tr. it., Che fine ha fatto il futuro?, Milano Eléutera, 2009, pp. 110). Sennett Richard, The Craftsman, 2008 (tr. it. L’uomo artigiano, Milano, Feltrinelli, 2008, pp. 311).

Conference papers and show catalogues Vincenzini Paolo, (a cura di), Ceramics in Architecture, (International Symposium on Ceramics in Architecture of the 8th CIMTEC-World Ceramics Congress and Forum on New Materials, Florence, Italy June 28 –July 1, 1994), Faenza, Techna, 1995, pp. 616. Barbero Luca Massimo, Pola Francesco (a cura di), L’Attico di Fabio Sargentini 1966-1978, (catalogo della mostra, Roma MACRO 26 ottobre 2010-6 febbraio 2011), Milano, Electa, 2010, pp. 224. Soldaini Antonella, Tettamanti Elena (a cura di), Trame. Le forme del rame tra arte contemporanea, design, tecnologia e architettura, (catalogo della mostra Trame 16 settembre-9 novembre 2014, La Triennale di Milano), Milano, Skira, 2014, pp.268. Book chapters and essays in collection books Surname and name of Author Essay and/or chapter title (enclosed by double quotes “…”) Number of pages of essay or chapter, followed by “in” Name and Surname of Author (of Editor or Institution) of the book Title of Volume (in italics) Location of Editor’s city (not that of the printer) Editor (of edition consulted) Year of publication (date of the first edition, followed by the edition consulted) Number of pages of the volume. book chapter with authorship Lugli Giuseppe, “Tipi e forme di mattoni”, pp. 541-655, in La tecnica edilizia romana, Roma, G. Bardi Editore, 1957 (1998 ristampa anastatica), pp. 742. Fabris Giampaolo, “La società postmoderna”, pp. 15-141, in Societing, Milano, Egea, 2008, pp. 517. section and/or chapter of book without authorship Piazza Mario, “La grafica delle riviste di progetto”, pp. 145-158 in Triennale di Milano, TDM 5: grafica italiana, Mantova, Corraini, 2012, pp. 389. Torricelli Chiara, “Le qualità prestazionali del tetto”, pp. 164-181, in Alfonso Acocella, Il tetto, Milano, Brianza Plastica, 2013, pp. 183. capitolo di libro in volume “a cura di” Pepall Rosalind, “Il buon design è un buon affare”, pp. 79-90, in Giampiero Bosoni (a cura di), Il Modo Italiano, Milano, Skira, 2007, pp. 413. Picchi Francesca, “Design: capitale umano”, pp.15-24, in Giulio Castelli, Paolo Castelli e Francesca Picchi, La fabbrica del design. Conversazioni con i protagonisti del design italiano, Milano, Skira, 2007, pp. 407.

Articles in journals, newspapers Surname and name of Author Article title (enclosed by double quotes “…”) Journal title (in italics) Number and year of journal Date of article, Month and Year in the case of daily paper, number of pages of the article in the case of attachments to daily papers. Celant Germano,“Book as an artwork 1960-1970”, Data n. 1, 1971, pp. 3545. Bundegaard Christian, “L’insegnamento di Krabbesholm”, Abitare n. 529, 2013, pp. 20-31. Massaud Jean Marie, “Più contenuti che forma”, Domus n. 994, 2015, pp. 74-79.

Chiabrando Mauro, “Piccoli formati, gran bei libri”, Domenica - Sole 24 Ore del 7 Luglio 2013, p. 37. Dal Canto Chiara, “Non è tutto oro”, how to spend it (allegato Il Sole 24 Ore) Ottobre 2015, pp. 46-50. Traldi Laura, “L’archistar che ha incantato Obama”, D (supplemento La Repubblica) 3 Ottobre 2015, pp. 100-104. Entries from encyclopaedias, dictionaries, repertories, etc. Silipo Andrea, “Design”, in Dizionario Enciclopedico di Architettura e Urbanistica, Roma, Istituto Editoriale Romano, 1968, pp. 161-163. Aurigemma Salvatore, “Sectile opus”, in Enciclopedia dell’Arte Antica Classica e Orientale, Roma, Poligrafico dello Stato, 1966, pp. 145-151. entry with no authorship indicated/attributed Istituto Enciclopedia Italiana, “Popper, Sir Karl Raimund”, in Enciclopedia Biografica Universale, Roma, Istituto Enciclopedia Italiana, 2007, pp. 737638.

Online sources Articles in Proceedings Surname and name of Author Article title (enclosed by double quotes “…”) Number of pages of article or chapter, followed by “in” Titolo of the Proceedings (in italics) Year of publication Number of pages of the volume / otherwise link to the website where the article is available. Tsaknaki Vasiliki, Fernaeus Ylva, “Expanding on Wabi-Sabi as a Design Resource in HCI”, pp. 5970-5983, in Proceeding of CHI’16 (May 07-12, 2016, San Jose, CA, USA), 2016, pp. 6070. Sanders Elisabeth B. N., Dandavate Uday, “Design for experiencing: New tools”, pp. 87-92, in Proceedings of the 1st International Conference on Design and Emotion (TU Delft, 1999), 1999, pp. 97. Di Salvo Carl, Phoebe Sengers, Hrönn Brynjarsdòttir, “Mapping the Landscape of Sustainable HCI”, pp. 1975-1984, in Proceedings of CHI, 2010. http://dl.acm.org/citation.cfm?id=1753625 Online webzine articles Surname and name of Author Article title (enclosed by double quotes “…”) Webzine title (in italics) Webzine number (if present) Publication year Webpage URL: http://www.yyy.xy [day, month and year of consultation] between square brackets Pignotti Chiara, “La (nuova) Materia dell’Ornamento. L’influenza dell’arte concettuale nella Gioielleria Contemporanea”, Senzacornice n. 13, 2015. http://www.senzacornice.org/rivista/archivio.php?id_magazine=16 [10 Luglio 2015] Online articles in blogs or web pages Surname and name of Author Article title (enclosed by double quotes “…”) Year of publication (if present) Available at http://www.yyy.xy (URL of web page) Consulted on day, month and year of consultation Daniele Giglioli, René Girard e la teoria letteraria, 2015. http://www.leparoleelecose.it/ [13 Novembre 2015] 55

Web pages Web page URL: http://www.yyy.xy Brief description of site, max. 100 strokes [day, month and year of consultation] between square brackets http://www.casalgrandepadana.it/ Website of Italian company (Reggio Emilia) that produces porcelain stoneware. [01 November 2015]

Wikipedia Wording: Authors of Wikipedia Entry title (enclosed by double quotes “…”) Wording: Wikipedia, The Free Encyclopedia (in italics) Web page URL: http://www.yyy.xy [day, month and year of consultation] between square brackets Authors of Wikipedia, “Leonardo da Vinci”, Wikipedia, The Free Encyclopedia. http://it.wikipedia.org/w/index.php?title=Leonardo_da_ Vinci&oldid=39793532. [01 November 2015]