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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Silvana Castano; Alfio Ferrara; Emanuela Furiosi; Stefano Montanelli; +3 Authors
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Computer Law & Secur...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Hamerow, HF; Leggett, S; Tinguely, C; Le Roux, P;

    ABSTRACT Exogamous marriage alliances involving royal women played a prominent role in the conversion of the Anglo-Saxon kingdoms to Christianity in the seventh century AD. Yet the large number of well-furnished female burials from this period suggests a broader change in the role of women. The authors present the results of isotopic analysis of seventh-century burials, comparing male and female mobility and the mobility of females from well-furnished versus poorly/unfurnished burials. Results suggest increased mobility during the Conversion Period that is, paradoxically, most noticeable among women buried in poorly furnished graves; their well-furnished contemporaries were more likely to have grown up near to their place of burial.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Edinburgh Research E...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Oxford University Research Archive
    Article . 2023
    License: CC BY NC ND
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Antiquity
    Article . 2024 . Peer-reviewed
    License: CC BY NC ND
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Edinburgh Research E...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Oxford University Research Archive
      Article . 2023
      License: CC BY NC ND
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Antiquity
      Article . 2024 . Peer-reviewed
      License: CC BY NC ND
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ferrara, Alfio; Picascia, Sergio; Rocchetti, Elisabetta;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio Istituziona...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    ZENODO
    Conference object . 2024
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    ZENODO
    Article . 2024
    License: CC BY
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio Istituziona...arrow_drop_down
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      ZENODO
      Conference object . 2024
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      ZENODO
      Article . 2024
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Peter R. Coutros; Igor Matonda; Jessamy H. Doman; Sara Pacchiarotti; +2 Authors

    Archaeological investigations of the Idiofa region in the Kwilu Province of the Democratic Republic of Congo have yielded the earliest evidence for iron production, combined with ceramics and lithic artefacts, south of the Congo rainforest during the second century BC. Palaeoecological data show that the producers of this industry did not settle in open grasslands but in a habitat where the forests had started to undergo climate-induced degradation before their arrival. The Early Iron Age at Idiofa continues until the third century AD and is followed by a long hiatus that was not driven by climate change until the fifteenth century. Later Iron Age (LIA) pottery in the area, which dates to c. 1487–1648, is markedly distinct from that of the EIA in vessel forms, size, recipe and decoration. EIA pottery from Idiofa resembles most closely slightly younger Kay Ladio pottery (c. cal. AD 30–475) from the Lower Congo region further west, which is also associated with the first metallurgy there. Idiofa’s LIA pottery is indicative of a fifteenth- through seventeenth-century exchange network between the Kamtsha and Kasai Rivers. These shifting dynamics in pottery production are reflected in the region’s linguistic stratigraphy, which may contribute to the interdisciplinary reconstruction of the history of ancestral Bantu speakers south of the rainforest. Les recherches archéologiques dans la région d’Idiofa, dans la province du Kwilu, en République Démocratique du Congo, ont mené à la découverte des premières traces de la production du fer au sud de la forêt du bassin du Congo. Elles remontent au cours du deuxième siècle avant J.-C et sont associées à la céramique et aussi aux vestiges lithiques. Les données paléoécologiques montrent que les producteurs de cette industrie ne se sont pas installés dans des savanes ouvertes, mais dans un habitat dont les forêts avaient commencé à se dégrader avant leur arrivée, suite aux changements climatiques. L’Âge du Fer ancien à Idiofa continue jusqu’au troisième siècle de notre ère. Après cela un long hiatus non lié au changement climatique perdure jusqu’au quinzième siècle. La poterie de l’Âge du Fer récent (c. 1487–1648 ap. J.-C.) se distingue nettement de celle de l'Âge du Fer ancien par la forme, la taille, la composition et la décoration. La poterie de l’Âge du Fer ancien d'Idiofa ressemble davantage à la poterie Kay Ladio (c. 30–475 ap. J.-C.) de la région du Bas-Congo, située plus à l’ouest et de date un peu plus récente. Elle est également associée à la métallurgie la plus ancienne de cette région. La poterie d’Idiofa de l’Âge du Fer récent est révélatrice d’un réseau d’échange qui s’étendaient entre les rivières Kamtsha et Kasai du quinzième au dix-septième siècles de notre ère. Ces dynamiques en mutation dans la production de la poterie se reflètent dans la stratigraphie linguistique de la région, ce qui est pertinent pour la reconstruction interdisciplinaire de l’histoire des communautés bantouphones ancestrales au sud de la forêt tropicale.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Ghent University Aca...arrow_drop_down
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    Azania Archaeological Research in Africa
    Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Ghent University Aca...arrow_drop_down
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      Azania Archaeological Research in Africa
      Article . 2024 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Fabbri, S.; Bottura, L.; Quettier, L.; Statera, M.; +3 Authors

