Spatial, environmental and human influences on the distribution of otter (Lutra lutra) in the Spanish provinces

In a previous survey of otters ( Lutra lutra L. 1758) in Spain, different causes were invoked to explain the frequency of the species in each province. To find common causes of the distribution of the otter in Spain, we recorded a number of spatial, environmental and human variables in each Spanish province. We then performed a stepwise linear multiple regression of the proportion of positive sites of otter in the Spanish provinces separately on each of the three groups of variables. Geographic longitude, January air humidity, soil permeability and highway density were the variables selected. A linear regression of the proportion of otter presence on these variables explained 62.4% of the variance. We then used the selected variables in a partial regression analysis to specify which proportions of the variation are explained exclusively by spatial, environmental and human factors, and which proportions are attributable to interactions between these components. Pure environmental effects accounted for only 5.5% of the variation, while pure spatial and pure human effects explained 18% and 9.7%, respectively. Shared variation among the components totalled 29.2%, of which 10.9% was explained by the interaction between environmental and spatial factors. Human factors explained globally less variance than spatial and environmental ones, but the pure human influence was higher than the pure environmental one. We concluded that most of the variation in the proportion of occurrences of otter in Spanish provinces is spatially structured, and that environmental factors have more influence on otter presence than human ones; however, the human influence on otter distribution is less structured in space, and thus can be more disruptive. This effect of large infrastructures on wild populations must be taken into account when planning large-scale conservation policies

Covariant Spectator Theory and Hadron Structure

We present the first results of a study on meson spectroscopy using a covariant formalism based on the Covariant Spectator Theory. Our approach is derived directly in Minkowski space and it approximates the Bethe–Salpeter equation by taking effectively into account the contributions from both ladder and crossed ladder diagrams in the $q\bar{q}$ interaction kernel. A general Lorentz structure of the kernel is tested and chiral constraints on the kernel are discussed. Results for the pion form factor are also presented.

‘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.