A new species of spider fly in the genus Sabroskya Schlinger from Malawi, with a key to Acrocerinae world genera (Diptera, Acroceridae)

In this paper we diagnose the genus Sabroskya Schlinger, 1960 and describe Sabroskya schlingeri sp. n. from Malawi. We also provide dichotomous keys to species of Sabroskya and to world genera of the subfamily Acrocerinae, both extant and extinct.

Revision of the genera Interrhodeus, Pennarhodeus and Poropodalius (Acari: Rhodacaridae)

The genera Interrhodeus Karg, Pennarhodeus Karg and Poropodalius Karg are redescribed on the basis of one species of Interrhodeus, four species of Pennarhodeus and five species of Poropodalius, including the type species of each genus. All species are redescribed on the basis of the type specimens, and keys for the separation of the species of the latter two genera are provided. Re-examination of these species shows that these three genera are correctly placed in the family Rhodacaridae.

Two new genera, ten new species and new records of Amazonian Stygnidae Simon, 1879 (Opiliones: Laniatores)

As a result of recent expeditions to two mountains in the Amazon basin, Tapirapeco and Pico da Neblina, two new genera of Stygnidae, Imeri g. nov. (type species Imeri lomanhungae sp. nov.) and Jime g. nov. (type species Jime chifrudo sp. nov.), and ten new species are described: Auranus hehu sp. nov., Auranus tepui sp. nov., Imeri lomanhungae sp. nov.; Jime chifrudo sp. nov.; Stygnoplus ianomami sp. nov.; Stygnus magalhaesi sp. nov.; Stygnoplus neblina sp. nov.; Stygnoplus tapirapeco sp. nov.; Stygnus nogueirai sp. nov., Stygnus kuryi sp. nov.. Additionally, new distributional records in Amazonas (Brazil) are presented for Stygnidius guerinii Soerensen, 1932, Minax tetraspinosus Pinto-da-Rocha, 1997 and Protimesius longipalpis (Roewer, 1943). Keys for genera of Heterostygninae and Stygninae are provided.

A review of the genus Corynoneura Winnertz (Diptera: Chironomidae) from the Neotropical region

Currently the genus Corynoneura Winnertz comprises 10 species already cited or described for the Neotropical region. In the present paper 15 new species are described for the Neotropics: 12 new species are described from Brazil, five of them are described as male, female, pupa and larva, Corynoneura canchim sp. n., C. diogo sp. n., C. espraiado sp. n., C. humbertoi sp. n., C. salviniatilis sp. n.; three as male, pupa and larva, C. franciscoi sp. n.; C. longiantenna sp. n. and C. renata sp. n.; the species C. sisbiota sp. n. as male, female and pupa; C. bodoquena sp. n. as male and pupa and C. boraceiasp. n. and C. vidiapodeme sp. n. as males. Corynoneura trondi sp. n. is described from Chile (male, pupa), C. guanacaste sp. n. from Costa Rica (male) and C. zempoala sp. n. from Mexico (male). The knowledge of the distribution of Corynoneura fortispicula, C. sertaodaquina, C. septadentata and C. unicapsulata all species described by Wiedenbrug and Trivinho-Strixino (2011) as well as Corynoneura ferelobata Sublette et Sasa is extended. A larval morphotype is also included. Keys for males, females, pupae and larvae to known species of the Neotropical Corynoneura are given.

Efeitos do conhecimento de resultados autocontrolado na aprendizagem motora

O objetivo do presente estudo foi analisar três diferentes estratégias de fornecer conhecimento de resultados (CR): autocontrolado, yoked pareado por tentativa e yoked pareado pela frequência média total de CR, na prática aleatória. A amostra foi constituída por 45 voluntários universitários, distribuídos em três grupos (n= 15 sujeitos). A tarefa consistiu em pressionar as teclas 2, 4, 8 e 6 do teclado numérico de um computador, em três diferentes tempos alvo (700, 900 e 1100 ms), praticados aleatoriamente. O experimento constou de fase de aquisição e testes de retenção e transferência atrasados. A análise dos dados foi realizada por meio da ANOVA e não foi constatada diferença significativa entre os grupos. Os resultados demonstraram que não houve efeito das frequências autocontroladas para a aprendizagem motora quando se utiliza a prática aleatória. Além disso, uma nova possibilidade de parear o grupo autocontrolado foi apresentada.

Facial Profile Evaluation of Isolated Pierre Robin Sequence

Objective: To evaluate numerically the facial profile of children with isolated Pierre Robin sequence (PRS) and to compare them with a control group that has no pathologies and exhibits regular and balanced facial growth, with no skeletal alterations. Patients: Eighty-three children aged 5 to 10 years (PRS group, n = 60; control group, n = 23) were selected. Setting: Hospital for Rehabilitation of Craniofacial Anomalies, University of Sao Paulo (HRAC-USP). Children from the control group were taken from the program of Interceptive Orthodontics at HRAC-USP. Design: Angular and ratio analyses of the facial profiles in both groups were realized through digital photographs. The PRS group was subdivided into two groups-complete and incomplete-according to the sagittal extension of the cleft palate, to investigate the possible influence of cleft extension on the face. Results: The facial convexity angle and the facial inferior third angle were considerably higher in the PRS groups than in the control group and were not significantly different between PRS groups. Nasolabial angle did not differ between groups. Conclusion: The facial profile was more convex in individuals with PRS than in those with regular facial growth and with no pathology. The mandible was responsible for the convexity of the profile in PRS because of its lack off anterior projection. An important relationship between the extension of the cleft palate and alterations in facial profile in PRS was not observed.

