S44-02 Implementing family supportive interventions for schizophrenia in public mental health centres

Studies aimed at implementing supportive treatments for families in clinical practice report that after a training course 7 to 27 percent of professionals apply these treatments in clinical work and a mean of 1.4 to 1.7 families per trainee receive these interventions.We carried out a study in 23 Italian mental health centres in order to explore the feasibility of providing psychoeducational interventions for persons with schizophrenia and their families in routine conditions.Two professionals from each center attended three monthly training sessions for psychoeducational interventions. After the training, each professional provided informative sessions on schizophrenia to five families of service users with schizophrenia, which consisted of three meetings with each family on clinical aspects of schizophrenia, drug treatments, and detection of early signs of relapse. Each professional then provided the intervention to families for six months.Thirty-eight of the 46 participants completed the training course, and 34 provided the intervention to 71 families. Twenty-nine of the 34 provided the entire intervention to the families and five of the 34 held only informative sessions on schizophrenia. Ninety-one percent of the participants who completed the study reported difficulties in integrating the intervention with their work responsibilities, and 96 percent acknowledged the positive effect that the intervention had on the center's relationship with patients with schizophrenia and their families.These results support the idea that it is possible to introduce psychoeducational interventions in mental health centres after a relatively brief period of training and supervision

Silver Ion Incorporation and Nanoparticle Formation inside the Cavity of Pyrococcus furiosus Ferritin: Structural and Size-Distribution Analyses

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Roles of Sorcin in Drug Resistance in Cancer: One Protein, Many Mechanisms, for a Novel Potential Anticancer Drug Target

The development of drug resistance is one of the main causes of failure in anti-cancer treatments. Tumor cells adopt many strategies to counteract the action of chemotherapeutic agents, e.g., enhanced DNA damage repair, inactivation of apoptotic pathways, alteration of drug targets, drug inactivation, and overexpression of ABC (Adenosine triphosphate-binding cassette, or ATP-binding cassette) transporters. These are broad substrate-specificity ATP-dependent efflux pumps able to export toxins or drugs out of cells; for instance, ABCB1 (MDR1, or P-glycoprotein 1), overexpressed in most cancer cells, confers them multidrug resistance (MDR). The gene coding for sorcin (SOluble Resistance-related Calcium-binding proteIN) is highly conserved among mammals and is located in the same chromosomal locus and amplicon as the ABC transporters ABCB1 and ABCB4, both in human and rodent genomes (two variants of ABCB1, i.e., ABCB1a and ABCB1b, are in rodent amplicon). Sorcin was initially characterized as a soluble protein overexpressed in multidrug (MD) resistant cells and named “resistance-related” because of its co-amplification with ABCB1. Although for years sorcin overexpression was thought to be only a by-product of the co-amplification with ABC transporter genes, many papers have recently demonstrated that sorcin plays an important part in MDR, indicating a possible role of sorcin as an oncoprotein. The present review illustrates sorcin roles in the generation of MDR via many mechanisms and points to sorcin as a novel potential target of different anticancer molecules

Learning from the past, intervening in the present: the role of conservation science in the challenging restoration of the wall painting Marriage at Cana by Luca Longhi (Ravenna, Italy)

The paper discusses the case study of the Marriage at Cana, a sixteenth century wall painting located in Ravenna and executed by Luca Longhi. A multi-analytical approach based upon OM, SEM–EDS, μ-Raman, μ-FTIR and biological analyses was selected to investigate the painting technique and the state of preservation of the artwork, compromised by a severe alteration. Data demonstrated that the artwork was executed with a dry painting technique: a siccative oil was used as binder, while indigo, lead white, carbon black, ochres, vermilion and red lead were identifed as pigments. Biological analyses clearly allowed identifying Eurotium halophilicum as the fungus responsible for the white patina compromising the painted surface and, according to this result, Biotin T was selected as the most efective biocide to stop the biological attack. The precarious conditions in which the painting was, attributable to previously performed interventions and to the conservation environment, laid the groundwork for a challenging restoration conducted in 2016. Scientifc analyses better clarifed the kind of materials employed in the execution on the artwork, as well as how the previous restoration was carried out; furthermore, analytical data methodologically supported phases of the intervention like cleaning, flling of the lacunae and pictorial retouching, as products were selected on the basis of their afnity to original materials and painting technique. This study will hopefully encourage refections on how a synergic dialogue between conservation science and restoration can represent an important reference point for interventions to be conducted with scientifc criteria and suitable methodology, in the light of the shared vision and common goal of transferring patrimony to future generation

