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Interfaces 5 was born to home the dialogue that the neuroscientist Michael A. Arbib and the philosopher Tonino Griffero started at the end of 2021 about atmospheric experiences, striving to bridge the gap between cognitive science’s perspective and the (neo)phenomenological one. This conversation progressed due to Pato Paez’s offer to participate in the webinar “Architectural Atmospheres: Phenomenology, Cognition, and Feeling,” a roundtable hosted by The Commission Project (TCP) within the Applied Neuroaesthetics initiative. The event ran online on May 20, 2022. Bob Condia moderated the panel discussion between Suchi Reddy, Michael A. Arbib, and Tonino Griffero. The RESONANCES project was responsible for developing the editing and publishing process. This volume collects nine essays: the main chapter is “A Dialogue on Affordances, Atmospheres, and Architecture” by Michael A. Arbib and Tonino Griffero; there are four commentaries to this text by Federico De Matteis, Robert Lamb Hart, Mark Alan Hewitt, and Suchi Reddy; Michael A. Arbib and Tonino Griffero have independently responded to the commentaries, emphasizing the opportunities and challenges of their respective approaches: cog/neuroscience and atmospherology applied to architecture; Elisabetta Canepa offers “An Essential Vocabulary of Atmospheric Architecture,” developing an atmospherological critique of the Marianna Kistler Beach Museum of Art on the Kansas State University campus to evaluate the accuracy, coherence, and adaptability of her lexicon. Bob Condia and Mikaela Wynne provide an introduction entitled “On Becoming an Atmospherologist: A Praxis of Atmospheres.”, The RESONANCES project (Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses) received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this book reflects only the authors' view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains. For further information, please visit the project website: www.resonances-project.com

GUD (Genoa University Design): A Magazine about Architecture, Design, and Cities 7 (2023), special issue on Synapse, edited by Elisabetta Canepa, Andrea Giachetta, and Gaia Leandri. As GUD 7 editor, Elisabetta Canepa offers a critical overview of the twenty published papers (written by scholars of interiors, architecture, and city design in collaboration with cognitive scientists), situating the contributions in a more complete and complex context of reference. The ANFA 20th Anniversary Conference (September 2023) provides a fruitful prompt to analyze potentials, challenges, and horizons of the convergence of architecture (the art of building) and neuroscience (the experimental study of experience), now invoked with enthusiasm as demonstrated by the progressive and constant increase of publications, symposiums, exhibitions, workshops, and academic curricula dedicated to this interdisciplinary field., This essay was developed within the RESONANCES project — Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses. This project received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this text reflects only the author's view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains.

Based on the multi-component character of our emotions, we can study the affective dimension of architectural atmospheres through several approaches. This essay reviews the main research models that employ a first-person perspective (self-observation) and a third-person perspective (external observation), analyzing methodological potentials and limitations. We need a multi-perspective approach to investigate the complexity of the atmospheric vocation of architecture, integrating both models and working on complementary notions: atmosphere and architecture, resonance and attunement, impressions and appraisals, nonconscious and conscious, emotions and feelings, living body and lived body, neuroscience and phenomenology, physiological measures and self-report techniques., This essay was developed within the Resonances project — Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses. This project received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this text reflects only the author's view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains.

This book was born as the legacy of the “Designing Atmospheres: Theory and Science” Symposium, an Interfaces event of the Academy of Neuroscience for Architecture (ANFA), sponsored by the EU’s Horizon 2020 MSCA Program — RESONANCES Project, the Perkins Eastman Studio, and the Architecture Department at Kansas State University. The event was hosted in the College of Architecture, Planning and Design (APDesign), Kansas State University (K-State), Manhattan, KS, on March 28, 2023. Recent advances in science confirm many of the architects’ deep-rooted intuitions, improving knowledge about the perception of space and the meaning of architectural and urban design. This volume collects four essays: “Investigating Atmosphere in Architecture: An Overview of Phenomenological and Neuroscientific Methods” by Elisabetta Canepa; “Rhythms of the Brain, Body, and Environment: A Neuroscientific Perspective on Atmospheres” by Zakaria Djebbara; “A History of Tool-Atmospheres” by Kory Beighle; and “Atmospheric Histrionics” by Harry Francis Mallgrave. Bob Condia provided a critical introduction entitled “The Design of Atmospheres.”, The RESONANCES project (Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses) received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this book reflects only the authors' view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains. For further information, please visit the project website: www.resonances-project.com