An illustrated key to the genera and subgenera of the Recent azooxanthellate Scleractinia (Cnidaria, Anthozoa), with an attached glossary

The 120 presently recognized genera and seven subgenera of the azooxanthellate Scleractinia are keyed using gross morphological characters of the corallum. All genera are illustrated with calicular and side views of coralla. All termes used in the key are defined in an illustrated glossary. A table of all species-level keys, both comprehensive and faunistic, is provided covering the last 40 years.

New genera and species of Neotropical Rhinotragini (Coleoptera, Cerambycidae, Cerambycinae)

Giesberteclipta and Thomasella, two new genera of Rhinotragini Thomson, 1861 (Coleoptera: Cerambycidae: Cerambycinae), are described and illustrated. Six new species are also described and illustrated: Acyphoderes violaceus from Costa Rica; Ischasioides giesberti from Ecuador, and Oxylymma pallida, Pseudagaone williamsi, Stultutragus tippmanni and S. ventriguttatus from Brazil. Keys are provided for the known species of Pseudagaone Tippmann, 1960, Giesberteclipta, and Oxylymma Pascoe, 1859 and for parts of Ischasioides Tavakilian & Penaherrera-Leiva, 2003 and Stultutragus Clarke, 2010. The following new combinations are proposed: Giesberteclipta costipennis (Giesbert, 1991); G. monteverdensis (Giesbert, 1991); Thomasella igniventris (Giesbert, 1991), and Stultutragus romani (Aurivillius, 1919). The following three new country records are reported: Oxylymma durantoni Penaherrera-Leiva & Tavakilian, 2003 (Brazil), Oxylymma sudrei Penaherrera-Leiva & Tavakilian, 2003 (Brazil), and Ommata (Eclipta) faurei Penaherrera-Leiva & Tavakilian, 2003, all from Brazil.

New Neotropical cunaxine species (Acari: Prostigmata: Cunaxidae)

Four new Brazilian cunaxine species, namely Armascirus brasiliensis Den Heyer sp. nov., A. bahiaensis Den Heyer sp. nov., Dactyloscirus saopauloensis Den Heyer sp. nov. and Riscus austroamericanus Den Heyer sp. nov. are described and figured. A key to the new species, as well as the known species of Riscus, is provided.

Neotropical termites: revision of Armitermes Wasmann (Isoptera, Termitidae, Syntermitinae) and phylogeny of the Syntermitinae

We present a comprehensive phylogenetic analysis of Syntermitinae, including representatives of all genera of the subfamily, along with all 12 species assigned formerly to the genus Armitermes Wasmann (Termitidae, Syntermitinae), and 4 new species described herein. Syntermitinae was recovered as a natural group and the hypothesis that the frontal tube indicates convergence between Syntermitinae and Nasutitermitinae was corroborated. Also, several diagnostic characters proposed in the original description of Syntermitinae are discussed. Alongside the phylogenetic study, a taxonomic revision of the Neotropical genus Armitermes was carried out, resulting in division of the genus into four genera. Taxonomic novelties are: Armitermes now includes A. armiger (Motschulsky), A. bidentatus Rocha & Cancello sp.n. and A. spininotus Rocha & Cancello sp.n.; Silvestritermes Rocha & Cancello gen.n. includes S. euamignathus (Silvestri) comb.n., S. lanei (Canter) comb.n., S. gnomus (Constantino) comb.n., S. duende Rocha & Cancello sp.n., S. minutus (Emerson) comb.n., S. almirsateri Rocha & Cancello sp.n. and S. holmgreni (Snyder) comb.n.; Uncitermes Rocha & Cancello gen.n. includes U. teevani (Emerson) comb.n.; Mapinguaritermes Rocha & Cancello gen.n. includes M. peruanus (Holmgren) comb.n. and M. grandidens (Emerson) comb.n. A new synonymy is proposed for A. cerradoensis Mathews under S. euamignathus. All soldiers are described and illustrated, as are the mandibles and digestive tract of the worker and the imago caste, when available. We provide a dichotomous key, based on soldiers, for all genera of Syntermitinae, and distribution maps and dichotomous keys, based on soldiers, for the species of Armitermes and all the new genera described herein.

