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Groundwater resources in the Friuli Venezia Giulia (FVG) Region (northeast Italy) are an important natural wealth in terms of quantity, quality and ease of supply. This optimal condition, however, has long believed that it allowed an irrational and uncontrolled exploitation that inevitably produced tangible consequences on the water resources availability.The goal of the present research is the evaluation of the sustainable use of the groundwater in the Friuli Venezia Giulia Region aimed at providing guide-lines for its rational use. The study area belongs to the hydrogeological basin of the Friuli Plain and includes part of Veneto Region and Slovenia. The plain area is divided in two parts: the High Plain (HP) characterized by a phreatic aquifer and the Low Plain (LP) where eleven confined aquifer systems were identified. The two physiographic zones are separated by the spring belt. In order to evaluate the groundwater avaliability, a 3D model of the Low Friuli Plain aquifer systems was realized using Rockworks R14 software, starting from 603 lithostratigraphic wells data. Isobath and isopach maps were elaborated using kriging geostatistical method. Precipitation, evapotranspiration, runoff and infiltration were calculated to evaluate the inflow and outflow groundwater budget terms (109 rainfall and 46 thermometric stations, time series 1979-2008). To better define the river influences and the outflows at sea, a series of recent surveys on river discharges and surface withdrawals were considered. To obtain the water-budget in non-natural conditions, as the currents, were taken into account the groundwater withdrawals that were evaluated for each type of use and for each aquifer systems, starting from 2 geodatabases: one for the domestic uses (50101 estimated wells) and one for the industrial, agricultural, fish breeding, hygienic, geothermal and other minor uses (7594 wells). Well withdrawals amount were evaluated on annual base for recent periods and expressed as m3/s. The total current estimated groundwater withdrawals reach 62.4 m3/s, of which 41.1 m3/s from the confined aquifer systems in the LP area. More than 52% of the withdrawals are due to the domestic wells. For the water-budget, the studied territory was considered a “semi-closed box” in which groundwater sharings with the neighboring areas are not relevant and where the recharge is mainly due to the influent character of the river, infiltration, rainfall and irrigation practices. As result, the waterbudget for the confined LP is equal to +2.6 m3/s representing the accuracy, fairly acceptable for the scale of the research. Withdrawal entity, spring belt discharge, phreatic levels and confined aquifer’s pressure are closely interdependent and in dynamic equilibrium. The sustainability comes from the consistency and ratio between recharge and withdrawals. The confined aquifer withdrawals in the LP represent the 23.1% of the groundwater recharge coming from the HP and the 30.6% of the spring belt discharge. Seen that this last one can not further decrease, unless loss of important ecosystems, is likely to think that the present situation can be defined of limit equilibrium.

We report an effect of anomalous transparency that is similar to other phantom effects. In an experiment aimed at testing the combined role of (i) motion of the occluding surface and (ii) lightness contrast and polarity on the perception of anomalous transparency, we found that transparency is perceived only with low contrast, and enhanced when the occluding surface is moving. A tentative explanation is suggested, based on simultaneous lightness contrast as a segregation factor and on motion as an integration factor, and discussed in light of previous studies conducted in the theoretical framework of Gestalt theories in perception.

Illusions are important ‘tools’ in the study of perceptual processes. Their conception is typically linked to the notion of veridicality in a dual-world framework, in which we either see the macro physical world as it is (ecological approaches) or we derive a faithful representation (cognitive approaches) of it. Within such theoretical views, illusions are errors caused by inadequate sensory information (because of poor quality, insufficient quantity, contradictory, etc.). From a phenomenological stance, however, experiencing an illusion does not relate to the physical quality of the distal or proximal stimulus; rather, it depends on a comparison between the actual perception and what one believes should be perceived given the knowledge s/he has gained about the physical stimulus. Within such a framework, illusions are still considered of extreme importance in the study of the processes underpinning perception, but they are not conceived as errors. They represent instead a cognitive clash between actual perception and hypothesized perception based on some sort of comparison, thus also showing their potential as a tool for studying the underpinnings of cognitive processes.

Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross , one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment to a lower one in two types of stimuli: a full-size digitally manipulated reproduction of the painting and a Poggendorff-like configuration that recalled the painting's lines displacement and tilt. Adjustments were performed from two distances, one up close (painting distance) and one from below and far (observation distance). Results confirmed the presence of the Poggendorff illusion, but mean adjustments significantly differed from the misalignment perpetrated by Rubens. Experiment 2 was set up in a similar fashion with the Lille painting. Results confirmed the presence of the Poggendorff illusion also in this painting; however, the alignment by Rubens coincides with the geometrical one. Results from both experiments do not support the claim that Rubens observed the Poggendorff illusion and therefore corrected for it in the Antwerp painting. An alternative account is discussed, which relates to the structural layout of the painting.