    Abstract The renewed interest for a muon collider has motivated a thorough analysis of the accelerator technology required for this collider option at the energy frontier. Magnets, both normal and superconducting, are among the crucial technologies throughout the accelerator complex, from production, through acceleration and collision. In this paper we initiate a catalog of magnet specifications for a muon collider at 10TeV center-of-mass. We take the wealth of work performed within the scope of the US-DOE Muon Accelerator Program as a starting point, update it with present demands for the increased energy reach, and focus on the magnet types and variants with the most demanding performance. These represent well the envelope of issues and challenges to be addressed by future design and development. We finally give a first and indicative selection of suitable magnet technology, taking into account both established practices as well as the perspective evolution in the field of accelerator magnets.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of Physics :...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    CERN Document Server
    Other literature type . 2023
    https://doi.org/10.18429/jacow...
    Conference object . 2023
    License: CC BY
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of Physics :...arrow_drop_down
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      CERN Document Server
      Other literature type . 2023
      https://doi.org/10.18429/jacow...
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: L Rossi; L Balconi; P Campana; S Maffezzoli Felis; +2 Authors

    Abstract The Italian Minister for University and Research has recently funded a large program for an Innovative Research Infrastructure on applied Superconductivity (IRIS) in Italy. Based on the LASA laboratory in Milan, it is a partnership, in the form of a strongly coordinated work, of existing laboratories of various institutes: INFN (leader, participating with 4 labs: Frascati, Genoa, Milan, Salerno); CNR (SPIN institute in Genoa, Naples and Salerno); five Universities: Genoa, Milan, Naples, Salento and Salerno. IRIS will be an upgrade of existing infrastructures, with new state-of-the-art instruments, reinforcing the capability of Italy in the domain of superconductivity aimed to accelerators. IRIS foresees a strong coordination of the activity of the participating laboratories until 2035, at least, thus enhancing the participation of Italian laboratories to future projects requiring advanced superconducting technology, like FCC or the Muon-Collider, and also for developing societal applications of technologies, pursued for high-energy accelerators, especially for the energy domain and the medical sector. In this paper, we present the two novel demonstrators, part of the initial IRIS program: 1) a green superconducting line, 130 m long and designed for 40 kA current capability at 25 kV; 2) a 1 m long HTS dipole magnet with some characteristics similar to LHC dipoles: 10 T, 50 mm × 80 mm bore, but operating at 20 K rather than 1.9 K.

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    Journal of Physics : Conference Series
    Article . 2024 . Peer-reviewed
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      Journal of Physics : Conference Series
      Article . 2024 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: L. Rossi; D. Barna; A. G. Carloni; E. De Matteis; +12 Authors

    Various initiatives in Europe have bene launched to study superconducting magnets for a rotatable gantry suitable for delivery up to 440 MeV/A carbon ions for hadron therapy. One initiative is led by INFN inside an agreement with CERN, CNAO and MedAustron aiming at designing and manufacturing a strongly curved costheta dipole (Rbending = 1.6 m) rated for 4 T central field and a ramp rate of 0.15-0.4 T/s. Here we explore the suitability of dipole technology derived from HEP collider (use of Nb-Ti Rutherford cable, classical shell type for the coils, use of collar/yoke for force containment, etc…) for a rotatable gantry that poses severe conditions on the thermal design (conduction cooled coils). A second one, is in the frame of the European program H2020-HITRIplus-WP8, aimed at exploring the feasibility of using the novel Canted Cosine Theta (CCT) concept to produce a superconducting dipole with similar characteristics. The scope is to design and built one or two prototypes with Nb-Ti rope, to see if this route could be a viable alternative. Finally in the European collaboration H2020-I.FAST-WP8 we are exploring both CCT in combined function design (dipole + quadrupole, in Nb-Ti) and the use of HTS (REBCO tapes) with CCT dipole layout, pursuing the design manufacture of a small prototypes with European Industry. If HTS will be found successful, it will be a great benefit for the cryogenic design of the magnet system.