Architecture is a complex process of spatial and temporal organization, which is conceived, developed, felt, and communicated also (and above all) through its atmospheric manifestations. Atmosphere is the essence of affective qualities we sense in our surroundings that confers identity and meaning to a situation or place. In the last three decades, investigations about atmospheres — aimed at comprehending, experimenting, and representing their expressive properties — have been drawing remarkable attention. From the end of the 20th century, some scholars have even observed an ‘atmospheric turn,’ a ramification of the more general ‘affective turn’ that bloomed in the Humanities in the early to mid-1990s. There is an ever-increasing enthusiasm for the atmospheric approach in architecture: today, atmosphere represents a crucial element for design practice and critical discussion, as well as architectural teaching. It satisfies the pressing need for bodily felt experiences and emotionally arranged ambiances. This IDEA2023 presentation illustrates the jagged background that an architect should develop to manage the multidisciplinary essence of an atmospheric education. It is the occasion to show how it is possible to combine architectural theory, (neuro)physiological methodology, and experimentation in virtual reality. Specifically, the discussion focuses on the most recent experiment we carried out at the P\Lab2003 directed by Professor Bob Condia at Kansas State University (Manhattan, Kansas). The priming potential of atmospheres is a deep-rooted intuition among architects, but we must consolidate evidence by collecting empirical data. We want to transform a design intuition into an informed intuition., The theoretical premises of this abstract and the physiological-signal-based experiment illustrated during the IDEA 2023 Symposium were developed within the RESONANCES project — Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses. This project received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this text reflects only the author's view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains.

Atmosphere is the whole of affective meanings identifying a situation or place that allows us to resonate and tune into our surroundings. The complexity of atmosphere is well known. This essay analyzes the — design and aleatory — determinants that prime atmospheric effects to estimate the contribution provided by the physical environment (namely, the architect’s domain of intervention). Staging atmospheres is a compositional task in which we orchestrate different architectural generators to let our bodies emotionally resonate with the multisensory entirety of forms, materials, shades, colors, sounds, and scents that constitute a place. Designed atmospheres become generators of identity and meaning., The theoretical premises of this essay were developed within the RESONANCES project — Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses. This project received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this text reflects only the author's view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains.

This upload is part of a book section titled "Humanities and Arts, Career Development, Sustainable Research Practice" from the book: G. M. Greco, G. Emidio, P. E. Tomatis, A. Avasthi (Eds). (2022). Book of Abstracts: 2022 Poster Sessions. 9th Annual Conference of the Marie Curie Alumni Association, March 25-27, 2022, Lisbon, Portugal. Brussels: Marie Curie Alumni Association. ISBN 978-94-6433-602-3. http://dx.doi.org/10.5281/zenodo.6608826 The poster has been presented online at the Annual Conference of the Marie Curie Alumni Association which took place in Lisbon (Portugal) and online on 26-27 March 2022. The poster was selected and included in the panel "Humanities and Arts, Career Development, Sustainable Research Practice" and presented online by the author. This poster is part of a research project that has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No. 896925., This upload is an excerpt from G. M. Greco, G. Emidio, P. E. Tomatis, A. Avasthi (Eds). (2022). Book of Abstracts: 2022 Poster Sessions. 9th Annual Conference of the Marie Curie Alumni Association, March 25-27, 2022, Lisbon, Portugal. Brussels: Marie Curie Alumni Association. ISBN 978-94-6433-602-3. http://dx.doi.org/10.5281/zenodo.6608826

There are architectures that, more than others, seem to exist for their nature of atmospheric, resonant bodies: they are shells that enclose, protect, and reverberate the internal landscape of our sensibility. These architectures, in being diaphragms designed to regulate external factors, such as daylight, breeze, and temperature, function above all as a source of emotional priming and contagion. They sway our first impressions (bodily resonance) and modulate our affective involvement (attunement). Two projects by the Andalusian architect Antonio Jiménez Torrecillas describe his extraordinary ability to shape the atmospheric vocation of architectural experience, staging affectively situated events. The journey inside the Nasrid Wall in Upper Albaicín, the Moorish quarter of the city of Granada, (2002-2008) and the seaside house in Rota designed for a famous couple of writers, Luis García Montero and Almudena Grandes, (2012-2015) is an homage to Antonio, master of atmospheres. Oz 44, Essence of Discipline Edited by Haneen Abu-Sherbi and Matthew Cox Increasingly the discipline of architecture assumes the demands posed by a rapidly changing society, responding to issues in an evolving world. These shape how architecture is practiced and perceived. With ever-expanding expectations to contend with a multitude of urgencies, something at architecture's core—perhaps even an underlying idealistic concept of the architect—may be diluted or lost. Oz 44 asked: how might the architect of the twenty-first century define the agency of architecture beyond the realm of the expected standards? What underlying principles—what core passions—must remain in architectural practice and theory?, The theoretical premises of this essay were developed within the RESONANCES project — Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses. This project received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this text reflects only the author's view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains.