We present results from two experiments aimed at studying the direction of Mona Lisa’s gaze and its affective expression. In experiment 1 we studied the effect of retinal image size on the perception of her gaze by manipulating observation distances of a high-quality print of the painting. Participants (N = 30) were asked to answer a simple question (is the person portrayed looking at you?) from six different distances ranging from 55 to 755 cm. One group of participants started evaluations from 55 cm; the other group did the opposite. Results show an effect of distance on the perception of Mona Lisa’s gaze as staring at the observer: from the furthest distances, the impression of a staring Mona Lisa is robust; from the nearest distances, such impression becomes ambiguous. Experiment 2 presents data concerning the direction of Mona Lisa’s gaze and whether this appears to be smiling, derived from an experiment aimed at studying the impression of gaze (direction and emotional content) in portraits (paintings and photographs). Only data concerning Mona Lisa are reported. Participants (N = 41) were randomly assigned to one of two groups: on a LCD screen, one group saw the entire head, and the other group saw only a section reproducing Mona Lisa’s eyes. Experimental sessions were two: in session 1 participants had to decide whether the image (whole-head or eyes only) was looking at them; in session 2 participants had to decide whether the head (or the eyes) was smiling. RTs from the two groups of participants were not statistically significant. Results for session 1 confirm experiment 1’s general findings. Results for session 2 clearly show that Mona Lisa is not only smiling with her face, but also with her eyes. Results are discussed in relation to the literature on Mona Lisa’s gaze and smile.

The increase in our molecular understanding of the biology of aging, coupled with a recent surge in investment, has led to the formation of several companies developing pharmaceuticals to slow aging. Research using the tiny nematode worm Caenorhabditis elegans was the first to show that mutations in single genes can extend lifespan, and subsequent research has shown that this model organism is uniquely suited to testing interventions to slow aging. Yet, with a few notable exceptions, C. elegans is not in the standard toolkit of longevity companies. Here we discuss the paths to overcome the barriers to using C. elegans in industrial drug discovery. We address the predictive power of C. elegans for human aging, how C. elegans research can be applied to specific challenges in the typical drug discovery pipeline, and how standardised and quantitative assays will help C. elegans fulfil its potential in the biotech and pharmaceutical industry. We argue that correct application of this model and its knowledge base will significantly accelerate progress to slow human aging.

The glare effect is a brightness illusion that has captured the attention of the vision community since its discovery. However, its photometrical reversal, which we refer to here as photometrical reversed glare (PRG) stimuli, remained relatively unexplored. We presented three experiments that sought to examine the perceived brightness of a target area surrounded by luminance gradients in PRG stimuli and compare them with conventional glare effect configurations. Experiment 1 measured the brightness of the central target area of PRG stimuli through an adjustment task; the results showed that the target appeared brighter than similar, comparative areas not surrounded by luminance gradients. This finding was unexpected given the recent report that PRG stimuli cause pupil dilation. Meanwhile, Experiments 2 and 3 implemented a rating task to further test the findings in Experiment 1. Again, the study found a robust brightening illusion in the target area of PRG stimuli in a wide range of target and background luminance. The results are discussed in comparison with the brightness enhancement of the glare effect.

The purpose of this research is to present the employment of a simple-to-use crossmodal method for measuring haptic size illusions. The method, that we call See what you feel , was tested by employing Uznadze’s classic haptic aftereffect in which two spheres physically identical (test spheres) appear different in size after that the hands holding them underwent an adaptation session with other two spheres (adapting spheres), one bigger and the other smaller than the two test spheres. To measure the entity of the illusion, a three-dimensional visual scale was created and participants were asked to find on it the spheres that corresponded in size to the spheres they were holding in their hands out of sight. The method, tested on 160 right-handed participants, is robust and easily understood by participants.

The paper presents the map of intrinsic groundwater vulnerability of the Isonzo/Soča High Plain, which is located between the Collio Hills and the Classical Karst Region and holds an aquifer shared between Italy and Slovenia. The map, produced at a scale of 1:25,000 and printed in A0 format, was obtained by means of the SINTACS method and shows the intrinsic vulnerability of the aquifer in terms of seven vulnerability classes, from extremely high to low. It is accompanied by four supplementary sketches that illustrate the geological framework, the bedrock top surface, the groundwater flow paths, the Hazard Index map and three diagrams that summarize the percentages of vulnerability classes and of Hazard Index classes of the study area.