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    CERN Document Server
    Other literature type . 2023
    https://doi.org/10.18429/jacow...
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      https://doi.org/10.18429/jacow...
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: L. Rossi; S. Mariotto; S. Sorti;

    Abstract Beam lines magnets for high rigidity particles can have a large power dissipation. In presence of a high duty cycle, this translates in a considerable amount of energy waste. The call for sustainability of large research infrastructures, like particle accelerator centers, and the recent increase of the cost of energy, require to take measures to reduce the energy consumption, even at cost of moderate investment. A study program called ESABLIM (Energy SAving Beam LIne Magnets) has been set up at the LASA lab of University and INFN Milano, aimed at revamping existing normal-conducting magnets for beam lines with the target of cutting the peak power by a factor 10 to 20 and reducing the energy consumption by factor 5 or more. The idea is to replace the water cooled coils of iron-dominated magnets with new superconducting coils cooled at 10-20 K by means of a cryocooler, while to reusing the iron yoke pole assembly. We envisage using MgB2 for its moderate cost, however, high temperature superconductors (HTS) will also be considered as conductor. We present the first advanced design for revamping of a large bending dipole in a hadron therapy center, and the conceptual design for magnets in a nuclear physics laboratory and we try to define the domain where this transformation of normal-conducting into super-ferric magnets can be technically and economically advantageous.

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    https://doi.org/10.18429/jacow...
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: M. Cavecchi;

    The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization. The study analyzes the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a trajectory from plays that were initially performed in traditional theatres in accordance with a naturalistic play structure to plays that favour of a radical reconfiguration of visual representation. Indeed, since the beginning of the new millennium, playwrights and theatre-makers have increasingly experimented with new dramatic forms and site-specific venues, while forging collaborations with art makers and curators. The book focuses on plays from the 1980s onwards, such as Howard Barker’s Scenes from an Execution, Nick Dear’s The Art of Success, Alan Bennett’s A Question of Attribution, Timberlake Wertenbaker’s Three Birds Alighting on a Field and The Line, David Edgar’s Pentecost, Martin Crimp’s Attempt on Her Life, Rebecca Lenkiewicz’s Shoreditch Madonna and The Painter, David Leddy’s Long Live the Little Knife, and Tim Crouch’s My Arm, An Oak Tree and England, and considers the vital contribution to the field made by set designers. Ultimately, through this study, we come to understand how modern drama can offer a set of interpretative tools to enhance our understanding of the mechanisms underlying the social construction of art and, furthermore, the potential of theatre and the gallery space to question our fundamental cultural assumptions and values.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio Istituziona...arrow_drop_down
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    https://doi.org/10.5040/978135...
    Book . 2024 . Peer-reviewed
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    Authors: Del Bo, B.;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio Istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Silvana Castano; Alfio Ferrara; Emanuela Furiosi; Stefano Montanelli; +3 Authors
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    Authors: Hamerow, HF; Leggett, S; Tinguely, C; Le Roux, P;

    ABSTRACT Exogamous marriage alliances involving royal women played a prominent role in the conversion of the Anglo-Saxon kingdoms to Christianity in the seventh century AD. Yet the large number of well-furnished female burials from this period suggests a broader change in the role of women. The authors present the results of isotopic analysis of seventh-century burials, comparing male and female mobility and the mobility of females from well-furnished versus poorly/unfurnished burials. Results suggest increased mobility during the Conversion Period that is, paradoxically, most noticeable among women buried in poorly furnished graves; their well-furnished contemporaries were more likely to have grown up near to their place of burial.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Edinburgh Research E...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Oxford University Research Archive
    Article . 2023
    License: CC BY NC ND
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    Antiquity
    Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Oxford University Research Archive
      Article . 2023
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      Antiquity
      Article . 2024 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ferrara, Alfio; Picascia, Sergio; Rocchetti, Elisabetta;
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    ZENODO
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    ZENODO
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      ZENODO
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Peter R. Coutros; Igor Matonda; Jessamy H. Doman; Sara Pacchiarotti; +2 Authors

