On Some Ceramic Sculptures by Lucia Pizzani

UIDB/00417/2020 UIDP/00417/2020publishersversionpublishe

Adapting a computational multi agent model for humpback whale song research for use as a tool for algorithmic composition

Humpback whales (Megaptera Novaengliae) present one of the most complex displays of cultural transmission amongst non-humans. During breeding seasons, male humpback whales create long, hierarchical songs, which are shared amongst a population. Every male in the population conforms to the same song in a population. During the breeding season these songs slowly change and the song at the end of the breeding season is significantly different from the song heard at the start of the breeding season. The song of a population can also be replaced, if a new song from a different population is introduced.This is known as song revolution. Our research focuses on building computational multi agent models, which seek to recreate these phenomena observed in the wild.Our research relies on methods inspired by computational multi agent models for the evolution of music. This interdisciplinary approach has allowed us to adapt our model so that it may be used not only as a scientific tool, but also a creative tool for algorithmic composition. This paper discusses the model in detail, and then demonstrates how it may be adapted for use as an algorithmic composition tool

A Conversation between Sarah Weisman and Giulia Lamoni

UIDB/00417/2020 UIDP/00417/2020publishersversionpublishe

Pengaruh Lipatan Baja JIS SUP 9 dan 0,5 CCrMnSi Terhadap Nilai Kekerasan, Struktur Mikro dan Pattern Pada Permukaan Pisau

Pisau sebagai salah satu jenis alat potong terus berkembang seiring dengan semakin beragamnya kebutuhan manusia. Kualitas pisau yang tinggi ditinjau dari segi kekerasan, ketangguhan, maupun ketajamannya ditentukan oleh bahan dan proses pembuatannya. Penelitian ini bertujuan untuk meningkatkan kualitas pisau tempa manual tradisional yang ada di indonesia. Dengan memanfaatkan metode penempaan welded forging. Pada penelitian ini digunakan lembaran plat baja JIS SUP 9 dan baja cor 0,5CCrMnSi yang disusun membentuk 2 benda kerja yaitu B1 dan B2 dengan dimensi 75 x 30 x 15 mm yang terdiri dari 7 lapisan. Benda kerja kemudian ditempa secara manual dengan beberapa tahap penempaan. Pada setiap tahap terjadi beberapa siklus yang membentuk dimensi ketebalan akhir 3 mm. Pada penelitian ini didapatkan nilai kekerasan pada penampang pisau B1 sebesar 351 HV. Pada permukaan pisau B1 nilai kekerasannya sebesar 339,8 HV. Sedangkan pada penampang pisau B2 nilai kekerasannya sebesar 434,9 HV, pada permukaannya sebesar 383,8 HV. Hasil pengamatan struktur mikro menunjukan ukuran butir yang terbentuk setelah proses penempaan lebih kecil dan halus. Batas2 antara material yang berbeda tetap terlihat dan tidak berdifusi antara satu dengan yang lainnya. Fase yang terbentuk adalah pearlite, ferrite, dan martensite tempered

Thinking Through Making

UIDB/00417/2020 UIDP/00417/2020Este livro tem origem no projeto de investigação “Craft Thinking in the Arts”, coordenado por Sarah Weisman, fundadora do ClayLab, um programa experimental integrado no currículo de educação artística do Campus for Design da Universidade de Ciências Aplicadas de Trier, e co-coordenado por Giulia Lamoni, investigadora colaboradora do Instituto de História da Arte da FCSH, Universidade Nova de Lisboa (IHA – NOVA FCSH / IN2PAST). Desenvolvido em 2022-2023, este projeto de um ano foi apoiado pelo Campus for Design e o Strategiefond da University of Applied Sciences Trier, e pelo IHA – NOVA FCSH / IN2PAST. Tal como refletido nesta publicação, o projeto incluiu workshops no ClayLab com as artistas portuguesas Flávia Vieira e Maja Escher, e uma série de palestras pela curadora Lucia Pesapane e pelas investigadoras Basia Sliwinska e Giulia Lamoni. Sob a orientação de Sarah Weisman e com o contributo das atividades acima referidas, os alunos do ClayLab exploraram diferentes possibilidades de utilização do barro como material para a sua prática artística. Este livro documenta este processo de trabalho coletivo, tentando representar o dinamismo, a vivacidade e a comunhão que o caracterizaram. This book originates in the research project Craft Thinking in the Arts, directed by Sarah Weisman, founder of ClayLab, an experimental program integrated in the art education curriculum of the Campus for Design at the Trier University of Applied Sciences, and co-directed by Giulia Lamoni, collaborating member of Instituto de História da Arte at FCSH, Universidade NOVA de Lisboa (IHA – NOVA FCSH / IN2PAST). Developed in 2022-2023, this one-year project was supported by the Campus for Design and the Strategiefond, University of Applied Sciences Trier, and IHA – NOVA FCSH / IN2PAST. As reflected in this publication, the project included workshops at ClayLab with Portuguese artists Flávia Vieira and Maja Escher, and a series of lectures by curator Lucia Pesapane and scholars Basia Sliwinska and Giulia Lamoni. Under the supervision of Sarah Weisman and with input from the above-mentioned activities, the students at ClayLab explored different possibilities to use clay as a material for their artistic practice. This book documents this collective work process, attempting to represent the dynamism, liveliness and commonality that characterized it.publishersversionpublishe