This journal article presents the 20th-century Albanian rural landscape as an example of a modernist rural landscape, considering it as a palimpsest in which the tangible and the intangible are strictly intertwined. It is part of an issue of Antropologji, the Open Acces Scientific Journal of the Institute of Cultural Anthropology and Art Studies (IAKSA), in Tirana, Albania, which was dedicated to contributions stemming from the online webinar cycle Materializing-Modernity: Landscape, Architecture and Anthropology Intersections in 20th Century Rurality organized and implemented from April 12, 2021, to May 6, 2021, within the framework of the EU-funded Marie Skłodowska-Curie project no. 896925 “Materializing Modernity – Socialist and Post-socialist Rural Legacy in Contemporary Albania (MaMo)”, by Federica Pompejano (MSCA-IF Researcher, Academy of Albanian Studies), the Institute of Cultural Anthropology and Art Studies (IAKSA), the Department of Cultural Heritage and Environment and the Laboratory of Ethnomusicology and Visual Anthropology (LEAV) of the University of Milan (UNIMI), Milan, Italy. From the following link, it will be possible to download also the previous issues of the Journal (from the section "Revista"): http://iaksa.edu.al/ Acknowledgment: This article is part of the scientific research project that has received funding from the European Union’s Horizon 2020 research and innovation program under the Marie Sklodowska-Curie grant agreement No 896925. This contribution reflects only the author’s view, and the EU Commission is not responsible for any use that may be made of the information it contains., This article is part of Antropologji, Vol. 4(1), 2021 (2022), Instituti i Antropologjisë Kulturore dhe Studimit të Artit (IAKSA), Akademia e Studimeve Albanologjike (ASA), Tirana, Albania, ISSN 2617-9768, ISSN 2706-5995 (online)

This journal article introduces the topics covered during the online webinar cycle Materializing-Modernity: Landscape, Architecture and Anthropology Intersections in 20th Century Rurality organized and implemented from April 12, 2021, to May 6, 2021, within the framework of the EU-funded Marie Skłodowska-Curie project no. 896925 “Materializing Modernity – Socialist and Post-socialist Rural Legacy in Contemporary Albania (MaMo)”, by Federica Pompejano (MSCA-IF Researcher, Academy of Albanian Studies), the Institute of Cultural Anthropology and Art Studies (IAKSA), the Department of Cultural Heritage and Environment and the Laboratory of Ethnomusicology and Visual Anthropology (LEAV) of the University of Milan (UNIMI), Milan, Italy. It is part of a dedicated issue of Antropologji, the Open Acces Scientific Journal of the Institute of Cultural Anthropology and Art Studies (IAKSA), in Tirana, Albania. At the end of the article, there is the Annex, prepared by Federica Pompejano, which is composed of the abstracts of the oral presentations discussed during the MaMo Webinar Cycle. From the following link, it will be possible to download also the previous issues of the Journal (from the section "Revista"): http://iaksa.edu.al/ Acknowledgment: This article and its annex build upon the contributions presented during the MaMo Webinar Cycle, which was among the outputs stemming from the scientific research project that has received funding from the European Union’s Horizon 2020 research and innovation program under the Marie Sklodowska-Curie grant agreement No 896925. This contribution reflects only the author’s view, and the EU Commission is not responsible for any use that may be made of the information it contains., This article and its annex are part of Antropologji, Vol. 4(1), 2021 (2022), Instituti i Antropologjisë Kulturore dhe Studimit të Artit (IAKSA), Akademia e Studimeve Albanologjike (ASA), Tirana, Albania, ISSN 2617-9768, ISSN 2706-5995 (online)

Development of the finalanalytical framework and research agenda for the study of work.