    Archaeological investigations of the Idiofa region in the Kwilu Province of the Democratic Republic of Congo have yielded the earliest evidence for iron production, combined with ceramics and lithic artefacts, south of the Congo rainforest during the second century BC. Palaeoecological data show that the producers of this industry did not settle in open grasslands but in a habitat where the forests had started to undergo climate-induced degradation before their arrival. The Early Iron Age at Idiofa continues until the third century AD and is followed by a long hiatus that was not driven by climate change until the fifteenth century. Later Iron Age (LIA) pottery in the area, which dates to c. 1487–1648, is markedly distinct from that of the EIA in vessel forms, size, recipe and decoration. EIA pottery from Idiofa resembles most closely slightly younger Kay Ladio pottery (c. cal. AD 30–475) from the Lower Congo region further west, which is also associated with the first metallurgy there. Idiofa’s LIA pottery is indicative of a fifteenth- through seventeenth-century exchange network between the Kamtsha and Kasai Rivers. These shifting dynamics in pottery production are reflected in the region’s linguistic stratigraphy, which may contribute to the interdisciplinary reconstruction of the history of ancestral Bantu speakers south of the rainforest. Les recherches archéologiques dans la région d’Idiofa, dans la province du Kwilu, en République Démocratique du Congo, ont mené à la découverte des premières traces de la production du fer au sud de la forêt du bassin du Congo. Elles remontent au cours du deuxième siècle avant J.-C et sont associées à la céramique et aussi aux vestiges lithiques. Les données paléoécologiques montrent que les producteurs de cette industrie ne se sont pas installés dans des savanes ouvertes, mais dans un habitat dont les forêts avaient commencé à se dégrader avant leur arrivée, suite aux changements climatiques. L’Âge du Fer ancien à Idiofa continue jusqu’au troisième siècle de notre ère. Après cela un long hiatus non lié au changement climatique perdure jusqu’au quinzième siècle. La poterie de l’Âge du Fer récent (c. 1487–1648 ap. J.-C.) se distingue nettement de celle de l'Âge du Fer ancien par la forme, la taille, la composition et la décoration. La poterie de l’Âge du Fer ancien d'Idiofa ressemble davantage à la poterie Kay Ladio (c. 30–475 ap. J.-C.) de la région du Bas-Congo, située plus à l’ouest et de date un peu plus récente. Elle est également associée à la métallurgie la plus ancienne de cette région. La poterie d’Idiofa de l’Âge du Fer récent est révélatrice d’un réseau d’échange qui s’étendaient entre les rivières Kamtsha et Kasai du quinzième au dix-septième siècles de notre ère. Ces dynamiques en mutation dans la production de la poterie se reflètent dans la stratigraphie linguistique de la région, ce qui est pertinent pour la reconstruction interdisciplinaire de l’histoire des communautés bantouphones ancestrales au sud de la forêt tropicale.

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    Azania Archaeological Research in Africa
    Article . 2024 . Peer-reviewed
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      Azania Archaeological Research in Africa
      Article . 2024 . Peer-reviewed
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    Authors: Fabbri, S.; Bottura, L.; Quettier, L.; Statera, M.; +3 Authors

    Abstract The renewed interest for a muon collider has motivated a thorough analysis of the accelerator technology required for this collider option at the energy frontier. Magnets, both normal and superconducting, are among the crucial technologies throughout the accelerator complex, from production, through acceleration and collision. In this paper we initiate a catalog of magnet specifications for a muon collider at 10TeV center-of-mass. We take the wealth of work performed within the scope of the US-DOE Muon Accelerator Program as a starting point, update it with present demands for the increased energy reach, and focus on the magnet types and variants with the most demanding performance. These represent well the envelope of issues and challenges to be addressed by future design and development. We finally give a first and indicative selection of suitable magnet technology, taking into account both established practices as well as the perspective evolution in the field of accelerator magnets.

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    Authors: L Rossi; L Balconi; P Campana; S Maffezzoli Felis; +2 Authors

    Abstract The Italian Minister for University and Research has recently funded a large program for an Innovative Research Infrastructure on applied Superconductivity (IRIS) in Italy. Based on the LASA laboratory in Milan, it is a partnership, in the form of a strongly coordinated work, of existing laboratories of various institutes: INFN (leader, participating with 4 labs: Frascati, Genoa, Milan, Salerno); CNR (SPIN institute in Genoa, Naples and Salerno); five Universities: Genoa, Milan, Naples, Salento and Salerno. IRIS will be an upgrade of existing infrastructures, with new state-of-the-art instruments, reinforcing the capability of Italy in the domain of superconductivity aimed to accelerators. IRIS foresees a strong coordination of the activity of the participating laboratories until 2035, at least, thus enhancing the participation of Italian laboratories to future projects requiring advanced superconducting technology, like FCC or the Muon-Collider, and also for developing societal applications of technologies, pursued for high-energy accelerators, especially for the energy domain and the medical sector. In this paper, we present the two novel demonstrators, part of the initial IRIS program: 1) a green superconducting line, 130 m long and designed for 40 kA current capability at 25 kV; 2) a 1 m long HTS dipole magnet with some characteristics similar to LHC dipoles: 10 T, 50 mm × 80 mm bore, but operating at 20 K rather than 1.9 K.

