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The article analyses Silvino Santos’s Filmogramas, a collection of hitherto neglected domestic films the Portuguese-Brazilian filmmaker (1886-1970) made in the late 1920s while accompanying his employer’s family, the Araújos, in Portugal. Combining archival research, interviews, and film analysis, I reconnect the Amazonian and European experiences of (colonial) conquest and domesticity that Santos’s life trajectory and film production depict and embody. The aim is to move beyond regional and hagiographic historiographies and build a more critical and anthropologically informed entangled history of a figure and an epochal milieu that continue to permeate and shape contemporary understandings of the past.

Abstract This paper presents a fatigue model designed to provide probabilistic-stress-life (P-S-N) curves at any probability level. Grounded in the Weibull probabilistic model’s framework, the model describes two scenarios: P-Case A, which considers deviations in stress, and P-Case B, centered on deviations in cycles to failure from the median S-N curve. A significant aspect of the proposed model is the incorporation of the Kohout-Věchet function as the representative median S-N curve, allowing for the Kohout-Vechet P-S-N curves across any probability level. To demonstrate the model’s practical relevance, an experimental example focused on specimens made from 42CrMo4+QT steel and subjected to push-pull loading is explored. Not only do the results show the robustness of the model but they also emphasize the role of the characteristic P-S-N curves, especially at lower probability level, in assuring the safety of engineering components.

Abstract The development of innovative solutions for the conservation and the protection of historic aircraft is a recent and important issue raised in the cultural heritage field and represents the goal of the PROCRAFT (Protection and Conservation of Heritage Aircraft) project. Assessing and documenting the constituent materials as well as their degradation state is necessary to determine and understand factors inducing aluminium alloy corrosion, in order to develop tailored conservation treatments and identify effective protective coatings. The first step of the project was the identification of the constituent materials of aircraft wrecks. Al-Cu-Mg alloys—Duralumin and Super Duralumin, with a higher content of Mg—were the most employed alloys for structural and non-structural parts. These materials undergo a wide range of alterations, amongst which pitting, exfoliation and galvanic corrosion. In the present work, results of the characterisation of wrecks from a North American Republic P-47D Thunderbolt, crashed in Italy in 1945, are reported and compared to wrecks from a French Breguet 765 Sahara n°504 64-PH, built in 1958. The constituent alloys resulted to be similar to the modern 2024 and 2017A alloy. In order to assess the representativeness of these modern alloys in simulating the corrosion behaviour of the historic ones, exfoliation susceptibility (ASTM G34) as well as non-destructive and destructive electrochemical tests in 0.1 M NaCl were carried out on both historic and modern alloys. These results contributed to the selection of representative substrates for the development of protective coatings as well as to the expansion of the dataset on composition and microstructure of historic Al alloys for aircraft. International audience

AbstractFollowing the Mongol invasion of China, the Yuan (1260–1368) dynasty was the first political regime to introduce a precious metal standard and deploy paper money as the sole legal tender. Drawing on a new dataset on money issues, prices, warfare, imperial grants, taxation, natural disasters, and population, we find that a silver standard initially consolidated the Chinese currency market. However, persistent fiscal pressures eventually compelled rulers to ease the monetary standard, and a fiat standard was adopted. We show that inflation was high in the early and late periods of the dynasty but remained moderate for nearly half a century. We find that military pressure, particularly civil war, generated fiscal demands that led to the over‐issuance of money. By contrast, natural disasters and imperial grants did not trigger the over‐issue of money. Warfare was much more likely to increase paper money issues under the fiat standard than during the silver standard period.

Cultural heritage has traditionally been studied within two realms: that of the nation-state, and that of other institutionalising bodies such as UNESCO. Scholars have highlighted a tendency in the area of heritage to prioritise heritage practitioners and the state over heritage users in the heritage creation processes (Harrison Citation2013). Works by critical heritage scholars, such as Laurajane Smith's (Citation2016; Citation2021), have enabled a critical approach to these institutionalised discourses on heritage, oriented towards the listings and canonising of what deserves to be heritage. The thaw introduced by the development of critical heritage studies has enabled a shift from heritage as an ‘authorised discourse’ to other forms of heritage practices. This ‘performative turn’ in heritage studies (Harrison Citation2013; Macdonald Citation2013; Smith Citation2016) has encouraged scholars to look at heritage beyond institutional lenses. In doing so, the materiality of heritage has been questioned (yet not rejected – see Smith Citation2016). Monuments, heritage sites and landscapes have started to be seen as a pretext for performing heritage and the main focus of critical heritage scholars has shifted to the actions of individuals and groups when engaging with heritage. This has further relegated heritage objects and sites to the role of supporting heritage processes, rather than its core focus. The processual nature of heritage has been recognised and highlighted, along with its dependence on meaning-making and the mobilisations/actions of the individuals engaging with it. In other words, what people do with heritage, what meaning it gains through the everyday negotiations of its users, has become more important than its materiality and the institutionalised narratives about it.

