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1.
Simple and fast HPLC-DAD method for determination of HCDC activity and formation of vinylphenol in Saccharomyces and non-Saccharomyces yeast
Jelena Topič, Lorena Butinar, Dorota Korte, Branka Mozetič Vodopivec, objavljeni povzetek znanstvenega prispevka na konferenci

Opis: Conventionally, alcoholic fermentation in the production of wine is performed by yeast species Saccharomyces cerevisiae. There are numerous starters available, however due to the growing demand for wines with specific characteristics, other Saccharomyces and non-Saccharomyces species are being investigated for potential use as starters. [1]. Yeast selection has involved the development of techniques for detecting strains that might improve wines in terms of aroma, structure, colour and other technological properties [2]. Colour of the wine can be affected as some metabolites produced by yeast during fermentation may react with grape anthocyanins to produce highly stable pyranoanthocyanins. For the facilitation of formation of vinylphenolic pyranoanthocyanins, yeast strains with high hydroxycinnamate decarboxylase activity are used (HCDC). The mechanism of reaction is decarboxylation of hydroxycinnamic acids and formation of vinylphenols that condense with grape anthocyanins and form stabile vinyphenolic pyranoanthocyanin adducts [3]. It has been demonstrated that some non-Saccharomyces strains (Pichia guillermondii, Schizosaccharomyces pombe) have positive HCDC activity and they can produce vinylphenolic pyranoanthocyanins in higher concentrations than S. cerevisiae. A simple way of determining whether the yeast strain has HCDC activity or not, is the use of fermentation media with the addition of hydroxycinnamic acids, such as p-coumaric acid. The degradation of p-coumaric acid and transformation into 4-vinylphenol (and possibly in 4-ethylphenol) can be checked by LC-DAD. Most of the published data has been done on smaller number of strains. The goal of our work was to develop simple method for the screening of Slovenian in-house yeast collection, comprising of native isolates that mostly originated from Vipava valley and Karst region, and therefore try to determine strains with high HCDC activity. These strains can be used for wine fermentations in order to produce more stable pyranoanthocyanins; which is especially important in wines that has less anthocyanin concentration already from the grape, such as Pinot Noir. 103 different yeast strains belonging to 28 species were selected for the assessment of HCDC activity. In some cases the difference in p-coumaric acid metabolism rate between two strains exceeded 90%. All tested S. paradoxus strains showed higher than 40% degradation rate of p-coumaric acid. HCDC activity of S. cerevisiae strains which is the species most commonly used in fermentation, varied between 5.1 and 66.1%. The commercial strains tested, FPC and EC118 showed 43.9 and 21.5% conversion rate, respectively. It was observed that some native strains had higher HCDC activity than commercial tested ones. Three strains produced vinylphenol in concentration higher than 50 ppm, two of them being P. guillermondii and another strain being S. paradoxus (Sut85). In general strain with high HCDC activity also produced high concentration of 4-vinylphenol. The results showed that HCDC activity is highly strain dependent, which correlates with the literature data available. The proposed method is very simple and does not require special sample preparation prior to HPLC analysis. Furthermore, the proposed fermentations in deep-well microtiter plates allow the screening of high number of strains. The method could be used for routine screening, to determine which strain has high HCDC activity and produces high concentration of vinylphenols and can therefore be used in future for determination of strains ability to synthesize vinylphenolic pyranoanthocyanins.
Ključne besede: yeast, hydroxycinnamate decarboxylase, 4-vinylphenol
Objavljeno: 18.06.2018; Ogledov: 53; Prenosov: 0
.pdf Polno besedilo (4,46 MB)

2.
3.
On Human Sensitivity
Milena Kovačević, 2018, izvirni znanstveni članek

Opis: An analysis of D. H. Lawrence's novel The Rainbow, and of his views concerning the human relationships. Reference to Lawrence's essay on John Galsworthy (1927) is made; of older traditions, including taoistic and Christian tradition (St Augustine, Confessions).
Ključne besede: D. H. Lawrence, The Rainbow, Christianity, Saint Augustine
Objavljeno: 15.06.2018; Ogledov: 100; Prenosov: 0
.pdf Polno besedilo (172,04 KB)