Kineococcus radiotolerans Dps forms a heteronuclear Mn-Fe ferroxidase center that may explain the Mn-dependent protection against oxidative stress

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Participatory risk assessment of pluvial floods in four towns of Niger

Intense rainfalls in Sub-Saharan Africa are increasing in frequency. Land degradation, watercourses siltation, and flood defence failure turn these events into disastrous floods. Over the last decade flood risk assessments have been prepared to face these disasters. However, they have frequent limitations in design, accuracy, and completeness. The objectives of this study are (i) to integrate local and scientific knowledge into a participated pluvial flood risk assessment (ii) to identify assets and (iii) to estimate the potential impact and efficiency of risk-reduction measures. The assessment is developed in four rapidly expanding towns of Niger, flooded several times in recent years. Flood-prone areas and assets are identified according four flood scenarios using local knowledge, 2D hydraulic modelling, and visual photointerpretation of very-high-resolution satellite images. Risk-reduction measures are singled-out through public participation. The residual risk and benefit/cost analyses provide a decision-making tool to accept or treat risk. During the last decade the expansion of the four towns has been more rapid in flood-prone zones than in safe areas. Nowadays more than half of the housing stock could be flooded by rainfalls with 20 years return period. Catchment treatment and building retrofitting can reduce risk. from 100 to 29–82. Nevertheless, the benefit/cost of risk reduction is high for towns settled in small catchments only

Innovative approach for a classic target: fragment screening on trypanothione reductase reveals new opportunities for drug design

Trypanothione reductase (TR) is a key factor in the redox homeostasis of trypanosomatid parasites, critical for survival in the hostile oxidative environment generated by the host to fight infection. TR is considered an attractive target for the development of new trypanocidal agents as it is essential for parasite survival but has no close homolog in humans. However, the high efficiency and turnover of TR challenging targets since only potent inhibitors, with nanomolar IC50, can significantly affect parasite redox state and viability. To aid the design of effective compounds targeting TR, we performed a fragment-based crystal screening at the Diamond Light Source XChem facility using a library optimized for follow-up synthesis steps. The experiment, allowing for testing over 300 compounds, resulted in the identification of 12 new ligands binding five different sites. Interestingly, the screening revealed the existence of an allosteric pocket close to the NADPH binding site, named the "doorstop pocket" since ligands binding at this site interfere with TR activity by hampering the "opening movement" needed to allow cofactor binding. The second remarkable site, known as the Z-site, identified by the screening, is located within the large trypanothione cavity but corresponds to a region not yet exploited for inhibition. The fragments binding to this site are close to each other and have some remarkable features making them ideal for follow-up optimization as a piperazine moiety in three out of five fragments

Studio diagnostico-analitico sul dipinto “Gioconda con colonne”

