Constructed Technosols as a Soil Rebuilding Technique to Reclaim Abandoned Limestone Quarries in the Mediterranean Region: A Field Study

Soil rebuilding represents a major challenge in the recovery of abandoned quarries. In this study, we explored the possibility of using reconstructed Technosols, to achieve soil rebuilding goals at an abandoned quarry site. We first investigated the use of a mixture containing commercial manure and limestone debris (LD) as pedotechnomaterials for an “ad hoc” (re)constructed Technosol (CT), for the recovery of an opencast limestone quarry in one of most concentrated quarry areas in the world. In a field experiment, we tested and monitored different pedotechnosystems (PTSs) made up of constructed Technosol + pasture species + different Mediterranean plant species. Specifically, a control (CT, without any additional treatments) was compared to treatments with organic amendment (CTOA) and conventional fertilizers (CTCF). Data were collected over a 12-month period and included crop performance, plant nutritional state, soil physical-chemical parameters, and metabolites. Analysis of variance compared differences among treatments, while factor analysis (FA) interpreted multiple relationships while explaining observed variability. Results showed that CTOA had better soil physical-chemical properties, greater plant growth, and overall superior agronomic performances compared to all other treatments due to the improved substrate conditions. According to FA, these results appear related to the creation of fertile soil conditions, with most of the investigated metabolites (i) playing a pivotal role in observed outcomes, together with (ii) a clear potential in being considered as a reliable fingerprint for investigating plant responses in constructed PTSs. The proposed pedotechniques in CTOA development show a great potential for the full recovery of abandoned limestone quarries in degraded Mediterranean areas by providing an excellent medium for plant growth, facilitating environmental reclamation

Effect of RNS60 in amyotrophic lateral sclerosis: a phase II multicentre, randomized, double-blind, placebo-controlled trial

Background and purpose Amyotrophic lateral sclerosis (ALS) is a fatal neurodegenerative disease with limited treatment options. RNS60 is an immunomodulatory and neuroprotective investigational product that has shown efficacy in animal models of ALS and other neurodegenerative diseases. Its administration has been safe and well tolerated in ALS subjects in previous early phase trials. Methods This was a phase II, multicentre, randomized, double-blind, placebo-controlled, parallel-group trial. Participants diagnosed with definite, probable or probable laboratory-supported ALS were assigned to receive RNS60 or placebo administered for 24 weeks intravenously (375 ml) once a week and via nebulization (4 ml/day) on non-infusion days, followed by an additional 24 weeks off-treatment. The primary objective was to measure the effects of RNS60 treatment on selected biomarkers of inflammation and neurodegeneration in peripheral blood. Secondary objectives were to measure the effect of RNS60 on functional impairment (ALS Functional Rating Scale-Revised), a measure of self-sufficiency, respiratory function (forced vital capacity, FVC), quality of life (ALS Assessment Questionnaire-40, ALSAQ-40) and survival. Tolerability and safety were assessed. Results Seventy-four participants were assigned to RNS60 and 73 to placebo. Assessed biomarkers did not differ between arms. The mean rate of decline in FVC and the eating and drinking domain of ALSAQ-40 was slower in the RNS60 arm (FVC, difference 0.41 per week, standard error 0.16, p = 0.0101; ALSAQ-40, difference -0.19 per week, standard error 0.10, p = 0.0319). Adverse events were similar in the two arms. In a post hoc analysis, neurofilament light chain increased over time in bulbar onset placebo participants whilst remaining stable in those treated with RNS60. Conclusions The positive effects of RNS60 on selected measures of respiratory and bulbar function warrant further investigation

Musica e Cinema

Nello spirito della IX Appendice dell’Enciclopedia Italiana Treccani, la presente voce enciclopedica tenta di profilare brevemente gli scenari attuali del rapporto fra musica e cinema (con particolare riferimento all’Europa e agli Stati Uniti), cominciando con il sottolineare la problematicità di un’univoca definizione o circoscrizione dell’argomento. Si può ravvisare in ciò l’azione concomitante di almeno tre fattori. Il primo, di carattere estetico-musicale, consiste nel riconoscimento di quel continuum fra suono e rumore che rappresenta il tratto distintivo del paesaggio sonoro contemporaneo; il secondo fattore risiede negli effetti di lungo periodo di quella ristrutturazione produttiva avvenuta in seno alla cosiddetta Nuova Hollywood e che, a partire da fine Anni Settanta, intese rilanciare tecnologicamente, esteticamente e commercialmente il cinema come esperienza totale e immersiva, contrapposta in tal senso alla televisione. Il terzo e ultimo fattore ha a che vedere con la nascita dei film music studies come disciplina accademica in sé, grosso-modo a partire dalla fine degli Anni Ottanta. A seconda dell’ampiezza del raggio di osservazione, ma anche degli specifici interessi e competenze professionali dei singoli studiosi, si possono individuare: a ) un approccio a focalizzazione ampia, che tenta di indagare la musicalità del soundtrack nel suo intreccio magmatico di musica, dialoghi ed effetti; b) un approccio a focalizzazione ristretta, che si sofferma sulla musica in senso tradizionale, interrogandosi sulle sue funzioni all’interno del contesto filmico, si tratti di composizioni originali o preesistenti; c) un approccio a focalizzazione iper-ristretta, che si concentra sulle composizioni originali per il cinema e sullo sviluppo storico e tecnico delle prassi di scrittura per lo schermo. d) un approccio che approfondisce le interazioni crossmediali, alla ricerca di metodi d’analisi trasversali. Il secondo paragrafo della voce, “Comporre per il cinema fra la fine del 20° secolo e il nuovo millennio”, passa in rassegna i principali autori di musica per film attualmente in attività, evidenziando in particolare la condizione ‘anfibia’ del comporre per il cinema europeo, sospeso fra l’affiorare di cifre individuali, riconoscibili ed evocative e l’influenza sempre crescente delle pratiche drammaturgico-musicali neohollywoodiane. Vengono inoltre menzionati i cambiamenti introdotti dall’innovazione tecnologica nel lavoro del compositore cinematografico. Il terzo e ultimo paragrafo – dedicato alla presenza della popular music nel cinema attuale e alla rinascita del musical cinematografico come spettacolo di massa all’inizio del Nuovo Millennio – si conclude rammentando (ma anche relativizzando) l’affermazione di Anahid Kassabian secondo la quale l’utilizzo di musica preesistente in colonna sonora innescherebbe processi di identificazione tendenzialmente più ‘aperti’ rispetto alle partiture sinfoniche originali, grazie alla sua capacità di far leva sul rapporto extrafilmico del singolo spettatore con determinati repertori musicali.In the spirit of the IX Appendix of Enciclopedia Italiana Treccani, this entry provides a brief outline of the current trends in the fields of film music and film music studies, presenting them as a result of processes that date back to at least the last three decades of the past century. The first paragraph addresses the issue of the multiplicity of definitions (and coherent approaches to the subject) that are gathered under the label “music in the movies”. The second paragraph provides an overview of the most representative movie composers still in activity at the beginning of the Third Millennium, both in Europe and in the United States, and of the changes introduced by the technological innovations in movie scoring. The third paragraph deals with the role of popular music in contemporary movie soundtracks and with the renaissance of the movie musical as a blockbuster show in the 2000s

