Sasha Amato

Sasha Amato

«Confessa», testo e accordi per chitarra

«Confessa» Adriano Celentano

Tutti accordi Hm questo come Bm
Intro: Hm Em7 F# Hm Em7 F#

Su confessa amore mio
Io non sono piu il solo, l’unico
Hai nascosto nel cuore tuo
Una storia irrinunciabile

Io non sono piu il tuo pensiero
Non sono piu il tuo amore vero
Sono il dolce con fondo amaro
Che non mangi piu

Ma perche tu sei un’altra donna
Ma perche tu non sei piu tu
Ma perche non l’hai detto prima
Chi non ama non sara amato mai

Che ne hai fatto del nostro bene?
E’ diventato un freddo brivido
Le risate, le nostre cene
Scene ormai irrecuperabili

Io non sono piu il tuo pensiero
Non sono piu il tuo amore vero
Sono il dolce con fondo amaro
Che non mangi piu

Ma perche tu sei un’altra donna
Ma perche tu non sei piu tu
Ma perche tu, tu non l’hai detto prima
Chi non ama non ma perche tu

Quando viene la sera
E il ricordo pian piano scompare
La tristezza nel cuore
Apre un vuoto piu grande del mare
Piu grande del mare.

Cm Fm7 G Cm Fm7 G

Ma perche non l’hai detto prima…
Chi non ama non sara amato mai

Che ne hai fatto del nostro amore
E diventato un freddo brivido,
Le risate, le nostre cene
Scene ormai irrecuperabili.

Io non sono piu il tuo pensiero
Non sono piu il tuo amore vero
Sono il dolce col fondo amaro
Che non mangi piu.

Cm Fm7 G Cm Fm7 G

Ma perche non l’hai detto prima
Chi non ama non sara amato mai

Cm Fm7 G Cm Fm7 G

Перевод песни «Confessa» Adriano Celentano

Признайся же, любовь моя,
Что я больше не твой единственный.
Ты спрятала внутри сердца
Неотъемлемую историю.

Я больше не твоя мысль!
Я больше не твоя настоящая любовь!
Я сладость с горькой начинкой,
Которую ты больше не ешь.

Но почему!… Ты, другая женщина.
Но почему!… Ты, больше не ты.
Но почему!… Не сказала сразу!…
Кто не любит… не будет любим никогда.

Что сделала с нашим счастьем?
Оно превратилось в холодную дрожь.
Улыбки, наши ужины –
Сцены уж невозвратимые.

Я больше не твоя мысль!
Я больше не твоя настоящая любовь!
Я сладость с горькой начинкой,
Которую ты больше не ешь.

Но почему!… Ты, другая женщина.
Но почему!… Ты, больше не ты.
Но почему!… Не сказала сразу!…
Кто не любит… не будет любим никогда.

Когда приходит вечер,
И воспоминание потихоньку исчезает,
Грусть в сердце,
Откроет пустоту больше, чем море.
Больше, чем море!

Но почему!… Не сказала сразу!…
Кто не любит… не будет любим никогда.

Что ты сделала с нашей любовью?
Она превратилась в холодную дрожь.
Улыбки, наши ужины –
Сцены уж невозвратимые

Я больше не твоя мысль!
Я больше не твоя настоящая любовь!
Я сладость с горькой начинкой,
Которую ты больше не ешь.

Но почему!… Не сказала сразу!
Кто не любит… не будет любим никогда!

Canzona «Confessa» Adriano Celentano video

Albino D’Amato


Albino D’Amato was raised in Rome. He comes from a rather strict family, who wanted him to become an architect or engineer. With his passion for fashion, and for Japanese cartoons, spent lots of time drawing «manga» figurines, dressing them as if for a fashion show.

At the time — he was 14 or 15 — he was living in Rome, in the same neighborhood as Valentino Garavani. On his way back from school, he used to leave his drawings in the designer’s letter box. Valentino answered, and advised him to get some experience.

At 19 he moved to Turin and began studying architecture. Two years later, however, he moved to Paris and started working in fashion.

In 1995 he enrolled at the cole de la Chambre Syndicale de la Couture, and began working at Ungaro with Giambattista Valli on the Parallel clothing line. A key experience for him: «All my creative universe comes from there.»

After working for Louis Vuitton and Kenzo, in 2004 he returned to Milan to resume the collaboration with Versace that had started in Paris. But most of all he started thinking about designing his own clothing line.

In fall 2004 Albino launched his womenswear Spring/Summer 2005 collection.

His first collection — that won the 2005 edition of Who is on next? — was inspired by the Bauhaus movement, in terms of colours and shapes. The show opened with a military trench worn inside out, with the lining on display. Also unforgettable, was the dress that Albino presented to Franca Sozzani during the selections.