Molecular and serological characterization of Leptospira interrogans serovar Canicola isolated from dogs, swine, and bovine in Brazil

The identification of Leptospira clinical isolates through genotyping and serotyping, besides the recognition of its reservoirs, are important tools for understanding the epidemiology of leptospirosis, and they are also keys for identifying new species and serovars. Fourteen clinical isolates from animals were characterized by means of single enzyme amplified length polymorphism, variable number of tandem repeat analysis, pulsed field gel electrophoresis, and serotyping. All isolates were identified as Leptospira interrogans, serovar Canicola. Infections by this serovar occur in urban regions, where dogs represent the main maintenance hosts, whereas bovine and swine may act as reservoirs of serovar Canicola in rural areas. Both urban and rural aspects of leptospirosis, and the role of domestic animals as maintenance hosts, cannot be neglected in developing and developed countries.

Correlation between maxillary central incisor crown morphology and mandibular dental arch form in normal occlusion subjects

The aim of this study was to evaluate the correlation between the morphology of the mandibular dental arch and the maxillary central incisor crown. Cast models from 51 Caucasian individuals, older than 15 years, with optimal occlusion, no previous orthodontic treatment, featuring 4 of the 6 keys to normal occlusion by Andrews (the first being mandatory) were observed. The models were digitalized using a 3D scanner, and images of the maxillary central incisor and mandibular dental arch were obtained. These were printed and placed in an album below pre-set models of arches and dental crowns, and distributed to 12 dental surgeons, who were asked to choose which shape was most in accordance with the models and crown presented. The Kappa test was performed to evaluate the concordance among evaluators while the chi-square test was used to verify the association between the dental arch and central incisor morphology, at a 5% significance level. The Kappa test showed moderate agreement among evaluators for both variables of this study, and the chi-square test showed no significant association between tooth shape and mandibular dental arch morphology. It may be concluded that the use of arch morphology as a diagnostic method to determine the shape of the maxillary central incisor is not appropriate. Further research is necessary to assess tooth shape using a stricter scientific basis.

Resurrection of the genus Licornia for Scrupocellaria jolloisii (Bryozoa) and related species, with documentation of L. jolloisii as a non-indigenous species in the western Atlantic

Recent studies of the large cheilostome bryozoan genus Scrupocellaria have shown a greater degree of taxonomically informative morphological variation in zooids, opesia, and polymorphic structures than previously recognized. Only one subgenus has been named within the genus, Retiscrupocellaria d'Hondt, 1988, erected for Scrupocellaria jolloisii. In this work we further analyse S. jolloisii and its related species, resurrecting an earlier genus name, Licornia van Beneden, 1850 for Licornia jolloisii, and nine relatives, L. annectens, L. cervicornis, L. cyclostoma, L. diadema, L. ferox, L. gaspari, L. longispinosa, L. macropora, and L. prolata. Licornia jolloisii was originally described from the Red Sea, and most species of the genus occur in the Indo-Pacific region. The species, however, has now been found in the Western Atlantic, in the Florida Keys, US, and in Bahia de Todos Santos, Brazil.

The use of remote sensing imagery for monitoring recovery in the aftermath of a natural disaster: the Hurricane Katrina Case

Although Recovery is often defined as the less studied and documented phase of the Emergency Management Cycle, a wide literature is available for describing characteristics and sub-phases of this process. Previous works do not allow to gain an overall perspective because of a lack of systematic consistent monitoring of recovery utilizing advanced technologies such as remote sensing and GIS technologies. Taking into consideration the key role of Remote Sensing in Response and Damage Assessment, this thesis is aimed to verify the appropriateness of such advanced monitoring techniques to detect recovery advancements over time, with close attention to the main characteristics of the study event: Hurricane Katrina storm surge. Based on multi-source, multi-sensor and multi-temporal data, the post-Katrina recovery was analysed using both a qualitative and a quantitative approach. The first phase was dedicated to the investigation of the relation between urban types, damage and recovery state, referring to geographical and technological parameters. Damage and recovery scales were proposed to review critical observations on remarkable surge- induced effects on various typologies of structures, analyzed at a per-building level. This wide-ranging investigation allowed a new understanding of the distinctive features of the recovery process. A quantitative analysis was employed to develop methodological procedures suited to recognize and monitor distribution, timing and characteristics of recovery activities in the study area. Promising results, gained by applying supervised classification algorithms to detect localization and distribution of blue tarp, have proved that this methodology may help the analyst in the detection and monitoring of recovery activities in areas that have been affected by medium damage. The study found that Mahalanobis Distance was the classifier which provided the most accurate results, in localising blue roofs with 93.7% of blue roof classified correctly and a producer accuracy of 70%. It was seen to be the classifier least sensitive to spectral signature alteration. The application of the dissimilarity textural classification to satellite imagery has demonstrated the suitability of this technique for the detection of debris distribution and for the monitoring of demolition and reconstruction activities in the study area. Linking these geographically extensive techniques with expert per-building interpretation of advanced-technology ground surveys provides a multi-faceted view of the physical recovery process. Remote sensing and GIS technologies combined to advanced ground survey approach provides extremely valuable capability in Recovery activities monitoring and may constitute a technical basis to lead aid organization and local government in the Recovery management.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.