Data about Palaeolithic peopling, settlement dynamics and techno-economy of the south-western margin of the Alpine region are sketchy. In this area, the lack of systematic research and the scarcity of lithic raw materials, spread the idea that Piedmont was not inhabited during Palaeolithic. In 2009, the re-starting of the excavations at the Ciota Ciara cave, gave rise to new questions and to the development of research projects at a regional scale. The Ciota Ciara cave is the only Middle Palaeolithic site object of multidisciplinary and systematic investigations. Its lithic assemblage, analysed through a techno-economic approach, allows to understand in detail the technological choices and the land mobility of the Neanderthal groups on a local and sub-regional scale. Other Middle Palaeolithic assemblages are known in the region and are all issued from surface collections. They come from the northern part of the region, from Vaude Canavesane, Trino, Baragge biellesi and Colline Novaresi. The technological study of these assemblages led to the identification of strong similarities in the technological choices of the Middle Palaeolithic human groups: they based their technology on the exploitation of vein quartz, a rock diffused all over the regional territory, from time to time accompanied by other local (spongolite, rhyolite, metamorphic rocks, jasper) and allochthonous (radiolarite and flint) lithic resources, with technological adaptation to their quality and mechanical properties both when it comes to predetermined methods (Levallois and discoid) and when expedient reduction sequences are used. Concerning Upper Palaeolithic, the only lithic assemblage issued from an archaeological excavation (and therefore with a clear stratigraphic context) is that from the Epigravettian site of Castelletto Ticino. Other lithic artefacts referable on a techno-typological basis to Upper Palaeolithic are from Trino and Colline Novaresi. As for Middle Palaeolithic, the techno-economic approach used in the analysis of these lithic assemblages, allow to have, for the first time, reliable data at a regional scale. In this work we present the data obtained after about ten years of research in Piedmont: they outline a scenario where, even in the limits of analysis mostly based on materials issued from surface collections, we can see both clear differences between the Middle and the Upper Palaeolithic technological behaviours and hypothesise the land mobility of the hunter-gatherers’ groups that inhabited the region.

Through different perspectives, this article aims at analyzing the film Museum Town (Jennifer Trainer, 2019) and the way in which it portrays the process of revitalization of the space that became MASS MoCA. To this end, the article follows three potential readings: 1) the story of North-Adams which 2) intersects with the story of MASS MoCA – and which is presented through archive footage and interviews –, and 3) the construction and installation of “Until”, by Nick Cave. These will allow us to try to understand the potential and role of a project like MASS MoCA, while also helping us to perceive the relationship between this same project and the small town in which it is inserted, North-Adams, MA. Através de diferentes perspectivas, o presente trabalho pretende analisar o filme Museum Town (Jennifer Trainer, 2019) e o modo como este dá conta do processo de revitalização do espaço que originou MASS MoCA. Para tal, o artigo segue três linhas orientadoras: 1) a história de North-Adams que 2) se cruza com a história de MASS MoCA – e que vai sendo apresentada através de imagens de arquivo e de entrevistas –, e 3) a construção e instalação de “Until”, de Nick Cave. Estas permitir-nos-ão tentar entender qual a potencialidade e papel de um projecto como o MASS MoCA, enquanto nos ajudarão igualmente a compreender a relação deste mesmo projecto com a pequena cidade que o acolhe, North-Adams, MA. A través de diferentes miradas, el presente trabajo pretende analizar la película Museum Town (Jennifer Tanner, 2019) y la forma como retrata el proceso de revitalización del espacio que dio origen a MASS MoCA. Para ello, el artículo sigue tres ideas: 1) la historia de North-Adams que 2) se cruza con la historia de MASS MoCA – y que se presenta a través de imágenes de archivo y entrevistas –, y 3) la construcción e instalación de “Until” de Nick Cave. Esto nos permitirá tratar de comprender el potencial y el papel de un proyecto como MASS MoCA, además de ayudarnos a percibir la relación entre ese mismo proyecto y la pequeña ciudad que lo alberga, North-Adams, MA.