From April 2008 he’s been the style consultant to Les Copains and, from S/S 2010, he’s been designing footwear produced by Le Silla.

Sasha Amato

Proceedings from the ichim01 meeting
Milan, Italy, September 3-7, 2001.

Volume 2: Short Papers / Posters and Demos

Table of Contents

Building a New Culture

New Economy and Digital Culture — the REGNET project — Walter Koch, Gerda Koch, AIT Angewandte Informationstechnik Forschngsgesellschaft mbH, Austria (PDF)

Strategic combination of electronic and traditional services — Ellen Fleurbaay, Amsterdam Municipal Archives, The Netherlands (PDF)

Cultural Heritage in the Age of the Web: How New Media Can Affect Art Fruition — Licia Calvi, Eindoven Univ. of Technology — Dept. of Computer Science, The Netherlands (PDF)

Hypertext and word of mouth interact in theatre for the trasmission of cultural heritage — Anna Gentile, Ilenia Paladini, Univ. of Lecce — Dept. of Innovation Engineering, Italy (PDF)

Broadcast Archives: Preserving the Future — Richard Wright, BBC Information and Archives, United Kingdom (PDF)

Facing Challenges of New Media on the Crossroads of East-West and Past-Future (Lithuanian Case Study) — Nerute Kligiene, Laimutis Telksnys, Institute of Mathematics and Informatics — Vilnius Gedeminas Technical Univ., Lithuania (PDF)

Electronic IPR (eIPR) Managment Technologies — Franco Bartolini, Roberto Caldelli, Vito Cappellini, Univ. of Firenze — Dept. of Electronics and Telecommunications, Italy (PDF)

Networking historical sources: a demand-side driven approach — Andrea Rosenbusch, Swiss Federal Archives — Bern, Switzerland (PDF)

A View on the Design of Usable Museum Appliances — Piero Mussio, Univ. di Brescia — Dip. di Elettronica per l’Automazione, Italy, Augusto Celentano, Univ. C¦ Foscari di Venezia, Italy (PDF)

Initial Thoughts for Setting up a Virtual Exhibition — César Monfort Carreras, Univ. Oberta de Catalunya — Dept. of Humanities — Barcelona, Spain (PDF)

Cultural Heritage, New Media, and Education

Discovernet©: Building an Education Gateway — Lee Adendorff, Australian Museums OnLine, Australia (PDF)

Zoom Media Lab & The Virtual Collection of Children’s Everyday Culture — Sasha Pirker, Stefan Wagner, Uma Information Technology — Vienna, Austria (PDF)

The Museu da Repшblica Data Base — a Creative Tool to Educate and Disseminate Information — Ana Cristina Evres, Karla Estelita Godoy, Museu da Repшblica — Rio de Janeiro, Brazil (PDF)

Integrating cultural Heritage Activities in Education Process: Experiencesand Perspectives through New Technologies — Eugenio Morreale, Univ. di Pisa — Dip. di Informatica, Italy (PDF)

[] — European network of Cultural Heritage Education Centres — Alfredo M. Ronchi, Politecnico di Milano — Dept. ISET, Italy (PDF)

Looking for Content

Searching Documentary Films on line: the ECHO Digital Library — Giuseppe Amato, Claudio Gennaro, Pasquale Savino, I.E.I. — CNR Pisa, Italy (PDF)

Handling Sub-Image Queries In Content-Based Retrieval of High Resolution Art Images — Stephen Chan, Kirk Martinez, Paul Lewis, Univ. of Southampton — Intelligence, Agents and Multimedia Research Group, United Kingdom, Christian Lahanier, Centre de Recherche et de Restauration des MusYЁe de France, France, James Stevenson, Victoria and Albert Museum — London, United Kingdom (PDF)

Logical Framework for Information Retrieval and Conservation Project. Geo-referencial Querying in Integrated Catalogues and Notified Cultural heritages — Luca Marescotti, Maria Mascione, Politecnico di Milano — DI.Tec, Italy (PDF)

Quicklink: Managing Similatity Links in Cultural Heritage Archives on the Web — Isabella Gagliardi, Bruna Zonta, ITIM — CNR Milano, Italy (PDF)

Mobile Divices to Assist Cultural Visits — Maria Elena Bonfigli, Vis.I.T. Lab — CINECA — Casalecchio, Italy, Cabri Giacomo, Leonardi Letizia, Zambonelli Franco, Univ. di Modena e Reggio Emilia — Dip. Scienze dell’Ingegneria, Italy (PDF)

