Theory and practice of flash memory mobile forensics

This paper is an introduction to flash memory forensics with a special focus on completeness of evidence acquired from mobile phones. Moving through academic papers and industrial documents will be introduced the particular nature of non-volatile memories present in nowadays mobile phones; how they really work and which challenges they pose to forensic investigators. Then will be presented an advanced test in which some brand new flash memories have been used to hide data in man-made bad blocks: the aim is to verify if forensic software tools are able to acquire data from such blocks, and to evaluate the possibility to hide data at analysts’ eyes

3d Surveying and modelling of the Archaeological Area of Paestum, Italy

[EN] The intention of this interdisciplinary work is the integration of different 3D recording techniques and instruments to survey the archaeological area of Paestum (Italy) and obtain digital models of the main structures and temples of the site. The ancient city of Paestum, included in the UNESCO World Heritage list since 1998, is one of the most important archaeological sites in Italy, preserving the vestiges and ruins of Greek and Roman times, including three Doric temples. Photogrammetry and terrestrial laser scanning (TLS) acquisitions were integrated in order to exploit the intrinsic advantages of the actual 3D surveying techniques and produces digital models, orthoimages, maps and other geometric representations useful for archaeological, architectural and communication needs.[ES] El objetivo del presente trabajo interdisciplinario es la integración de diferentes técnicas de levantamiento 3D e instrumentos para el estudio de la zona arqueológica de Paestum (Italia), con el fin de obtener modelos tridimensionales digitales de las principales estructuras y templos del yacimiento arqueológico.La antigua ciudad de Paestum, Patrimonio Mundial desde 1998, es uno de los yacimientos históricos más importantes de Italia, ya que conserva vestigios de las épocas griega y romana, entre ellos tres templos dóricos. La toma de datos se ha realizado a través de técnicas de fotogrametría y láser escáner terrestre (TLS), con el objetivo de aprovechar plenamente las ventajas intrínsecas de las técnicas de levantamiento en 3D basadas en objetos reales.Fiorillo, F.; Jiménez Fernández-Palacios, B.; Remondino, F.; Barba, S. (2015). 3d Surveying and modelling of the Archaeological Area of Paestum, Italy. Virtual Archaeology Review. 4(8):55-60. https://doi.org/10.4995/var.2013.4306OJS556048ABATE, D., MIGLIORI, S., PIERATTINI, S., JIMENEZ, B., RIZZI, A., REMONDINO, F. (2012): Remote rendering and visualization of large textured 3D models. Proc. VSMM Conference, Milan, Italy. http://dx.doi.org/10.1109/vsmm.2012.6365951BARBA, S., FIORILLO, F. (2010): "Restitucion de datos laser escaner para el analisis del deterioro de bovedas de ladrillo", Proceedings of del X Congreso Internacional Expresión Gráfica aplicada a la Edificación, Alicante, Spain, Vol. II, pp. 305-313.PIERROT-DESEILLIGNY, M., DE LUCA, L., REMONDINO, F. (2011): "Automated image-based procedures for accurate artifacts 3D modeling and orthoimage generation". Proc. 23th Int. CIPA Symposium, Prague, Czech Republic. http://dx.doi.org/10.14311/gi.6.36REMONDINO, F. (2011): "Heritage Recording and 3D Modeling with Photogrammetry and 3D Scanning", in Remote Sensing, Vol. 3(6), pp. 1104-1138. http://dx.doi.org/10.3390/rs3061104REMONDINO, F., RIZZI, A., JIMENEZ, B., AGUGIARO, G., BARATTI, G., DE AMICIS, R. (2011): "The Etruscan in 3D: from space to underground", Proc. 23th Int. CIPA Symposium, Prague (Czech Republic). http://dx.doi.org/10.14311/gi.6.35SAN JOSE ALONSO, J.I., MARTINEZ RUBIO, J., FERNANDEZ MARTIN, J.J., GARCIA FERNANDEZ, J. (2011): "Comparing time-of-flight and phase-shift. The survey of the royal pantheon in the basilica of San Isidoro (Leon)", Int. Archives of Photogrammetry and Remote Sensing and Spatial Information Sciences, Vol. 38 (5/W16), Trento (Italy)

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。

Vitamin D Deficiency and Risk Factors Related to Acute Psychiatric Relapses in Patients with Severe Mental Disorders: A Preliminary Study

Previous studies have indicated that vitamin (Vit) D deficiency is frequent in psychiatric patients, regardless of diagnostic category. We aimed to assess whether acute psychiatric relapses in inpatients was associated with Vit D deficiency compared to stabilized outpatients. The cohort (152 total patients, 75 males and 77 females) had a mean age of 47.3 ± 14.4 years at admission and was grouped according to psychiatric diagnosis. Psychopathological symptom severity was assessed by the Brief Psychiatric Rating Scale (BPRS), a multidimensional symptom inventory. Total calcium serum levels were measured using standard laboratory methods, while plasma levels of 25-OH-Vit D and parathyroid hormone (PTH) were measured by automated chemiluminescence immunoassays. The psychiatric inpatient subgroup showed a significant difference in serum levels of 25-OH-Vit D and PTH (p < 0.001). Correlation analysis between serum levels of 25-OH-Vit D and BPRS total and subitem scores indicated a significantly negative relationship. In addition, linear regression analysis evidenced that the inpatient condition might predict low PTH and 25-OH-Vit D serum levels. Hospitalized psychiatric patients are at increased risk for Vit D deficiency regardless of their diagnostic categories. The mechanism underlying the association between acute psychiatric relapses and Vit D deficiency remains unclear. Therefore, screening for Vit D deficiency should pertain to the health assessment of patients with major psychiatric disorders