Historicamente, os antagonismos inerentes às sociedades capitalistas têm gerado diferentes respostas coletivas das classes populares e trabalhadoras na tentativa de resolver as suas necessidades numa perspetiva de transformação social. Diferentes teorias e experiências de trabalho associado e cooperativo têm alimentado um debate sobre o seu potencial transformador nas economias e sobre os seus dilemas enquanto alternativa ao trabalho assalariado. Nesta comunicação, pretende-se retomar esse debate a partir do confronto de diferentes referenciais teóricos (Marx 1894, Polanyi 1944, Fraser 2011, entre outros) e das experiências recentes de resposta à precarização do trabalho e a contextos de crise, como o de 2008 e o da atual pandemia. A comunicação enquadra-se no âmbito do projeto de investigaçãoCOLLECTITUDE – "Building the collective at times of precarity: precarious labour and its countermovements". Do ponto de vista empírico, a análise tem por base dois setores de atividade económica que, no contexto português, são paradigmáticos dos atuais processos de precariedade laboral: o setor da construção civil, caracterizado por se basear em trabalho intensivo e por complexas redes de subcontratação; e o setor artístico, marcado pela preponderância do trabalho do projeto, intermitência e pelo (falso) trabalho independente e decorrente falta de proteção no emprego. Tendo por base entrevistas com diferentes coletivos de trabalhadores e trabalhadoras e com movimentos laborais e sindicais dos dois setores, pretende-se discutir como as formas de organização coletiva emergentes integram (ou não) aquilo que Polanyi conceptualizou como um contra-movimento. Se por um lado o trabalho associado apresenta uma proposta de reconstrução de um projeto coletivo e surge como uma alternativa de inserção social e laboral para trabalhadores excluídos de um contrato formal de trabalho, por outro lado, ao estar ele próprio sujeito aos mecanismos de mercado, não está isento de processos de precarização e autoexploração, reproduzindo também os defeitos do sistema no qual se insere.

[PT]O presente artigo tem por base uma investigação em curso sobre as transformações no mundo do trabalho em tempos de precariedade e mercantilização do trabalho, analisando diferentes formas de organização coletiva emergentes neste contexto. Neste artigo, debruçamo-nos, em particular, sobre o caso do setor das artes performativas, caracterizado por uma grande multiplicidade de atividades e situações laborais (artistas, produtores, mediadores, técnicos), mas onde o trabalho por projeto é preponderante, relacionando-se com uma hiper-flexibilidade, mas também intermitência e falta de proteção no emprego, formando o que alguns autores designaram de "precariado artístico" (Gill e Pratt 2008). Tendo por base a realidade portuguese, analisam-se diferentes formas de solidariedade entre os trabalhadores do setor (coletivos, cooperativas para partilha de recursos, associações, sistemas de apoio mútuo, colaboração inter-organizacional, ação coletiva). Esta análise evidencia também a forma como estes coletivos de trabalho são eles próprios permeados pela precariedade, chamando a atenção para o facto de que as respostas da sociedade civil não devem demitir o Estado da sua obrigação de garantir proteção social adequada a todos os trabalhadores e trabalhadoras. [EN]Modes of collective organizing in Portuguese performing arts This paper draws on ongoing research on the transformations in the world of work at times of precarity and work commodification, analyzing the different forms of collective organization that have emerged in this context. The paper focuses, in particular, on the case of the performing arts sector, characterized by a wide range of activities and work situations (artists, producers, mediators, technicians), but where project work is preponderant and relates to hyper-flexibility, but also intermittency and lack of protection in employment, forming what some authors have called an “artistic precariat” (Gill and Pratt 2008). Based on the Portuguese reality, different forms of workers’ solidarity are analyzed (collectives, shared resources cooperatives, associations, mutual support systems, inter-organizational collaboration, collective action). The analysis also shows how work collectives are themselves pervaded by precarity, calling attention to the fact that civil society responses should not dismiss the State from its obligation of guaranteeing access to adequate social protection to all workers.&nbsp