A Data Description Model for Cultural Heritage Hypermedia and Virtual Environments authenticated by archaeologists — Maria Elena Bonfigli, Antonella Guidazzoli, Massimo Alessio Mauri, Vis.I.T. Lab — CINECA — Casalecchio, Italy, Antonella Corallini, Daniela Corl¦ita Scagliarini, Univ. di Bologna — Dip. di Archeologia, Italy (PDF)

VandA: a Metadata Model for Supporting New Usages of Historical Audio-Visual Archives Material — Giuseppe Amato, Donatella Castelli, Paola Venerosi, IEI- CNR Pisa, Italy (PDF)

From Parchment to the Network: Manuscript Management and Cataloguing — Maria Alberta Alberti, Univ. di Milano — Dip. Scienze dell’Informazione, Italy, Giliola Barbero, Cesare Pasini, Biblioteca Ambrosiana — Milano, Italy (PDF)

The Library: a Cultural Mine — Paola Carrara, ITIM — CNR Milano, Italy, Giuseppe Fresta, CNUCE — CNR Pisa, Italy (PDF)

MauroTeX — A Language for Electronic Critical Editions — Paolo Mascellani, Univ. di Siena — Dip. di Matematica, Italy, — Pier Daniele Napoletani, Univ. di Pisa — Dip. di Matematica, Italy (PDF)

The «XML/Repetti» Project: XML Encoding and Manipulation of Tempora Information in Historical Text Sources — Fabio Grandi, Univ. di Bologna — DEIS and CNR — C.S.I.T.E., Italy, Federica Mandreoli, Univ. di Modena e Reggio Emilia — D.S.I., Italy (PDF)

Restoration and Preservation

Automatic Feature Recognition Technique on Stone Monuments Using Visible and IR Photography — José Luis Lerma, Univ. Politecnica de Valencia — Depto. Ing. Cartografica, Spain (PDF)

A Digital Image Processing and Database System for Watermarks in Medieval Manuscripts — Emanuel Wenger, Austrian Academy of Sciences — Commission of Scientific Visualization-Vienna, Austria, Victor N. Karnaukhov, Russian Academy of Sciences — Moscow, Russia, Alois Haidinger, Maria Stieglecker, Austrian Academy of Sciences — Commission of Paleography and Codicology of Medieval Manuscripts — Vienna, Austria (PDF)

3D Scanning the Minerva of Arezzo — C. Rocchini, P. Cignoni, C. Montani, P. Pingi, Scopigno, R.ISTI — CNR Pisa, Italy, R. Fontana, M. Greco, E. Pampaloni, Pezzati, L.INOA — Firenze, Italy, M. Cygielman, R. Giachetti, G. Gori, M. Miccio, R. Pecchioli, Centro di Restauro Archeologico — Firenze, Italy (PDF)

An Objective and Subjective Comparison of Audio Restoration Systems — Sergio Canazza, Guido Coraddu, Giovanni De Poli, Gian Antonio Mian, Univ. of Padova — Dept. of Electronics and Informatics, Italy (PDF)

An Ultrasound Based Technique for the Detection and Classification of Flaws inside Large sizes Marble or Stone Structural elements — Mauro Bramanti, Edoardo Bozzi, IEI — CNR Pisa, Milano (PDF)

Digital Preservation & Emulation: from Theory to Practice — Steward Granger, CAMiLEON Project, United Kingdom (PDF)

ZoomageTM: Super High Resolution Imaging & Visualization Tools — Irene Cheng, Anup Basu, Telephotogenics Inc., Canada, Afshad Mistri, Silicon Graphics Inc., U.S.A. (PDF)

3D Reconstruction applied to Virtual Heritage and Cultural Conservation — João G.M. Gonçalves, Vítor Sequeira, European Commission — Joint Research Centre Ispra, Italy (PDF)

3D Worlds and Digital Environments

A Content-Centered Methodology for Authoring 3D Interactive Worlds for Cultural Heritage — Augusto Celentano, Fabio Pittarello, Univ. C¦ Foscari di Venezia — Dip. di Informatica, Italy (PDF)

Building «Huys Hengelo» in VRML — Dennis Reidsma, Martijn Kragtwijk, Anton Nijholt, Univ. of Twente — Dept. of Computer Science, The Netherlands (PDF)

Ancient Olympia as a Three Dimensional Museum Experience — Cliff Ogleby, Univ. of Melbourne — Dept. of Geomatics, Australia, Sarah Kenderdine, Powerhouse Museum — Sydney, Australia (PDF)

From dust to stardust: a Collaborative 3d Virtual Museum of Computer Science — Thimoty Barbieri, Giovanni Beltrame, Luca Ceresoli, Franca Garzotto, Marco Gritti, Daniele Misani, Politecnico di Milano — HOC Hypermedia Open Center, Italy (PDF)

