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CORES-PD/00253/2012 PD/BD/105895/2014 SFRH/BD/148729/2019 PTDC/LLT-EGL/30984/2017 UIDB/50006/2020 UIDP/50006/2020 This work presents the first proof of concept for the use of molecular fluorescence signatures in medieval colours based on lac dye and brazilwood lake pigments. These two important medieval dyes were tested as markers using their UV–Visible emission and excitation spectra. These medieval paints had been previously fully characterized through a multi-analytical approach. In this work, molecular fluorescence spectra were acquired in manuscripts dating from 12th to 15th c., which were produced in monastic scriptoria or workshops. First, the spectral distribution and relative intensity of the emission and excitation spectra were discussed in detail by comparison with reference compounds, including reproductions of paints based on medieval technical texts. It was possible to group the spectra according to recipe specificities. Then, statistical methods (principal component analysis and hierarchical cluster analysis) were applied to the same fluorescence spectra and the generated clusters were compared with the previous ones. Principal component analysis was initially employed to eliminate redundancy in fluorescence data, so minimizing bias on the hierarchical cluster analysis results. Except for some misplaced spectra, the placement of samples per group was confirmed. The outliers resulted from either a poor signal to noise ratio or occurred because certain paints were unique, such as the colour produced by mixing lac dye and brazilwood, which was found in manuscripts from the Alcobaça monastic scriptorium. Previously, by using infrared or Raman spectroscopies, only lac dye could be detected. Notably, these paints compare well with a recipe that was reproduced from the text by Jean Le Begue, in which both dyes were required.[Figure not available: see fulltext.] publishersversion published

This article, on the Early Neolithic pottery from the Cabeco da Amoreira shellmidden in the Muge region of central Portugal, presents a detailed review of the evidence to date and a systematic analysis of the decorative and mineralogical characteristics of the stratified and radiocarbon-dated ceramic assemblage. A homogenous pottery manufacturing tradition seems to be present right from the beginning, including both local and non-local ceramics. The authors formulate a working hypothesis on the geographic origin of the exogenous pottery, which contributes to the discussion of the dynamics of mobility and social networks in the Neolithization of south-western Europe. Spanish Ministry of Science, Innovation and Universities [PGC2018-096943-A-C22]

Working Group 4 (WG4) of the NexusLinguarum COST Action ��� European network for Web-centred linguistic data science (CA18209) ��� is dedicated to applying and validating the Action���s methodologies and technologies, as well as to eliciting the requirements for their implementation. This article outlines WG4���s Tasks and Use Cases, their objectives, requirements, methodologies, resources, milestones and expected deliverables. In addition, it describes the cooperation with the other WGs of NexusLinguarum. URL: https://lexicala.com/review/2021/an-overview-of-nexuslinguarum-use-cases-current-status-and-challenges/

International audience; The VESPACE project aims to revive an evening of theatre at the Foire Saint-Germain in Paris in the 18th century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of virtual reality in three key stages of research in the human sciences and particularly in history or archaeology: preliminary research, scientific dissemination and mediation with the general public. In particular, we detail the methodology used to design a three-dimensional (3D) model that is suitable for both research and virtual reality visualization, meets the standards of scientific work regarding precision and accuracy, and the requirements of a real-time display. This model becomes an environment in which experts can be immersed within their fields of research and expertise, and thus extract knowledge reinforcing the model created – through comments, serendipity and new perspectives – while enabling a multidisciplinary workflow. We also present our tool for annotating and consulting sources, relationships and hypotheses in immersion, called PROUVÉ. This tool is designed to make the virtual reality experience go beyond a simple image and to convey scientific information and theories in the same way an article or a monograph does. Finally, this article offers preliminary feedback on the use of our solutions with three target audiences: the researchers from our team, the broader theatre expert community and the general public.; El proyecto VESPACE tiene como objetivo revivir una velada de teatro en la Foire Saint-Germain de París en el siglo XVIII, recreando espacios, atmósferas y entretenimiento teatral en realidad virtual. Las sedes de esta feria han desaparecido sin dejar ningún rastro arqueológico, por lo que su reconstrucción digital requiere el uso de muy diversas fuentes, entre las que se encuentran expertos historiadores, historiadores del teatro y la literatura. En este artículo presentamos cómo hemos utilizado las herramientas de creación de videojuegos que posibilitan el uso de la realidad virtual en tres etapas clave de la investigación en las ciencias humanas y particularmente en historia o arqueología: investigación preliminar, divulgación científica y mediación con el público en general. En particular, detallamos la metodología utilizada para diseñar un modelo tridimensional (3D) que sea adecuado tanto para la investigación como para la visualización mediante realidad virtual, que cumpla con los estándares del trabajo científico en cuanto a precisión y exactitud, y los requisitos de una visualización en tiempo real. Este modelo se convierte en un entorno en el que los expertos pueden sumergirse dentro de sus campos de investigación y especialización, y así extraer conocimiento reforzando el modelo creado –a través de comentarios, serendipia y nuevas perspectivas– al tiempo que posibilita un flujo de trabajo multidisciplinar. También presentamos nuestra herramienta de anotación y consulta de fuentes, relaciones e hipótesis en inmersión, denominada PROUVÉ. Esta herramienta está diseñada para hacer que la experiencia de la realidad virtual vaya más allá de una simple imagen y que transmita información científica y teorías de la misma manera que lo hace un artículo o una monografía. Finalmente, este artículo ofrece comentarios preliminares sobre el uso de nuestras soluciones con tres públicos objetivo: los investigadores de nuestro equipo, la comunidad de expertos en teatro (más amplia) y el público en general.