“A ambas as extremidades da cadeia”: algumas reflexões sobre as relações entre artes plásticas e feminismos nos anos setenta em Portugal

By problematizing the rhetoric of separation associated with the term feminism in the discourse of some Portuguese women artists, this text seeks to explore the strategies developed by women artists in Portugal in the 1970s to assert their agency in the cultural sphere. These strategies, which could perhaps be understood as strategies of non-separation, should be apprehended in the light of the Portuguese political, social and cultural history of those years, clearly distinguishing themselves from feminist-oriented strategies of intervention developed by women artists in the same period in other geographies, and more particularly in the Anglo-Saxon context – a context that, in this field of studies, has become an important reference.Al problematizar una retórica de la separación asociada al término feminismo en el discurso de algunas artistas portuguesas, este texto busca reflexionar sobre las estrategias ensayadas por mujeres artistas en Portugal en la década de 1970 para afirmar su agencia en el ámbito cultural. Estas estrategias, que quizás podrían entenderse como de no separación, cobran sentido a la luz de la historia política, social y cultural portuguesa de esos años, diferenciándose claramente de las estrategias de intervención, de orientación feminista, desarrolladas por mujeres artistas en los mismos años en otras geografías, y en particular en el contexto anglosajón, contexto que, en este campo de estudios, se ha convertido en un referente.Através da problematização de uma retórica da separação associada ao termo feminismo no discurso de algumas artistas portuguesas, este texto procura pensar as estratégias próprias ensaiadas por mulheres artistas em Portugal nos anos 70 para afirmar a sua agência em âmbito cultural. Estas estratégias, que poderão ser talvez entendidas como de não separação, ganham sentido à luz da história política, social e cultural portuguesa desses anos, distinguindo-se nitidamente das estratégias de intervenção, de orientação feminista, desenvolvidas por mulheres artistas nos mesmos anos em outras geografias, e em particular no contexto anglo-saxónico – contexto que, neste campo de estudos, se tem tornado de referência

Algumas reflexões acerca da obra de Maria José Oliveira

UID/PAM/00417/2019 IF/00537/2015Desenvolvida a partir do final dos anos setenta, a obra de Maria José Oliveira articula encontros e desencontros desafiantes entre prática artística, materialidade e natureza através da utilização de materiais orgânicos e não orgânicos. Em diálogo com algumas ideias que emergem de formações teóricas que têm vindo a questionar e reconfigurar as relações entre o humano e o não humano - com um enfoque particular na implicação do pensamento feminista nestes debates -, este artigo pretende explorar a forma como a noção de “casa” atravessa o trabalho da artista.publishersversionpublishe

The role of individual behaviour in the collective cultural evolution of humpback whale songs

For more than forty years, the complex songs emitted by humpback whales have fascinated the scientific community as well as the general public. These songs are produced by males during the breeding season, and are hierarchically structured and population specific. Within a population, males tend to conform to the same song type, but songs undergo gradual unidirectional change. Instances of more rapid song changes have also been recorded, where the song sung by a population has been replaced by the song of an adjacent population. The learning mechanisms that concurrently drive song conformity, and simultaneously allow gradual (evolution) and rapid (revolution) song change are not currently understood. This thesis aims to address this gap by using innovative theoretical models as well as more established empirical methods. Chapter 1 provides a general introduction to the thesis topics. In chapter 2 I introduce a spatially explicit agent-based modelling approach to investigate humpback whale song evolution and transmission. I found that shared feeding grounds promote inter-population song transmission, song conformity emerges as a function of breeding ground geographical segregation, and production errors facilitate gradual evolution of songs. In chapter 3, the same modelling approach is extended to simulate song revolutions using a new learning bias in combination with different movement scenarios. I found that the consistent emergence of song revolutions is dependent on cognitive (song memory), behavioural (singing probability) and spatial (agent density) factors. Finally, in chapter 4, I analyse intra- and inter- individual song variability at different hierarchical levels of organisation in songs recorded off eastern Australia. I found that variability is not homogeneously distributed across the different song levels. Furthermore, I identified consistent and distinctive individual patterns of song production consistent with the theory that songs could represent mate quality advertisements for females."This work was supported by Leverhulme Trust Grant [grant number: RPG-2013-367]" -- Acknowledgement