The processes of work commodification and precarization in contemporary societies have long been recognized as a “new social question", defying the idea of work as a stable place for the development of solidarities (Castel 1995). At the same time, social protection, even in the more advanced economies, has become increasingly fragile in the face of international competition and the politics of flexible labour markets, through the fragmentation of employment statutes and the multiplication of “nonstandard employment relations” (Kalleberg 2000). Against this background, the theoretical work of Karl Polanyi (1944,) recognizing different responses to the commodification of labour, is an influential framework to approach how society generates counter-movements to protect itself against the disruptive impact of commodification and the extension of free market principles, which he conceptualized as the "double movement". Our research question is to identify cooperative models that are emerging today in response to precarious work, interrogating to what extent they result in progressive counter-movements. Empirically, the research draws on the ongoing COLLECTITUDE project, which undertakes a comparative analysis of two sectors that are exemplary of current precarization trends: the construction industry, a labour-intensive sector that has the ability to provide “employment for those with little education or skill, many of them from the poorer sections of society” (ILO 2001), often through subcontracting and the use of non-standard forms of employment; and the arts sector, composed by very qualified professionals, where, despite the wide range of activities and work situations, the preponderance of project work is striking and relates to flexibility, intermittency, self-exploitationand lack of protection in employment, forming an “artistic precariat” (Gill and Pratt 2008). These two sectors, representing two distinct sectors of the workforce, provide longstanding examples of precarious work and have been related to precarious organizing. Based on the Portuguese context, this paper provides a comparative outlook of both sectors and analyses Social and Solidarity Economy (SSE) organizations in both sectors (workers’ collectives, cooperatives, associations) that put labour at its core. Polanyi’s analysis of the plurality of economic forms (1944) provides grounding for highlighting the different organizational frames, based on the types of resources (and motivations) involved – market, non-market (anchored in public redistribution), and non-monetary (based on principles of reciprocity and domesticity, such as volunteer work and sharing). We argue on the analytical significance of both sectors to explore new forms of workers’ solidarity, also showing how work cooperatives are themselves pervaded by precarity, calling attention to the fact that cooperative responses should not dismiss governments from guaranteeing access to adequate social protection to all workers. Our purpose is to contribute to the discussion of an approach to SSE that integrates criticisms and also contribute to the debate on the potentialities and shortcomings of working with Polanyian conceptual framework for critically analysing SSE. The research is relevant to an international audience since the increase in precarious work and its countermovements is a general trend across countries and the analytical and methodological approaches developed integrate a global and comparative perspective, allowing to specify, compare and universalise beyond the Portuguese case. References: Burawoy, M. (2013). Ethnographic fallacies: reflections on labour studies in the era of market fundamentalism.Work, employment and society 27(3): 526-536. Castel R (1995) Les Métamorphoses de la question sociale, une chronique du salariat. Paris: Fayard. Hillenkamp, I.; Laville, JL.(2013). Socioéconomie et démocratie: l’actualité de Karl Polanyi.Toulouse: Éditions Érès. ILO (2001). International construction industry in the twenty-first century: its image, employment prospects and skill requirements. Genève: ILO, p. 12. Gill, R.; Pratt, A. (2008). In the social factory? Immaterial labour, precariousness, and cultural work. Theory, Culture, and Society 25: 1-30 Kalleberg, A. (2000). Nonstandard employment relations: part-time, temporary and contract work.Annual Review of Sociology 26:1, 341-365. Laville, JL.(2003). Avec Mauss et Polanyi, vers un theorie de l’economie plurielle.Revue du Mauss, v. 21, p. 237-249. Polanyi, K. (1944) The Great Transformation: the political and economic origins of our time. New York: Beacon Press.

The first-everGlobal Forum on Democratizing Work, on 5-7 October 2021, aimed at building the future of theDemocratizing Workmovement, across geographical and disciplinary boundaries. A3S hosts a panel on work commodification and its counter-movements, engaging the discussion from the Portuguese context. In recent decades, Portugal has undergone major processes of work commodification and precarization, notably in the aftermath of the global economic crisis, which resulted in heavy austerity measures in the country between 2011 and 2015. Currently, the COVID-19 pandemic has again threatened access to decent and meaningful work, exacerbating inequalities and jeopardizing the lives of the least advantaged. In this context, different initiatives have emerged thriving not to treat work as a commodity and to promote access to employment to all. This panel aims to bring together different perspectives on these processes, looking at public and private initiatives aimed at preserving certain sectors and populations from the laws of the free market; different forms of workers' collective organization; diversity and inclusion of labour market; and employee involvement in companies and workplace democracy. The panel is organized by A3S, a Portuguese Research & Development association, dedicated to the consolidation of alternatives that are participatory, inclusive and sustainable.

