Transferability of environmental favourability models in geographic space: The case of the Iberian desman (Galemys pyrenaicus) in Portugal and Spain

Transferring distribution models between different geographical areas may be problematic, as the performance of models outside their original scope is hard to predict. A modelling procedure is needed that gets the gist of the environmental descriptors of a distribution area, without either overfitting to the training data or overestimating the species’ distribution potential.We tested the transferability power of the favourability function, a generalized linear model, on the distribution of the Iberian desman (Galemys pyrenaicus) in the Iberian territories of Portugal and Spain.We also tested the effects of two of the main potential constraints on model transferability: the analysed ranges of the predictor variables, and the completeness of the species distribution data. We modelled 10 km×10km presence/absence data from Portugal and Spain separately, extrapolated each model to the other country, and compared predictions with observations. The Spanish model, despite arguably containing more false absences, showed good predictive ability in Portugal. The Portuguese model, whose predictors ranged between only a subset of the values observed in Spain, overestimated desman distribution when transferred.We discuss possible reasons for this differential model behaviour, and highlight the importance of this kind of models for prediction and conservation applications

Effect of edible coatings with essential oils on the quality of red raspberries over shelf-life

The objective of the present work was to develop stategies for raising the shelf-life of red raspberries (Rubus idaeus L.). The quality of red raspberries over shelf-life after coated with alginate plus Brazilian Citrus essential oils was evaluated. Edible coatings did not significantly influence the firmness loss, soluble solids content (SCC), and brightness of fruits over time, when compared to control, nevertheless all edible coatings with essential oils induced higher weight loss than those samples in which the essential oils were not incorporated. Fruits coated with alginate plus lime essential oil (0.2%) or orange essential oil (0.1%) after 15 days of storage had less red skin, but were darker than the remaining samples. The less red colour verified in these samples was also coincident with the lower concentration of anthocyanins at the end of the experiment as well as the lower capacity for scavenging ABTS free radicals or quenching singlet oxygen. The edible coatings supplemented with the essential oil of orange either at 0.1 % or 0.2 % were very efficient to control the yeasts and moulds growth after 15 days of storage. To control the development of aerobic mesophilic bacteria the use of essential oil of lemon 0.2% and essential oil of orange 0.1% were the most efficient. The essential oils used in the edible coatings did not significantly change the sensorial properties of the fruit. Cyanidin-3-O-sophoroside, cyanidin-3-O-glucosylrutinoside, cyanidin-3-O-xylosylrutinoside, cyanidin-3-O-glucoside, cyanidin-3-O-rutinoside, pelargonidin-3-O-sophoroside, pelargonidin-3-O-glucosylrutinoside, pelargonidin 3-O-glucoside, pelargonidin 3-O-rutinoside were found in raspberries fruits. An unknown cyanidin derivative was also found in all samples, constituting 27.4% of total anthocyanin content.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.