Interfaces of the Agriculture 4.0

The introduction of information technologies in the environmental field is impacting and changing even a traditional sector like agriculture. Nevertheless, Agriculture 4.0 and data-driven decisions should meet user needs and expectations. The paper presents a broad theoretical overview, discussing both the strategic role of design applied to Agri-tech and the issue of User Interface and Interaction as enabling tools in the field. In particular, the paper suggests to rethink the HCD approach, moving on a Human-Decentered Design approach that put together user-technology-environment and the importance of the role of calm technologies as a way to place the farmer, not as a final target and passive spectator, but as an active part of the process to aim the process of mitigation, appropriation from a traditional cultivation method to the 4.0 one

'The Statuette'

This is one of several contributory articles to the volume: 'Nicholas Lanier, 1588–1666. A Portrait Revealed'. It examines the statuette of Antinous which is shown within portrait, arguing that is more than a decorative feature, rather, that it carried much of the portrait's meaning. It is speculated that for early Jacobean viewers Antinous brought to mind the character of that name in Homer's Odyssey (and in derivative works) and not the Emperor Hadrian's Antinous

Development of forest structure and leaf area in secondary forests regenerating on abandoned pastures in Central Amazonia

The area of secondary forest (SF) regenerating from pastures is increasing in the Amazon basin; however, the return of forest and canopy structure following abandonment is not well understood. This study examined the development of leaf area index (LAI), canopy cover, aboveground biomass, stem density, diameter at breast height (DBH), and basal area ( BA) by growth form and diameter class for 10 SFs regenerating from abandoned pastures. Biomass accrual was tree dominated, constituting >= 94% of the total measured biomass in all forests abandoned >= 4 to 6 yr. Vine biomass increased with forest age, but its relative contribution to total biomass decreased with time. The forests were dominated by the tree Vismia spp. (> 50%). Tree stem density peaked after 6 to 8 yr ( 10 320 stems per hectare) before declining by 42% in the 12- to 14-yr-old SFs. Small-diameter tree stems in the 1-5-cm size class composed > 58% of the total stems for all forests. After 12 to 14 yr, there was no significant leaf area below 150-cm height. Leaf area return (LAI = 3.2 after 12 to 14 yr) relative to biomass was slower than literature-reported recovery following slash-and-burn, where LAI can reach primary forest levels ( LAI = 4 - 6) in 5 yr. After 12 to 14 yr, the colonizing vegetation returned some components of forest structure to values reported for primary forest. Basal area and LAI were 50% - 60%, canopy cover and stem density were nearly 100%, and the rapid tree-dominated biomass accrual was 25% - 50% of values reported for primary forest. Biomass accumulation may reach an asymptote earlier than expected because of even-aged, monospecific, untiered stand structure. The very slow leaf area accumulation relative to biomass and to reported values for recovery following slash-and-burn indicates a different canopy development pathway that warrants further investigation of causes ( e. g., nutrient limitations, competition) and effects on processes such as evapotranspiration and soil water uptake, which would influence long-term recovery rates and have regional implications

Shipibo-Conibo Textiles 2010-2018: Artists of the Amazon Culturally Engaged

This paper considers the intersection of processes of making and cultural memory as contemporary Shipibo artists design, produce, and exchange of their contemporary textiles and art. One sees a continuation of traditional collaborative social networks both in Peru’s deep Amazon region and in new Shipibo communities of Pucallpa and Lima. In cities, they create new artistic networks and expressions of art in ceremony. In these artworks, one sees how Shipibo relationship to the natural world, the forest, plants, animals, and waters reflects deep spiritual beliefs, wisdom, and community knowledge. Shipibo communities in 2017 face ever-expanding challenges from intrusions into their Lima community and their remote Amazon communities through legal and illegal acquisition of resources, and degradation of their lands and waters from oil spills, mining wastes, and corporate farms within Amazon forests. This paper considers a variety of energized community responses by artists and Shipibo community members as they embrace the aesthetics of their kene designs and collaborative textile practices to articulate the deep local of their Amazon communities in the pan global world. How have textile practices, consumption, and design evolved in recent years as a response to these changes? How have some artists become activists and expanded their use of technology, media, and conversations about kene design in Peruvian culture to support a local and global audience as their artworks continue to express “I am Shipibo.” This paper also explores the complicated relationships of consumers and designers as the hand worked process of woven, embroidered, and painted kene heritage confronts commercial appropriation of their designs. This work draws on recent research and my 2007-2011 participation in the Field Museum’s expeditions into Peru’s remote Amazon to record, document, collect textiles, as well as creating a documentary “Shipibo: Movie of our Memories.