The outbreak of Covid-19 pandemic has thrown a spotlight on the arts sector worldwide. In Portugal, art workers immediately responded to provide access to culture and citizenship in unconventional places and to adapt to an online presence performing mostly free work. Simultaneously, the sector's structural precarity, that had always existed, has been chronically exposed, also raising the visibility of non- creative professionals in the art worlds (mediators, operators, technicians). On the private sector side, some reference cultural institutions took advantage of the crisis to advance neoliberal agendas of cuts and dismissals. Before the absence of government response to a sector comprised mainly by independent and informal workers, arts professionals started an unprecedented and persistent process of organizing for claiming urgency measures addressing their basic survival needs, but also a consistent policy and statute for the sector. This paper will discuss the changes happening in the Portuguese art worlds from two main standpoints: (1) the role of the State in the (de)regulation and (de)professionalization of the sector, when great responsibility should be exercised in the definition of public policies guaranteeing access to adequate labour rights and social protection to all workers; and (2) the ways arts professionals have been organizing to cope with precarity and crisis, through different forms of collective organization (worker collectives, shared service cooperatives, mutual support systems, inter- organizational collaboration, protest and collective action). The Portuguese case is taken as a case study of a reality that is affecting arts professionals worldwide, demanding a discussion at national and supranational levels.

Over the last decades, the social economy has been called upon as a provider of social and employment policies, both at the European and national levels. Social economy organizations have proven to respond to the main social challenges in an innovative way (Borzaga et al., 2017). In the Green Paper on Equality and non-discrimination in an enlarged European Union (2004), the Commission recognizes the instrumental role of civil society organizations, in advancing EU priorities in combating discrimination. At the turn of a new decade of Europeanstrategic and funding framework, our research aims to unveil the main themes that emerge from EU strategic orientation documents and to analyse the place of the social economy in such documents. The paper analyses the main EU official strategies and policy documents using automated text analyses to allow the extraction of relevant terms and the possible relationships among them within a large textual corpus. Text mining and topic modelling techniques have been applied based on a comprehensive lexicon of nonprofit terms related to social economy organizations, which have been reviewed and validated by experts. The automated techniques allow to identify the main guidelines, recurring themes, and emerging concepts, and the critical analysis of the results allows to explain the ways in which the social economy is framed (as provider of social services, as social innovator and entrepreneur, as an advocacy actor). The challenges and opportunities of applying text mining technologies in qualitative research and social policy analysis are also discussed.

The uploaded file is the author's personal copy. The conference paper has been presented at the 16th Docomomo 2020+1 International Conference "Inheritable Resilience: Sharing Values of Global Modernities” held in Tokyo from August 29 to September 2, 2021. The Conference Proceedings are available for consultation on Oxford Abstract until December 31, 2021. Oxford Abstract LINK: https://virtual.oxfordabstracts.com/#/event/public/2170/information-2 Pompejano F. (2021) Materialising Modernity in Rural Socialist Albania, in A. Tostões, Y. Yamana (Eds), Proceedings of the 16th Docomomo 2020+1 International Conference, "Inheritable Resilience: Sharing Values of Global Modernities”, Tokyo (JP), 29 August-2 September 2021, Vol. 3, 950-955, Docomomo International & Docomomo Japan, Tokyo Japan, ISBN 987-4-904700-71-6 Acknowledgment: This article builds upon preliminary considerations stemming from the scientific research project that has received funding from the European Union’s Horizon 2020 research and innovation program under the Marie Sklodowska-Curie grant agreement No 896925. This contribution reflects only the author’s view, and the EU Commission is not responsible for any use that may be made of the information it contains., The paper is part of the 16th Docomomo 2020+1 International Conference "Inheritable Resilience: Sharing Values of Global Modernities" Proceedings that until December 31, 2021, are available for consultation at: https://virtual.oxfordabstracts.com/#/event/public/2170/information-2 The uploaded file is the personal copy of the author.

of the oral presentation held on May 1st, 2021 at the VIII AACCP (Architecture, Archaeology and Contemporary City Planning) symposium "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" Istanbul, April 26th - May 2nd, 2021 published in the Book of abstract "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" edited by Alessandro Camiz, Zeynep Ceylanlı, Zeren Önsel Atala and Özge Özkuvancı, DRUM Press, Istanbul, 2021 ISBN: 978-1-716-22187-3 Note: The abstract was double peer-reviewed by the symposium’s scientific committee.

Ongoing reconfigurations of work under contemporary global capitalism increasingly defy the centrality of the workplace for workers’ organizing. Some sectors, though, have always been challenged by the lack of a stable workplace and by the temporary nature of work relations. That is the case of the arts and construction industry whichprovidelongstanding examples of precarious and mobile work and have been related to precarious organizing. Despiterepresenting two distinct sectors of the workforce, they present a set of similarities thatchallenge the possibilities of workers’ organisation and mobilisation: the temporary, project-based nature of work; the precarious employment arrangements, often informal; the mobile nature of work activities, not linked to a fixed workplace.Based on the Portuguese context, this paper provides a comparative analysis of both sectors, arguing on their analytical significanceto explore new forms of workers’ solidarity andbroader terrains of struggle.