Pengaruh Jumlah Lipatan Baja JIS SUP 9 dan Baja 0,5CCrMnSi Terhadap Nilai Kekerasan, Struktur Mikro, dan Pattern Pada Permukaan Pisau

Pisau sebagai salah satu jenis alat potong terus berkembang seiring dengan semakin beragamnya kebutuhan manusia. Kualitas pisau yang tinggi ditinjau dari segi kekerasan, ketangguhan, maupun ketajamannya ditentukan oleh bahan dan proses pembuatannya. Pada umumnya pisau berbahan logam diproses dengan cara ditempa. Kualitas pisau hasil penempaan manual oleh pande besi tradisional di Kawisanyar, Gresik Jawa Timur dengan bahan baja bekas, diketahui memiliki nilai kekerasan berkisar antara 35-58 HRC. Dengan struktur mikro merupakan bainit dan pearlit yang ditemukan disepanjang permukaan pisau. Hal ini mampu untuk ditingkatkan dan dikembangkan agar mendapatkan kualitas pisau yang lebih baik dengan memanfaatkan metode yang digunakan dalam membuat pisau damaskus. Diantaranya adalah metode welded forging. Metode penempaan welded forging memanfaatkan susunan lapisan antara baja karbon rendah dan baja karbon tinggi. Pada penelitian ini digunakan lembaran plat baja JIS SUP 9 dan baja cor 0,5CCrMnSi yang disusun membentuk benda kerja dengan dimensi 75 x 30 x 15 mm. Benda kerja kemudian ditempa secara manual dengan variasi pada jumlah lipatan dengan beberapa tahap penempaan. Pada setiap tahap terjadi beberapa siklus yang membentuk dimensi ketebalan akhir 3 mm. Setelah itu dilakukan pengujian kekerasan dan metalografi, untuk mengetahui nilai kekerasan dan struktur mikro yang terbentuk setelah proses penempaan. Serta di analisa susunan partikel cementite yang membentuk pola damask. Pada penelitian ini didapatkan nilai kekerasan dan struktur mikro pada pisau tempa B1 dan B2. Nilai kekerasan pada penampang lebih tinggi dibandingkan dengan permukaan. Pada penampang pisau B1 nilai kekerasannya sebesar 351 HV. Pada permukaan pisau B1 nilai kekerasannya sebesar 339,3 HV. Sedangkan pada penampang pisau B2 nilai kekerasannya sebesar 434,9 HV, pada permukaannya sebesar 383,8 HV. Pisau B2 memiliki nilai kekerasan rata2 yang lebih tinggi dibandingkan dengan pisau B1. Hasil pengamatan struktur mikro menunjukan ukuran butir yang terbentuk setelah proses penempaan lebih kecil dan halus. Batas2 antara material yang berbeda tetap terlihat dan tidak berdifusi antara satu dengan yang lainnya. Fase yang terbentuk adalah pearlite, ferrtie, dan martensite tempered. ========================================================================================================== Knife as one type of cutting tool that has been known for a long time, to serve human needs. The quality of a good knife becomes important as the development of human needs. High quality knives depend on the material to be made and the method of manufacture. In general, metal knives are made with forging. The forging process is able to increase strength and reduce further machining processes. There are several methods of forging to make a high quality knife. One of them is welded forging. Welded forging method manipulated the arrangement between low carbon sheets and high carbon sheets. The arrangement of the sheet forms low and high carbon layers. These layers then affect the pattern that appear on the surface of the knife or known as damask pattern. This research used plate of JIS SUP 9 steel and 0,5CCrMnSi cast steel arranged to form workpiece with dimension 75 x 30 x 15 mm. . The workpiece is then manually forged at several stages of forging and with variation of number of folds. At each stage there are several cycles that form the final dimensions of 3 mm thickness. After the process of forging and form a desired blade, the knife as-forged tested the hardness number and metallography, to determine the value of hardness and microstructure formed after the forging process. It also analyze the arrangement of cementite particles formed on the surface of the blade, which forms a damask pattern. In this research we get the value of hardness and micro structure on the blade of B1 and B2. The hardness number at the cross section is higher than the surface. On the cross section of blade B1 its hardness number is 351 HV. On the surface of the blade B1 its hardness number is 339.3 HV. While on the cross section of the knife B2 hardness number of 434.9 HV, on the surface of 383.8 HV. The blade B2 has a higher mean hardness number than the blade B1. The microstructural observation results show the size of the grains formed after the forging process is smaller and smoother. The boundaries between different materials remain visible and do not diffuse from one another. The resulting phase is pearlite, ferrtie, and tempered martensite