legal umbrella provided by the decree-law 57/2016 and law 57/2017). In 1850, after three decades of political turmoil, Portugal started investing in major public works, particularly, in the construction of a national railway network. This strategy followed closely the suggestions of the Saint-Simonian technocrats with whom Portuguese engineers had been engaging since the 1820s. Additionally, it came in response to the longtime neglect suffered by the Portuguese transportation system, which hindered communications and trade between different areas of the kingdom and with neighboring Spain. The main goal of the investment was to modernize the national transport system, attract to Portuguese harbors a large portion of the traffic between Europe, Africa, and America, and, in general terms, put the nation on the path of progress. By the end of the nineteenth century, total mileage of the Portuguese rail network exceeded 2,300 km. This article analyzes the role of railways in the improvement of communications between the Portuguese provinces, their appropriation in a unified nation-state, the degree of integration of the Portuguese economy with the Spanish and European economies, and the construction/reinvention of Portugal as a modern and technological nation. To achieve these goals, I will use three key concepts: territorial appropriation, circulation, and globalization. Sources include statistics of railway operation and previous works analyzing the impact of railways on the Portuguese transport system and economy, the outcomes of operating transnational lines, and the importance of technology for the reinvention of Portugal during the second half of the nineteenth century. preprint published

decree-law 57/2016 law 57/2017 In the second half of the nineteenth century, Portugal undertook in its mainland and colonial territories an ambitious modernising programme based on technoscientific grounds. From the late 1870s onwards, such programme was widely advertised in Occidente, the most important illustrated journal of the time that published several drawings of original photographs. In this paper, I will analyse the imagery based on authentic photography related to technoscientific activities in Portugal and its colonies, using a methodology that combines semiotics with photojournalistic analysis. I claim that Occidente, by publishing drawings of photos, was crucial to create an image of Portugal as a modern, technoscientific, and imperial nation, before the development of halftone printing and photojournalism. publishersversion published

In this article I will be drawing upon affect theory to unpack issues of authenticity, mediation, participation in the production Gob Squads’s Kitchen, by Gob Squad. English/German collective reconstructed Andy Warhol’s early film Kitchen, shot 47 years before, in the flamboyant Factory, starring ephemeral celebrities such as Eve Sedgwick. Alongside Eat (1964), Sleep (1963) and Screen Test (1964-66). Although it premièred in Berlin, in 2007, the show has been touring in several countries and, in 2012, it received the New York Drama Desk Award for Unique Theatrical Experience.I will be examining how the production’s spatial dispositive creates a mediated intimacy that generates affective temporalities and how their performativity allows us to think of the audience as actively engaged in an affective resonance with the stage. Intimacy creates worlds (Berlant 2000). It brings audience and performer closer not only to each other but also to the shifting moment of Performance Art’s capture by institutional discourses and market value. Unleashing affective temporalities allows the audience to embody its potency, to be, again, “at the beginning”.Drawing upon André Lepecki’s notion of reenactments as activations of creative possibilities, I will be suggesting that Gob Squads’s Kitchen merges past and present by disclosing accumulated affects, promises and deceptions attached to the thrilling period of the sixties in order to reperform a possibility of a new beginning at the heart of a nowthen time. In conclusion, this article will shed new light on the performative possibilities of affect to surmount theatrical separation and weave intensive attachments. Mantichora. Italian Journal of Performance Studies, Vol 4 (2014): Custodire l’orizzonte

Intéressée par les idées et les problèmes liés à l’accessibilité et aux vaccins, Annemarie Hou, directrice exécutive et experte en plaidoyer au siège de l’ONUSIDA, et Patrick Mahon, artiste et conservateur universitaire, ont travaillé en collaboration pour créer Design for a Dissemunization Station (D4DS). Une installation composée de deux structures de tente, D4DS comprenait des stations d’écoute et fournissait des sons ambiants évoquant le mouvement d’un vaccin dans le corps. Le terme hybride «dissémunisation» a été utilisé pour révéler des idées concernant la distribution des vaccins et les informations connexes. Hou et Mahon réfléchissent sur le projet et évaluent son succès en ce qui concerne les aspects de la collaboration. Design for a Dissemunization Station (D4DS) is a collaboration between Annemarie Hou, Executive Director a.i. of the United Nations Office for Partnerships and was then a UNAIDS building-based executive and advocacy expert interested in ideas and problems surrounding accessibility and vaccines, and Patrick Mahon, a university-based artist and curator. An installation consisting of two tent structures, D4DS included listening stations and provided ambient sounds suggestive of a vaccine moving through the body. The hybrid term “dissemunization” was used to reveal ideas concerning distribution of vaccines and related information. Hou and Mahon reflect on the project and assess its success with respect to aspects of collaboration.