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    Journal of Physics : Conference Series
    Article . 2024 . Peer-reviewed
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      Journal of Physics : Conference Series
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    Authors: L. Rossi; D. Barna; A. G. Carloni; E. De Matteis; +12 Authors

    Various initiatives in Europe have bene launched to study superconducting magnets for a rotatable gantry suitable for delivery up to 440 MeV/A carbon ions for hadron therapy. One initiative is led by INFN inside an agreement with CERN, CNAO and MedAustron aiming at designing and manufacturing a strongly curved costheta dipole (Rbending = 1.6 m) rated for 4 T central field and a ramp rate of 0.15-0.4 T/s. Here we explore the suitability of dipole technology derived from HEP collider (use of Nb-Ti Rutherford cable, classical shell type for the coils, use of collar/yoke for force containment, etc…) for a rotatable gantry that poses severe conditions on the thermal design (conduction cooled coils). A second one, is in the frame of the European program H2020-HITRIplus-WP8, aimed at exploring the feasibility of using the novel Canted Cosine Theta (CCT) concept to produce a superconducting dipole with similar characteristics. The scope is to design and built one or two prototypes with Nb-Ti rope, to see if this route could be a viable alternative. Finally in the European collaboration H2020-I.FAST-WP8 we are exploring both CCT in combined function design (dipole + quadrupole, in Nb-Ti) and the use of HTS (REBCO tapes) with CCT dipole layout, pursuing the design manufacture of a small prototypes with European Industry. If HTS will be found successful, it will be a great benefit for the cryogenic design of the magnet system.

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    Authors: L. Rossi; S. Mariotto; S. Sorti;

    Abstract Beam lines magnets for high rigidity particles can have a large power dissipation. In presence of a high duty cycle, this translates in a considerable amount of energy waste. The call for sustainability of large research infrastructures, like particle accelerator centers, and the recent increase of the cost of energy, require to take measures to reduce the energy consumption, even at cost of moderate investment. A study program called ESABLIM (Energy SAving Beam LIne Magnets) has been set up at the LASA lab of University and INFN Milano, aimed at revamping existing normal-conducting magnets for beam lines with the target of cutting the peak power by a factor 10 to 20 and reducing the energy consumption by factor 5 or more. The idea is to replace the water cooled coils of iron-dominated magnets with new superconducting coils cooled at 10-20 K by means of a cryocooler, while to reusing the iron yoke pole assembly. We envisage using MgB2 for its moderate cost, however, high temperature superconductors (HTS) will also be considered as conductor. We present the first advanced design for revamping of a large bending dipole in a hadron therapy center, and the conceptual design for magnets in a nuclear physics laboratory and we try to define the domain where this transformation of normal-conducting into super-ferric magnets can be technically and economically advantageous.

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    https://doi.org/10.18429/jacow...
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    Authors: M. Cavecchi;

    The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization. The study analyzes the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a trajectory from plays that were initially performed in traditional theatres in accordance with a naturalistic play structure to plays that favour of a radical reconfiguration of visual representation. Indeed, since the beginning of the new millennium, playwrights and theatre-makers have increasingly experimented with new dramatic forms and site-specific venues, while forging collaborations with art makers and curators. The book focuses on plays from the 1980s onwards, such as Howard Barker’s Scenes from an Execution, Nick Dear’s The Art of Success, Alan Bennett’s A Question of Attribution, Timberlake Wertenbaker’s Three Birds Alighting on a Field and The Line, David Edgar’s Pentecost, Martin Crimp’s Attempt on Her Life, Rebecca Lenkiewicz’s Shoreditch Madonna and The Painter, David Leddy’s Long Live the Little Knife, and Tim Crouch’s My Arm, An Oak Tree and England, and considers the vital contribution to the field made by set designers. Ultimately, through this study, we come to understand how modern drama can offer a set of interpretative tools to enhance our understanding of the mechanisms underlying the social construction of art and, furthermore, the potential of theatre and the gallery space to question our fundamental cultural assumptions and values.

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    https://doi.org/10.5040/978135...
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    Authors: Del Bo, B.;
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