SummaryThe painting “Gioconda with columns” from a private collection re-proposes a work of art that is “unique” in the art world, in other words, the “Mona Lisa” by Leonardo da Vinci. The presence of the columns represents the most significant distinguishing feature when compared to the “Mona Lisa” housed in the Louvre.Consequently the question arises: “Is the painting “Gioconda with columns” attributable to the genius of Leonardo or one of his followers or is it to be considered a copy of the “Mona Lisa” in the Louvre or the second “Gioconda” or a copy of the latter?”Thus, the investigation is directed towards identifying the constituent materials and characterizing the pictorial technique in order to artistically collocate its execution and contribute to providing a reliable answer based on both a subjective and objective evaluation.For this purpose, the study was conducted with the cooperation of an art historian and restorer, as well as a physicist and a technical diagnostician, thus integrating competences that were able to lead to the final results. RiassuntoIl dipinto “Gioconda con colonne” di collezione privata ripropone un’opera d’arte “unicum” nel mondo dell’arte, ovvero “Monna Lisa-Gioconda” di Leonardo da Vinci. La presenza delle colonne rappresenta l’aspetto distintivo più significativo rispetto a “La Gioconda” conservata al Louvre.Sorge di conseguenza la domanda: «Il dipinto “Gioconda con colonne” è da ricondurre al genio Leonardesco o ad un suo seguace, o è da considerare una copia de “La Gioconda” conservata al Louvre o la seconda “Gioconda” o una copia di quest’ultima?»L’indagine è quindi rivolta all’identificazione dei materiali costituenti e alla caratterizzazione della tecnica pittorica con lo scopo di collocare artisticamente l’esecuzione e contribuire a fornire una risposta affidabile sulla base di una valutazione sia soggettiva che oggettiva.A tal riguardo lo studio è stato condotto con il concorso dello storico dell’arte, del restauratore oltre che fisico e del tecnico-diagnosta, in una integrazione di competenze che hanno potuto condurre ad una risultanza finale. RésuméLe tableau « Joconde aux colonnes », provenant d’une collection privée, propose encore une fois une œuvre qui est un « unicum » dans le monde de l’art, à savoir « Mona Lisa/Joconde » de Léonard de Vinci. La présence des colonnes est l’aspect le plus significatif qui le distingue de « La Joconde » conservée au Louvre.La question qui se pose est alors la suivante : « Le tableau “La Jocondeaux colonnes” est-il dû au génie de Léonard ou à celui de l’un de ses disciples, ou doit-on le considérer comme une copie de “La Joconde” conservée au Louvre, ou comme la deuxième “Joconde”, ou comme une copie de cette dernière ? »L’investigation est donc axée sur l’identification des matériaux utilisés et sur la caractérisation de la technique picturale, afin de situer l’exécution au niveau artistique et de contribuer à fournir une réponse fiable, d’après une évaluation tant subjective qu’objective.Dans ce cadre, l’étude a été conduite avec le concours de l’historien de l’art, du restaurateur, du physicien et du technicien diagnostiqueur, dans une intégration des compétences qui a pu conduire à des conclusions finales. ZusammenfassungDas aus einer Privatsammlung stammende Gemälde “Gioconda con colonne” (etwa: Mona Lisa mit Säulen)  erinnert an ein Kunstwerk, das in der Welt der Kunst ein „Unikum“ darstellt, das heißt die “Mona Lisa“ von  Leonardo da Vinci.  Das Vorhandensein der Säulen bildet das bedeutsamste Unterscheidungsmerkmal gegenüber der im Louvre verwahrten „Mona Lisa“.Daraus ergibt sich die Frage: «Ist das Gemälde “Gioconda con colonne” dem Genie Leonardos oder einem seiner Schüler zuzuschreiben, oder ist es als Kopie der im Louvre verwahrten „Mona Lisa“, als zweite „Mona Lisa“ oder als Kopie dieser letzteren zu betrachten?»Die Untersuchung gründet sich hier auf die Identifizierung der verwendeten Materialien und der Maltechnik, um die Ausführung künstlerisch einstufen und eine zuverlässige Antwort auf der Grundlage sowohl einer subjektiven als auch einer objektiven Beurteilung geben zu können.Diesbezüglich wurde die Studie mit Unterstützung von Kunsthistorikern, Restaurateuren sowie Physikern und technischen Diagnostikern betrieben, wodurch die Integration von Fachkompetenzen zustande kam, die schließlich zu einem Endergebnis geführt hat. ResumenLa pintura "Gioconda con columnas" de una colección privada vuelve a proponer una obra de arte única en el mundo del arte, es