Sulle tracce di «un altro teatro»: Un re in ascolto di Luciano Berio. Introduzione critica e documentaria

Il saggio inquadra criticamente una pietra miliare del teatro musicale di Luciano Berio (Un re in ascolto, testo di Italo Calvino e Luciano Berio, 1979-1983) ricostruendone la genesi sulla base di documenti d’archivio e testimonianze orali, della rassegna stampa d’epoca e delle pubblicazioni scientifiche più recenti.This essay provides a critical framing of a milestone in Luciano Berio’s musical theatre (Un re in ascolto, text by Italo Calvino and Luciano Berio, 1979-1983), reconstructing its genesis on the basis of archive documents and oral history, but also through an overview of the press and of the most recent studies

Film operistici. Un profilo analitico

Il saggio contiene un articolato profilo storico – corredato di brevi analisi – della parabola del film opera italiano fra anni '30 e anni '90, passando in rassegna i principali autori e titoli ed affrontando nel dettaglio le problematiche di fondo di questa tipologia cinematografica.The essay represent an in-depth-study of the italian production in the field of so called "film opera", between the Thirties and the Nineties. The text traces an outline of the genre, its fundamental authors and titles and offers a detailed discussions of the core problems of this cinematic typology

Maria nelle immagini. La Callas e il cinema

Il saggio propone un percorso attraverso una serie di pellicole che a vario titolo si sono relazionate alla figura e alla voce di Maria Callas: dai documentari biografici destinati a un pubblico di appassionati (ad esempio: Callas. A documentary di John Ardoin, 1978; Callas Assoluta di Philippe Kohly, 2007) ai film a soggetto che tributano un omaggio più o meno manifesto alla grande interprete operistica (“E La Nave Va” di Federico Fellini, 1983; “Der Große Bagarozy” di Bernd Eichinger, 1999), passando per una serie di cortometraggi sperimentali in cui un giovane Werner Schroeter espresse la sua devozione per la Callas interprete e diva. L’ultima paragrafo è in forma di appunti sull’utilizzo della voce della Callas all’interno di pellicole non a lei dedicate.This essay provides a brief analytical profile of a series of movies that relate to Maria Callas’ persona and voice: biographical documentaries (such as Callas. A documentary by John Ardoin, 1978; Callas by Philippe Kohly, 2007), feature films that pay tribute – in a more or less explicit way – to the great opera singer (“E La Nave Va” by Federico Fellini, 1983; “Der Große Bagarozy” by Bernd Eichinger, 1999), experimental short movies by a notorious Callas’ devotee: Werner Schroeter. The last paragraph is conceived as “notes” on the insertion of Callas’ voice in movies on other topics

Antioxidant phenolic compounds recovery from Mangifera indica L. by-products by supercritical antisolvent extraction

Abstract Supercritical Antisolvent Extraction (SAE) was used in the recovery of antioxidant compounds from mango by-products. The antioxidant extract was obtained by solid-liquid extraction using aqueous acetone (80% v/v) and subsequent adsorption/desorption in C18 cartridge. Recovery of antioxidants was performed by SAE using SC-CO2 as antisolvent. The temperature and pressure parameters were varied in the range 35-45°C and 8-15 MPa. The SAE process allowed the recovery of about 90% of the initial phenolic compounds, the best recovery was obtained at 40°C and 10 MPa and the main compounds were mangiferin, isomangiferin, quercetin 3-O-galactoside, quercetin 3-O-glucoside, quercetin 3-O-xyloside, quercetin 3-O-arabinoside, quercetin and kaempferol. The product obtained was a dry powder, spherical nanoparticles with a particle diameter of 143 ± 40 nm with an antioxidant activity of 851.9 μMol TE/g and a half inhibition concentration of DPPH radical of 90 μg/mL. The analyses performed indicated that SAE processing of natural extracts is effective for improving the activity of natural antioxidant compounds by producing nanoparticles