According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ‘figurative’ and ‘abstract’ can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting’s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.

E-motions are defined as those affective states the expressions of which—conveyed either by static faces or body posture—embody a dynamic component and, consequently, convey a higher sense of dynamicity than other emotional expressions. An experiment is presented, aimed at testing whether e-motions are perceived as such also by individuals with autism spectrum disorders (ASDs), which have been associated with impairments in emotion recognition and in motion perception. To this aim we replicate with ASD individuals a study, originally conducted with typically developed individuals (TDs), in which we showed to both ASD and TD participants 14 bodiless heads and 14 headless bodies taken from eleven static artworks and four drawings. The Experiment was divided into two sessions. In Session 1 participants were asked to freely associate each stimulus to an emotion or an affective state (Task 1, option A); if they were unable to find a specific emotion, the experimenter showed them a list of eight possible emotions (words) and asked them to choose one from such list, that best described the affective state portrayed in the image (Task 1, option B). After their choice, they were asked to rate the intensity of the perceived emotion on a seven point Likert scale (Task 2). In Session 2 participants were requested to evaluate the degree of dynamicity conveyed by each stimulus on a 7 point Likert scale. Results showed that ASDs and TDs shared a similar range of verbal expressions defining emotions; however, ASDs (i) showed an impairment in the ability to spontaneously assign an emotion to a headless body, and (ii) they more frequently used terms denoting negative emotions (for both faces and bodies) as compared to neutral emotions, which in turn were more frequently used by TDs. No difference emerged between the two groups for positive emotions, with happiness being the emotion better recognized in both faces and in bodies. Although overall there are no significant differences between the two groups with respect to the emotions assigned to the images and the degree of perceived dynamicity, the interaction Artwork x Group showed that for some images ASDs assigned a different value than TDs to perceived dynamicity. Moreover, two images were interpreted by ASDs as conveying completely different emotions than those perceived by TDs. Results are discussed in light of the ability of ASDs to resolve ambiguity, and of possible different cognitive styles characterizing the aesthetical/emotional experience.

Report of the Conference about the Mediterranean held at the University of Salerno in September 2017, involving scholars of several disciplines.

Three experiments investigated the role of physical illumination on lightness perception in simultaneous lightness contrast (SLC). Four configurations were employed: the classic textbook version of the illusion and three configurations that produced either enhanced or reduced SLC. Experiment 1 tested the effect of ambient illumination on lightness perception. It simulated very dark environmental conditions that nevertheless still allowed perception of different shades of gray. Experiment 2 tested the effect of the intensity of Gelb lighting on lightness perception. Experiment 3 presented two conditions that integrated illumination conditions from Experiments 1 and 2. Our results demonstrated an illumination effect on both lightness matching and perceived SLC contrast: As the intensity of illumination increased, the target on the black background appeared lighter, while the target on the white background was little affected. We hypothesize the existence of two illumination ranges that affect lightness perception differently: low and normal . In the low range, the SLC contrast was reduced and targets appeared darker. In the normal range, the SLC contrast and lightness matchings for each background were little changed across illumination intensities.

Pupil diameters were recorded with an eye-tracker while participants observed cruciform patterns of gray-scale gradients that evoked illusions of enhanced brightness ( glare ) or of enhanced darkness. The illusions were either presented as static images or as dynamic animations which initially appeared as a pattern of filled squares that—in a few seconds—gradually changed into gradients until the patterns were identical to the static ones. Gradients could either converge toward the center, resulting in a central region of enhanced, illusory, brightness or darkness, or oriented toward each side of the screen, resulting in the perception of a peripheral ring of illusory brightness or darkness. It was found that pupil responses to these illusions matched both the direction and intensity of perceived changes in light: Glare stimuli resulted in pupil constrictions, and darkness stimuli evoked dilations of the pupils. A second experiment found that gradients of brightness were most effective in constricting the pupils than isoluminant step-luminance, local, variations in luminance. This set of findings suggest that the eye strategically adjusts to reflect in a predictive manner, given that these brightness illusions only suggest a change in luminance when none has occurred, the content within brightness maps of the visual scene.