decir "Mona Lisa-Gioconda" de Leonardo da Vinci. La presencia de las columnas representa la característica distintiva más significativa respecto a "La Gioconda" conservada en el Louvre.Como consecuencia surge una pregunta: «¿La pintura "Gioconda con columnas" ha de ser reconducida al genio de Leonardo o a uno de sus secuaces, o ha de ser considerada una copia de "La Gioconda" conservada en el Louvre, la segunda "Gioconda" o una copia de la última?».Por tanto, la investigación está orientada a identificar los materiales constitutivos y a delinear el carácter de la técnica pictórica con el objetivo de colocar artísticamente su ejecución y dar una contribución para brindar una respuesta fiable basada en una valoración tanto subjetiva como objetiva.Por ello el estudio ha sido realizado con la colaboración de un historiador de arte, de un restaurador, además de un físico y de un técnico-diagnóstico, quienes han reunido las competencias que han permitido llevar a un resultado final. РезюмеКартина «Джоконда с колоннами» из частной коллекции повторяет уникальное произведение исскуства, то есть  «Мона Лизу – Джоконду»  Леонардо да Винчи. Присутствие колонн является наиболее значительным элементом, отличающим ее от «Джоконды», находящейся в Лувре. Возникает как следствие этого вопрос: присваивать ли картину «Джоконда с колоннами» гениальности Леонардо или его приемнику или считать ее копией «Джоконды», хранящейся в Лувре, или это вторая «Джоконда» Леонардо или копия второй «Джоконды»?Исследование, следовательно, обращено на идентификацию составляющих материалов и характеристику техники живописи с целью художественного размещения исполнения и для обеспечения надежного ответа на основе  субъективной и объективной оценки.В связи с этим, исследование было проведено при содействии историка искусства, реставратора, а также физика и техника-диагноста, при интеграции компетенций, которые смогли привести к окончательному результату. 摘要 “Gioconda con colonne(带圆柱的蒙娜丽莎)”这幅私人珍藏画再次呈现了艺术世界独一无二的珍品，即列奥纳多达芬奇的“蒙娜丽莎”。画里的圆柱代表与卢浮宫“蒙娜丽莎”最明显的区分因素。因此出现了这个问题: «“Gioconda con colonne(带圆柱的蒙娜丽莎)”这幅画是由天才达芬奇或他的追随者画的，或者是卢浮宫“蒙娜丽莎”的模仿画，又或者是第二个“蒙娜丽莎”还是第二个“蒙娜丽莎”的模仿画?»这种研究针对画家使用的材料和画画技巧的特征而确定作画者的风格，通过一种主观和客观的分析提供了一个可靠的答案。其实上述研究是在艺术史学家、文物修复学家、物理学家和技术诊断学家的协助下进行的，在他们的共同合作下得到了最终结果。SummaryThe painting “Gioconda with columns” from a private collection re-proposes a work of art that is “unique” in the art world, in other words, the “Mona Lisa” by Leonardo da Vinci. The presence of the columns represents the most significant distinguishing feature when compared to the “Mona Lisa” housed in the Louvre.Consequently the question arises: “Is the painting “Gioconda with columns” attributable to the genius of Leonardo or one of his followers or is it to be considered a copy of the “Mona Lisa” in the Louvre or the second “Gioconda” or a copy of the latter?”Thus, the investigation is directed towards identifying the constituent materials and characterizing the pictorial technique in order to artistically collocate its execution and contribute to providing a reliable answer based on both a subjective and objective evaluation.For this purpose, the study was conducted with the cooperation of an art historian and restorer, as well as a physicist and a technical diagnostician, thus integrating competences that were able to lead to the final results. RiassuntoIl dipinto “Gioconda con colonne” di collezione privata ripropone un’opera d’arte “unicum” nel mondo dell’arte, ovvero “Monna Lisa-Gioconda” di Leonardo da Vinci. La presenza delle colonne rappresenta l’aspetto distintivo più significativo rispetto a “La Gioconda” conservata al Louvre.Sorge di conseguenza la domanda: «Il dipinto “Gioconda con colonne” è da ricondurre al genio Leonardesco o ad un suo seguace, o è da considerare una copia de “La Gioconda” conservata al Louvre o la seconda “Gioconda” o una copia di quest’ultima?»L’indagine è quindi rivolta all’identificazione dei materiali costituenti e alla caratterizzazione della tecnica pittorica con lo scopo di collocare artisticamente l’esecuzione e contribuire a fornire una risposta affidabile sulla base di una valutazione sia soggettiva che oggettiva.A tal riguardo lo studio è stato condotto con il concorso dello storico dell’arte, del restauratore oltre che fisico e del tecnico-diagnosta, in una integrazione di competenze che hanno potuto condurre ad una risultanza finale. RésuméLe tableau « Joconde aux colonnes », provenant d’une collection privée, propose encore une fois une œuvre qui est un « unicum » dans le