Sawmark Analysis of Three Cases of Amputation and a Craniotomy from the Seventeenth and Eighteenth Centuries Hospital Necropolis of Forlì Campus (Forlì, Italy)

The seventeenth-eighteenth century hospital necropolis of Forlì Campus (Forlì, Italy) was discovered during the Forlì Campus building work in 2014. Three cases of limb amputation and a craniotomy are examined using the forensic approach of sawmark analysis in order to understand features of the surgical instruments employed and to gain insight into the position of the surgeon during the cutting actions. With the aid of high definition photographs and moulds, we analyzed the cut surfaces of each sample, also using stereomicroscopy and SEM (Scanning Electron Microscopy). A qualitative and quantitative approach was used in the analysis of the kerf features (e.g. breakaway spur and notch, tooth scratches and hop, exit chipping), and empirical evidence was compared against comparisons coeval surgical essays. We hypothesize that a linear hand-powered push saw and an alternated push saw with a 2mm distance between the teeth were used for amputations. The craniotomy was executed presumably using a linear hand-powered saw with the set of the blade circa 1.3mm wide. Through the application of forensic methods on individuals from archaeological context we describe early cases of surgical practice in a more technical way

Sawmark Analysis of Three Cases of Amputation and a Craniotomy from the Seventeenth and Eighteenth Centuries Hospital Necropolis of Forlì Campus (Forlì, Italy)

The seventeenth-eighteenth century hospital necropolis of Forlì Campus (Forlì, Italy) was discovered during the Forlì Campus building work in 2014. Three cases of limb amputation and a craniotomy are examined using the forensic approach of sawmark analysis in order to understand features of the surgical instruments employed and to gain insight into the position of the surgeon during the cutting actions. With the aid of high definition photographs and moulds, we analyzed the cut surfaces of each sample, also using stereomicroscopy and SEM (Scanning Electron Microscopy). A qualitative and quantitative approach was used in the analysis of the kerf features (e.g. breakaway spur and notch, tooth scratches and hop, exit chipping), and empirical evidence was compared against comparisons coeval surgical essays. We hypothesize that a linear hand-powered push saw and an alternated push saw with a 2mm distance between the teeth were used for amputations. The craniotomy was executed presumably using a linear hand-powered saw with the set of the blade circa 1.3mm wide. Through the application of forensic methods on individuals from archaeological context we describe early cases of surgical practice in a more technical way

Retrospective and observational study to assess the efficacy of citicoline in elderly patients suffering from stupor related to complex geriatric syndrome

A significant percentage of elderly subjects (50%–80%) suffering from sub-acute ischemic cerebrovascular disease, with or without moderate or severe cognitive memory decline and with or without associated behavioral and psychological symptoms, shows a complex syndrome. This syndrome is related to the progressive impairment of health conditions and/or stressing events (ie, hospitalization), characterized by confusion and/or stupor, which are consequently difficult to manage and require a great deal of care. Geriatric patients often suffer from multiple chronic illnesses, may take numerous medications daily, exhibit clinical instability, and may experience worsening of medical conditions following cerebral ischemic events and thus have an increased risk of disability and mortality. There are several studies in literature which demonstrate the efficacy of citicoline, thanks to its neuroprotective function, for the recovery and in postischemic cerebral rehabilitation. It has been shown that, even soon after an ischemic stroke, administration of oral citicoline (500–4000 mg/day) improves the general conditions evaluated with the Rankin scale and the National Institute of Health Stroke Scale 12. In particular, it has been shown that the CDP-choline improves the cognitive and mental performance in Alzheimer’s dementia and vascular dementia. We have evaluated the administration of citicoline in geriatric patients following a protocol of intravenous study on improvement of individual performances

An integrated approach to the evaluation of patients with asymptomatic or minimally symptomatic hyperCKemia

INTRODUCTION/AIMS: Currently, there are no straightforward guidelines for the clinical and diagnostic management of hyperCKemia, a frequent and nonspecific presentation in muscle diseases. Therefore, we aimed to describe our diagnostic workflow for evaluating patients with this condition. METHODS: We selected 83 asymptomatic or minimally symptomatic patients with persistent hyperCKemia for participation in this Italian multicenter study. Patients with facial involvement and distal or congenital myopathies were excluded, as were patients with suspected inflammatory myopathies or predominant respiratory or cardiac involvement. All patients underwent a neurological examination and nerve conduction and electromyography studies. The first step of the investigation included a screening for Pompe disease. We then evaluated the patients for myotonic dystrophy type II–related CCTG expansion and excluded patients with copy number variations in the DMD gene. Subsequently, the undiagnosed patients were investigated using a target gene panel that included 20 genes associated with isolated hyperCKemia. RESULTS: Using this approach, we established a definitive diagnosis in one third of the patients. The detection rate was higher in patients with severe hyperCKemia and abnormal electromyographic findings. DISCUSSION: We have described our diagnostic workflow for isolated hyperCKemia, which is based on electrodiagnostic data, biochemical screening, and first‐line genetic investigations, followed by successive targeted sequencing panels. Both clinical signs and electromyographic abnormalities are associated with increased diagnostic yields