The glare effect (GE) is an illusion in which a white region appears self-luminous when surrounded by linearly decreasing luminance ramps. It has been shown that the magnitude of the luminosity effect can be modulated by manipulating the luminance range of the gradients. In the present study we tested the thresholds for the GE on two groups of adults: young (20–30 years old) and elderly (60–75 years old). Purpose of our perspective study was to test the possibility of transforming the GE into a test that could easily measure thresholds for luminosity and discomfort glare. The Glare Effect Test (GET) consisted in 101 printed cards that differed from each other for the range of luminance ramps. Participants were assessed with GET and a battery of visual tests: visual acuity, contrast sensitivity, illusion of length perception, and Ishihara test. Specifically in the GET, participants were required to classify cards on the basis of two reference cards (solid black-no gradient; full range black to white gradient). PSEs of the GE show no correlation with the other visual tests, revealing a divergent validity. A significant difference between young and elderly was found: contrary to our original expectations, luminosity thresholds of GE for elderly were higher than those for young, suggesting a non-direct relationship between luminosity perception and discomfort glare.

The classical Karst transboundary aquifer is a limestone plateau of 750 km2 that extends from Brkini hills in Slovenia to Isonzo River in Italy. For 20 years, and especially in the last two years, the Mathematic and Geosciences Department of Trieste University has run a monitoring project in order to better understand the groundwater hydrodynamics and the relation between the fracture and conduit systems. A total of 14 water points, including caves, springs and piezometers are monitored and temperature, water level and EC data are recorded. Two sectors are highlighted: the southeastern sector mainly influenced by the sinking of the Reka River, and a northwestern sector connected to the influent character of the Isonzo River. Water table fluctuations are significant, with risings of > 100 m. During floods most of the circuits are under pressure, and only a comparative analysis of water levels, temperature and EC permits a precise evaluation of the water transit times in fractured and/or karstified volumes.

Despite there are many university classes entitled “Psychology of art”, and a noticeable production of scientific literature accumulated over the years around psychological aspects concerning art, I argue here that psychology of art still does not exist as an independent subject of research. The main ways in which psychology addressed art are discussed, and the problems and limitations of such approaches are pointed out. An integrated approach to the foundation of psychology of art as an independent psychological science is sketched out. The reasons why it should exist, what it should focus on, and how (the methods) research should be conducted are just announced, pending an appropriate discussion with those interested in a manifesto for an independent psychology of art.

This paper aims to assess the political and cultural status of the island of Cyprus as the only place within the Mediterranean where Christian heirs of Romans and Muslims shared the local tax revenue to create a buffer zone between two empires. Geographically isolated between the Constantinopolitan and Damascene hegemonies, and marginalized by emperors and caliphs alike, the development of Cyprus was destined to take a unique, perhaps problematic, trajectory. Detailed examination of archaeological material (seals, coins, ceramics and material artifacts) suggests a different interpretative scheme to the one traditionally adopted to interpret the declining fate of Cyprus after the Muslim raids and the occupation of Syria and Palestine. Instead, I propose, Cyprus and its cities were still active from late antiquity to the early middle ages, preserving a variable but still traceable degree of economic vitality (benefitting from the circulation of Byzantine and Arab coinage), which infers the maintenance of complex political, commercial and cultural relations (implicit in issues of imagery and prototypes of coins) between the Byzantine Empire and the Umayyad Caliphate.

In the Mausoleum of Galla Placidia (Ravenna, Italy), the San Lorenzo lunette shows two peculiar visual effects: a transparency effect of gold seen through gold and perceptual collinearity between two parts of a cross which are physically misaligned. Both effects are found within the area of the halo surrounding the saint's head. In this work we addressed the problem posed by the physical misalignment of the cross. Our hypothesis is that the physical misalignment went unnoticed throughout history because the artist produced a perceptual alignment to correct for the Poggendorff illusion. Hence, we asked observers to align two ends of a cross in a reproduction showing the silhouette of San Lorenzo's torso holding the cross. Results support our hypothesis: both direction and magnitude of adjustments comply with the alignment in the original mosaic.