Culture has been highlighted as an enabler and driver of sustainable development, in its three dimensions—economic, social and environmental (UN in Resolution adopted by the General Assembly on 20 December 2017—A/RES/72/229, 2018ç)—though the potential of arts education to contribute to sustainable development remains an under-explored topic. Artists have engaged in arts education programmes both as a tool for human and sustainable development and as a resource for the sustainability of their work. Our approach is based on an ongoing arts education project with four schools in Portugal targeting students from vulnerable social backgrounds called “Seven Years, Seven Schools”, which is based on the “Seven Years, Seven Plays” artistic project by Portuguese performing artist Cláudia Dias. The education project is promoted by Alkantara Association and receives funding from the Calouste Gulbenkian Foundation’s sustainable development programme PARTIS. The research, which is currently in progress, adopts a participatory evaluation approach in evaluation, based on a methodology that includes: document analysis; meetings and workshops with the participating artists, the teachers and the team from the promoter; interviews with the artists and the teachers; workshops with the students; direct and participant observation of workshops with both the artists and the students including the public performance of the plays, and the public presentation of the students’ work.

The Literature Report reviews the current state-of-the-art in precocity in order to developthe COLLECTITUDE projects’ conceptual andanalytical framework.

The paper analyses the trend of prevarication among art workers and how they have organised into collectives in response to economic and political crisis. Drawing on research with theatre collectives in Portugal and Brazil, we discuss the role and forms of cooperation in the arts sector, that go beyond the artistic labour in contesting austerity politics and seeking the improvement of the working conditions and living standards for all. By providing a comparative study of these workers collectives, we aim to contribute to current debates on cooperatives an the wider social and solidarity economy (SSE). This paper was presented at the ILO Coop 100 Symposium, celebrating the 100th anniversary of the Cooperatives Unit of the International Labour Organization (ILO).

[PT]Conferência na Culturgest -O que custa e o que vale a arte? “Chegados ao último capítulo do programa A Arte Custa, queremos abrir espaço às ideias que foram surgindo nos workshops sobre o valor da arte e o custo do trabalho artístico e lançar novas reflexões para, quem sabe, provocar uma transformação social. Convidámos Joana Marques e Maria João Brilhante a juntarem-se aos moderadores dos workshops para chegarmos a conclusões mais específicas sobre o que custa e o que vale a arte". [EN] Conference at Culturgest -What does art cost and what is its worth? "As we reach the last chapter of the program Art Costs, we want to open space to the ideas that have emerged in the workshops about the value of art and the cost of artistic work and launch new reflections to, who knows, provoke a social transformation. We have invited Joana Marques and Maria João Brilhante to join the workshop moderators to come to more specific conclusions about what art costs and what it is worth".

Software Defined Networking (SDN) controllers decouple the forwarding data-plane actions, instructed via south-bound interfaces (SBI), from the logic control-plane decisions, which can be decided by network applications exploiting the north-bound interfaces (NBI). This paper overviews the achievements of INPIRINGSNI, a Marie Sklodowska-Curie Action that aims at enhancing programmability in optical SDN ecosystems from two perspectives: SBI for interacting with optical equipment and NBI for exposing programming abstractions that ease the development of network applications. INSPIRING-SNI focused on disaggregated approaches for SBI based on YANG models while proposing an innovative approach for the NBI based on the concept of network optimization as a service (OaaS) with an extension of the Net2Plan planning tool.

The Data Management Plan (DMP) describes the data management life cycle for all datasets that will be collected, processed or generated by the COLLECTITUDE project and how this data will be shared and made open, and how it will be curated and preserved after the end of the project.

Liquid-phase crystallized silicon on glass (LPCSG) presents a promising material to fabricate high quality silicon thin films, e.g. for solar cells and modules. Barrier layers and a doped amorphous silicon layer are deposited on the glass substrate followed by crystallization with a line focus laser beam. In this paper we introduce injection level dependent lifetime measurements generated by the quasi steady-state photoconductance decay method (QSSPC) to characterize LPCSG absorbers. This contactless method allows a determination of the LPCSG absorber quality already at an early stage of solar cell fabrication, and provides monitoring of the absorber quality during the solar cell fabrication steps. We found minority carrier lifetimes higher than 200 ns in our layers (e.g. n-type absorber with ND=2x1015cm-3) indicating a surface recombination velocity SBL

