The paper presents the main experimental capabilities of the automatic system for the study of the interaction between porous media and atmosphere. This system is one of the possible variants of patent 2-241-477. The paper shows the result of a drying and wetting study of a tailings sample. The sample is 32 cm in height and 29 cm in diameter. The saturation and drying process was carried out at 26 degrees Celsius at the sample surface, an air velocity of 2 m/s and a relative humidity of 60%. The recharge applied to the column surface was 0.3 cm3/cm2/minute. The results show the effectiveness of the system in controlling the spatial-temporal variation of different physical properties of the porous medium in the vertical and surface profile. The controlled variables include volumetric water content, suction, relative humidity, sample weight variation due to recharge or drying, shrinkage, temperature, etc. The experiment shows how the tailings saturate very quickly but dry very slowly. Tailings consolidation occurs in the drying and wetting processes, being higher in the first one.

We assume that poetic devices have an implicit goal: producing an overall sound scheme that will induce the reader to associate intended and expressed meaning to the sound of the poem. Sounds may be organized into categories and assigned presumed meaning as suggested by traditional literary studies. In my work, I have extracted automatically the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment I have computed lexically and semantically based sentiment analysis obtaining an 80% of agreement. In a second experiment sentiment analysis has been substituted by Appraisal Theory thus obtaining a more fine-grained interpretation which in some cases contradicts the first one. The computation for the second poet - regarded by many critics the best of last century - includes both vowels and consonants. In addition, it combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them.