Exhibiting in Shared Virtual Environments: Realistic 3D Museum Representation over the Web — Tasos Harisis, George Koutalieris, Christos Douskos, Systema Informatics S.A. — Athens, Greece, Ksourias Constantinos, Fotis Karantzis, Silicon Technologies S.A. — Athens, Greece (PDF)

Virtual Walking Tour of Ryonanji Temple using Locomotion Interface — Tsutomu Miyasato, ATR Media Integration & Communications Research Laboratories — Kyoto, Japan (PDF)

Photographic Virtual Reality and Architectural Heritage — Roberto Paiano, Univ. of Lecce — Software Engineerng and Telemedia Lab., Italy (PDF)

Virtual Historical Heritage: Yuso Monastery — María Aróstegui, José Ignacio Barbero, Labein — Mechanics Unit — Bilbao, Spain, Carolina Cruz-Neira, VRAC — Virtual Reality Application Center, U.S.A. (PDF)

A Vision-Driven Gesture-Based Pointer for Computer-Augmented Environments — Gabriele Baggiani, Carlo Colombo, Bimbo Alberto Del, Univ. di Firenze, Dip. di Sistemi ed Informatica, Italy (PDF)

Minerva: An Artificial Intelligent System for Composition of Museums — Francesco Amigoni, Viola Schiaffonati, Marco Somalvico, Politecnico di Milano — Artificial Intelligence and Robotics Project, Italy (PDF)

OMAR — An Online Database for Oriental Manuscripts — Matthias Brückner, Paul-Thomas Kandzia, Freiburg University — Oriental Seminar, Germany (PDF)

Guidelines for Archaeological Map of Tuscany: Some Issues and Experiences — Marinella Pasquinucci, Univ. di Pisa — Dip. di Scienze Storiche del Mondo Antico, Italy, Oreste Signore, CNUCE — CNR Pisa, Italy (PDF)

Private owners and public access; using the web to provide access to historic properties and their contents — Michael Hiley, De Monfort Univ. Centre for Technology and the Arts — Leicester, United Kingdom (PDF)

SIUSA: Unified Information System for Record Office Superintendencies — Daniela Bondielli, Umberto Parrini, Giuseppe Alberto Romano, Scuola Normale Superiore di Pisa — Centro Ricerche Informatiche per i Beni Culturali, Italy, Maria Grazia Pastura, Ministero Beni e Attivit¦ Culturali, Italy (PDF)

Oriental Brightness into an European City — Bucarest of ’30 years — Laura Ciocoiu, Research Institute for Informatics, Romania , Dan Falcan, The Museum of Bucarest, Romania (PDF)

The Joachim DeBrum Photograph Project; Digital Restoration and Archiving in Micronesia — Eric Lindborg, Cristina Lindborg, Sue Rosoff, Marshallese Cultural Society — Marshall Islands, U.S.A. (PDF)

Images of the early 20th century. The Photographic Fund of the Istituto di Arti Grafiche of Bergamo for «Emporium» magazine — Federico Brunetti, Ilaria Alberici, Giuliana Ricci, Politecnico di Milano, Fac. Di Architettura — Design, Italy (PDF)

The New Norwegian Rock Art Database — Wenche Helliksen, Inger Marie Holm-Olsen, Olaug Hana Nesheim, Bjoerg Pettersen, Randi Soenderland, Norwegian Institute for Cultural Heritage Research — Oslo, Norway (PDF)

Getting a Multimedia Message across in Palermo Information Technology and Artistic Heritage in an Area with a Low Rate of Development — Loredana Benincasa, Cinzia Ferrara, Univ. di Palermo — Fac. Architettura — Design, Italy (PDF)

The Virtual Museum of Architecture — Eleonora Cardellini, Universit¦ di Roma La Sapienza — Laboratorio Multimediale di Architettura, Italy (PDF)

Musem of Natural Heritage: an Interactive Hypermedia Presentation — Mario Bochicchio, Roberto Paiano, E. Andreassi, Tiziana Montanaro, Univ. of Lecce — Software Engineering and Telemedia Lab., Italy (PDF)

IBC WEB SITE: a Multi-stage, Multi-site Experimentation of W2000 Model — Maria Pia Guermandi, Ist. Beni Culturali della Regione Emilia Romagna — Bologna, Italy (PDF)

The Table of Contents for Volume 1: Full Papers and introduction to Volume 1 are also available.

Abstracts for all papers also on-line.

To order this title, please return our Order Form.

Informatics: The interdisciplinary study of information content, representation, technology, and applications,
and the methods and strategies by which information is used in organizations, networks, cultures, and societies.

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