The room temperature photoluminescence (PL) spectrum due band-to-band recombination in an only 8 µm thick liquid-phase crystallized silicon on glass solar cell absorber is measured over 3 orders of magnitude with a thin 400 µm thick optical fiber directly coupled to the spectrometer. High PL signal is achieved by the possibility to capture the PL spectrum very near to the silicon surface. The spectra measured within microcrystals of the absorber present the same features as spectra of crystalline silicon wafers without showing defect luminescence indicating the high electronic material quality of the liquid-phase multi-crystalline layer after hydrogen plasma treatment

Video of the oral presentation held by Dr Federica Pompejano (MSCA-IF Fellow) on May 1st, 2021 at theVIII AACCP (Architecture, Archaeology, and Contemporary City Planning) Symposium "CITIES IN EVOLUTION. DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" organized by the Dynamic Research on Urban Morphology-DRUM laboratory, Özyeğin University, Istanbul, Turkey, April 26th-May 2nd, 2021. Due to SARS-COVID 19 Pandemic, the conference has been held on ZOOM platform.

Video of the oral presentation held by Dr Federica Pompejano (MSCA-IF Fellow) on May 1st, 2021 at the VIII AACCP (Architecture, Archaeology, and Contemporary City Planning) Symposium "CITIES IN EVOLUTION. DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" organized by the Dynamic Research on Urban Morphology-DRUM laboratory, Özyeğin University, Istanbul, Turkey, April 26th-May 2nd, 2021. Due to SARS-COVID 19 Pandemic, the conference has been held on ZOOM platform., The video recording of the entire session is also available at: https://www.youtube.com/watch?v=6SMsWsnsAzk Dr Pompejano intervention is available at Min 1:30:56

of the oral presentation held on May 1st, 2021 at theVIII AACCP (Architecture, Archaeology and Contemporary City Planning) symposium "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" Istanbul, April 26th - May 2nd,2021 published in the Book of abstract "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" edited byAlessandro Camiz, Zeynep Ceylanlı, Zeren Önsel Atala and Özge Özkuvancı,DRUM Press, Istanbul, 2021 ISBN: 978-1-716-22187-3 Note:The abstract wasdouble peer-reviewed by the symposium’s scientific committee.

of the oral presentation held on May 1st, 2021 at the VIII AACCP (Architecture, Archaeology and Contemporary City Planning) symposium "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" Istanbul, April 26th - May 2nd, 2021 published in the Book of abstract "CITIES IN EVOLUTION DIACHRONIC TRANSFORMATIONS OF URBAN AND RURAL SETTLEMENTS" edited by Alessandro Camiz, Zeynep Ceylanlı, Zeren Önsel Atala and Özge Özkuvancı, DRUM Press, Istanbul, 2021 ISBN: 978-1-716-22187-3 Note: The abstract was double peer-reviewed by the symposium’s scientific committee., The upload of this contribution has been agreed upon e-mail between Federica Pompejano (MSCA-IF Fellow) and Alessandro Camiz (Editor of the Book of abstracts), providing full reference to the volume edited by the authors (Alessandro Camiz, Zeynep Ceylanlı, Zeren Önsel Atala and Özge Özkuvancı, DRUM Press, Istanbul, 2021 ISBN: 978-1-716-22187-3)

This book was born as the legacy of the “Generators of Architectural Atmosphere” Symposium, an Interfaces event of the Academy of Neuroscience for Architecture (ANFA), sponsored by the EU’s Horizon 2020 MSCA Program — RESONANCES Project, the Perkins Eastman Studio, and the 2020 Regnier Chair. The event was hosted in the College of Architecture, Planning and Design (APDesign), Kansas State University, Manhattan, on April 12, 2022. Recent advances in science are confirming many of the architect’s expert intuitions opening new doors to the perception of space and the meaning of architectural design. This volume collects three essays: “The Atmospheric Equation and the Weight of Architectural Generators” by Elisabetta Canepa; “Sensing the Atmospheric Space Through a Virtual Lens: Scrutinizing Opportunities and Limitations” by Kutay Güler, and “The Experience of Architectural Proportion Through a Scientific Perspective” by Sergei Gepshtein and Tiziana Proietti. Bob Condia provided a critical introduction entitled “The Applied Science of Generating Atmospheres in Architecture.”, The RESONANCES project (Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses) received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this book reflects only the authors' view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains. For further information, please visit the project website: www.resonances-project.com