L’articolo si propone di offrire una una ricognizione della storiografia recente sul tema della città bizantina nel passaggio dalla tarda antichità all’alto medioevo. Il tradizionale dibattito sul destino delle città nei cosiddetti Dark Ages ha sempre avuto quale punto di partenza l’idea di illustrare e dimostrare la continuità o, al contrario, la discontinuità della città nella sua forma classica, ovvero della polis greco-romana, durante il medioevo. Tale polemica storiografica è sintetizzata nelle opere di due dei suoi iniziatori, A. Kazdhan e G. Ostrogorsky ed è proseguita nei lavori di C.Foss. Alcuni studiosi (come Liebeschuetz, Saradi e Trombley) sembrano aver sviluppato una reazione a Foss di stampo prettamente conservatore, sforzandosi di adattare la polemica continuità-declino al nuovo panorama archeologico. Altri (come Spieser e anche Ward-Perkins e Zanini) hanno deliberatamente scelto di limitare cronologicamente il proprio approccio analitico senza oltrepassare la simbolica soglia del VII secolo. Al contrario, Brandes, Walmsey e, parzialmente, Whittow hanno seguito le orme di Foss, proponendo una serie di studi regionali, esaustivi sotto il profilo archeologico, che avanzano soluzioni peculiari al problema dei mutamenti subiti dalle città bizantine durante il VII e l’VIII secolo. Da ultimo, Wickham e Haldon si sono mossi lungo linee di natura principalmente economica, riconoscendo il contributo strutturale da esse fornito all’evoluzione delle città entro il contesto sociale e statale tardoantico. Ciò ha permesso loro di delineare, al contempo, le distinzioni funzionali tra diversi tipi d’insediamento e le loro mutevoli trasformazioni entro il lento processo di cambiamento della società urbana tardoantica, implicando necessariamente una serie di alterazioni del panorama strutturale e degli assetti urbani.

Abstract Background Sentinel lymph node (SLN) biopsy is an effective tool for axillary staging in patients with invasive breast cancer. This procedure has been recently proposed as part of the treatment for patients with ductal carcinoma in situ (DCIS), because cases of undetected invasive foci and nodal metastases occasionally occur. However, the indications for SLN biopsy in DCIS patients are controversial. The aim of the present study was therefore to assess the incidence of SLN metastases in a series of patients with a diagnosis of pure DCIS. Methods A retrospective evaluation was made of a series of 102 patients who underwent SLN biopsy, and had a final histologic diagnosis of pure DCIS. Patients with microinvasion were excluded from the analysis. The patients were operated on in five Institutions between 1999 and 2004. Subdermal or subareolar injection of 30–50 MBq of 99 m-Tc colloidal albumin was used for SLN identification. All sentinel nodes were evaluated with serial sectioning, haematoxylin and eosin staining, and immunohistochemical analysis for cytocheratin. Results Only one patient (0.98%) was SLN positive. The primary tumour was a small micropapillary intermediate-grade DCIS and the SLN harboured a micrometastasis. At pathologic revision of the specimen, no detectable focus of microinvasion was found. Conclusion Our findings indicate that SLN metastases in pure DCIS are a very rare occurrence. SLN biopsy should not therefore be routinely performed in patients who undergo resection for DCIS. SLN mapping can be performed, as a second operation, in cases in which an invasive component is identified in the specimen. Only DCIS patients who require a mastectomy should have SLN biopsy performed at the time of breast operation, since in these cases subsequent node mapping is not feasible.

Abstract Background Although sentinel node biopsy (SNB) is becoming the standard approach for axillary staging in patients with small breast cancer, criteria for patient selection and some technical aspects of the procedure have yet to be clearly defined. The aim of the present survey was therefore to investigate the way in which SNB is used by general surgeons working in the Veneto region, Italy. Methods A 29-item questionnaire regarding various aspects of SNB practice was mailed to surgeons in charge of breast surgery in all the 56 surgical centres of the region. Results The rate of response to the questionnaire was 82.1% (n = 46); 69.6% (n = 32) of the respondents routinely perform SNB in their clinical practice. Most of the interviewed surgeons (93.5%) expressed the belief that the acceptable false negative rate should be ≤5%. However, among the surgeons who perform SNB, only 34.4% performed more than 20 SNB during the learning phase. Indications are limited to tumours of ≤1 cm by 31.2% (n = 10) of respondents, ≤2 cm by 46.9% (n = 15) and ≤3 cm by 21.9% (n = 7). Almost all respondents (93.7%) agreed that a clinically positive axilla is a contraindication to SNB, while opinions differed widely concerning other potential contraindications. In most of the centres considered, SN identification is undertaken on the day before surgery using a subdermal injection of 30–50 MBq of 99mTc-albumin-nanocolloid followed by lymphoscintigraphy. Conclusions SNB is currently performed in the majority of hospitals in the Veneto region. However, the training phase and criteria used for patient selection differ from centre to centre. Certified training courses and shared guidelines are therefore highly desirable.