4.
Reading Urban Space. An Evolving Lexicon
Purg Peter, 2018, samostojni strokovni sestavek ali poglavje v monografski publikaciji

Ključne besede: urban, space, media
Objavljeno: 13.06.2018; Ogledov: 110; Prenosov: 0
.pdf Polno besedilo (206,95 KB)

5.
FILMIC QUALITIES OF ARTIFICIAL WORLDS: WHY VIRTUAL AND AUGMENTED REALITY?
druga izvedena dela

Opis: An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them world An increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them worldAn increasing number of filmmakers and film exhibitors, among them world -renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film renowned directors and film festivals, have been recently flirting with the newest technologies of artificial reality. 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marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing goa complex way of telling a story, to serve higher artistic or merely marketing go a complex way of telling story, to serve higher artistic or merely marketing go als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this als. How to treat this (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic (seemingly) fresh phenomenon in the film world? Is it, perhaps, only a new execution of original cinematic idea?
Ključne besede: VR, XR, augmented, vritual, reality
Objavljeno: 13.06.2018; Ogledov: 117; Prenosov: 0
.pdf Polno besedilo (372,84 KB)

6.
Dealing with network changes in cellular fingerprint positioning systems
Chris Marshall, Federico Pittino, Andrea Dalla Torre, Donatella Gubiani, Angelo Montanari, Paolo Gallo, Andrea Viel, 2017, objavljeni znanstveni prispevek na konferenci

Opis: Besides being a fundamental infrastructure for communication, cellular networks are exploited for positioning through signal fingerprinting. Maintaining the fingerprint database consistent and up-to-date is a challenging task in many fingerprint positioning systems, e.g., in those populated by a crowd-sourcing effort. To this end, detecting and tracking the changes in the configurations of cellular networks over time is recognized as a relevant problem. In this paper, we show that to cope with this problem we can successfully exploit information provided by Timing Advance (TA). As a by-product, we prove that TA can improve the fingerprint candidate selection phase, reducing the number of fingerprints to provide as input to positioning algorithms. The effectiveness of the proposed improvements has been tested on a fingerprint positioning system with a large fingerprint dataset collected over a period of 2 years.
Ključne besede: fingerprint positioning systems, cellular communication networks, network changes
Objavljeno: 13.06.2018; Ogledov: 133; Prenosov: 0
.pdf Polno besedilo (4,64 MB)

7.
There is Faith and Faith: prosodic contrast in Serbo-Croatian and Slovenian verb derivation
Marko Simonović, 2018, objavljeni povzetek znanstvenega prispevka na konferenci

Ključne besede: Verbs, Prosody, Optimality Theory, Distributed Morphology, Faithfulness, Theme vowels, Serbo-Croatian, Slovenian
Objavljeno: 12.06.2018; Ogledov: 111; Prenosov: 1
.pdf Polno besedilo (28,54 KB)

8.
9.
Two (non-)islands in Slovenian
Manca Mušič, Penka Stateva, Arthur Stepanov, 2018, izvirni znanstveni članek

Opis: There exists a controversy in the literature and among the speakers of Slovenian concerning the grammaticality of wh-island and subject island constructions in this language. We conducted an acceptability rating study of wh-islands and subject islands in Slovenian, using the factorial definition of island. This definition provides for a possibility to isolate a true island effect while controlling for two complexity factors that potentially interfere in speakers’ evaluation of the relevant sentences: the length of the respective movement dependency and the presence of an island structure itself. We found that (i) Slovenian speakers do judge the wh-island sentences worse than the respective controls, but the observed degradation cannot be attributed to a true island effect; (ii) subject extraction out of a wh-island leads to a so called reverse island effect whereby the acceptability is higher than expected even if the above two complexity factors are taken into consideration; and (iii) speakers are sensitive to the subject island effect, as predicted by the mainstream theories of syntactic locality. The results of our study contribute to establishing a solid empirical base for further theoretical investigations of the island effects and raise new questions about the role of processing factors in speakers’ evaluations of island constructions.
Ključne besede: syntactic island, experimental syntax, Subjacency, Empty Category Principle, Slovenian
Objavljeno: 11.06.2018; Ogledov: 106; Prenosov: 0
.pdf Polno besedilo (607,96 KB)

10.
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