monde de l’art, à savoir « Mona Lisa/Joconde » de Léonard de Vinci. La présence des colonnes est l’aspect le plus significatif qui le distingue de « La Joconde » conservée au Louvre.La question qui se pose est alors la suivante : « Le tableau “La Jocondeaux colonnes” est-il dû au génie de Léonard ou à celui de l’un de ses disciples, ou doit-on le considérer comme une copie de “La Joconde” conservée au Louvre, ou comme la deuxième “Joconde”, ou comme une copie de cette dernière ? »L’investigation est donc axée sur l’identification des matériaux utilisés et sur la caractérisation de la technique picturale, afin de situer l’exécution au niveau artistique et de contribuer à fournir une réponse fiable, d’après une évaluation tant subjective qu’objective.Dans ce cadre, l’étude a été conduite avec le concours de l’historien de l’art, du restaurateur, du physicien et du technicien diagnostiqueur, dans une intégration des compétences qui a pu conduire à des conclusions finales. ZusammenfassungDas aus einer Privatsammlung stammende Gemälde “Gioconda con colonne” (etwa: Mona Lisa mit Säulen)  erinnert an ein Kunstwerk, das in der Welt der Kunst ein „Unikum“ darstellt, das heißt die “Mona Lisa“ von  Leonardo da Vinci.  Das Vorhandensein der Säulen bildet das bedeutsamste Unterscheidungsmerkmal gegenüber der im Louvre verwahrten „Mona Lisa“.Daraus ergibt sich die Frage: «Ist das Gemälde “Gioconda con colonne” dem Genie Leonardos oder einem seiner Schüler zuzuschreiben, oder ist es als Kopie der im Louvre verwahrten „Mona Lisa“, als zweite „Mona Lisa“ oder als Kopie dieser letzteren zu betrachten?»Die Untersuchung gründet sich hier auf die Identifizierung der verwendeten Materialien und der Maltechnik, um die Ausführung künstlerisch einstufen und eine zuverlässige Antwort auf der Grundlage sowohl einer subjektiven als auch einer objektiven Beurteilung geben zu können.Diesbezüglich wurde die Studie mit Unterstützung von Kunsthistorikern, Restaurateuren sowie Physikern und technischen Diagnostikern betrieben, wodurch die Integration von Fachkompetenzen zustande kam, die schließlich zu einem Endergebnis geführt hat. ResumenLa pintura "Gioconda con columnas" de una colección privada vuelve a proponer una obra de arte única en el mundo del arte, es decir "Mona Lisa-Gioconda" de Leonardo da Vinci. La presencia de las columnas representa la característica distintiva más significativa respecto a "La Gioconda" conservada en el Louvre.Como consecuencia surge una pregunta: «¿La pintura "Gioconda con columnas" ha de ser reconducida al genio de Leonardo o a uno de sus secuaces, o ha de ser considerada una copia de "La Gioconda" conservada en el Louvre, la segunda "Gioconda" o una copia de la última?».Por tanto, la investigación está orientada a identificar los materiales constitutivos y a delinear el carácter de la técnica pictórica con el objetivo de colocar artísticamente su ejecución y dar una contribución para brindar una respuesta fiable basada en una valoración tanto subjetiva como objetiva.Por ello el estudio ha sido realizado con la colaboración de un historiador de arte, de un restaurador, además de un físico y de un técnico-diagnóstico, quienes han reunido las competencias que han permitido llevar a un resultado final. РезюмеКартина «Джоконда с колоннами» из частной коллекции повторяет уникальное произведение исскуства, то есть  «Мона Лизу – Джоконду»  Леонардо да Винчи. Присутствие колонн является наиболее значительным элементом, отличающим ее от «Джоконды», находящейся в Лувре. Возникает как следствие этого вопрос: присваивать ли картину «Джоконда с колоннами» гениальности Леонардо или его приемнику или считать ее копией «Джоконды», хранящейся в Лувре, или это вторая «Джоконда» Леонардо или копия второй «Джоконды»?Исследование, следовательно, обращено на идентификацию составляющих материалов и характеристику техники живописи с целью художественного размещения исполнения и для обеспечения надежного ответа на основе  субъективной и объективной оценки.В связи с этим, исследование было проведено при содействии историка искусства, реставратора, а также физика и техника-диагноста, при интеграции компетенций, которые смогли привести к окончательному результату. 摘要 “Gioconda con colonne(带圆柱的蒙娜丽莎)”这幅私人珍藏画再次呈现了艺术世界独一无二的珍品，即列奥纳多达芬奇的“蒙娜丽莎”。画里的圆柱代表与卢浮宫“蒙娜丽莎”最明显的区分因素。因此出现了这个问题: «“Gioconda con colonne(带圆柱的蒙娜丽莎)”这幅画是由天才达芬奇或他的追随者画的，或者是卢浮宫“蒙娜丽莎”的模仿画，又或者是第二个“蒙娜丽莎”还是第二个“蒙娜丽莎”的模仿画?»这种研究针对画家使用的材料和画画技巧的特征而确定作画者的风格，通过一种主观和客观的分析提供了一个可靠的答案。其实上述研究是在艺术史学家、文物修复学家、物理学家和技术诊断学家的协助下进行的，在他们的共同合作下得到了最终结果。