Imperial Migrations. Colonial Communities and Diaspora in the Portuguese World

This volume explores the role and history of migration and diaspora within the Portuguese empire, investigating what role colonial communities and diaspora have had in shaping the Portuguese empire and its heritage. The book consists of twelve case studies which look at topics such as Portuguese migration to Africa, the Ismaili and the Swiss presence in Mozambique, the Goanese in East Africa, the Chinese in Brazil, and the history of the African presence in Portugal.

Autoimmune conditions and hairy cell leukemia: an exploratory case-control study

Background: Case reports suggest that hairy cell leukemia (HCL) may be associated with autoimmune conditions, however no systematic investigations in this area have been undertaken.

Precipitation, microstructure and mechanical properties of low nickel maraging steel

A maraging steel with a composition of Fe–12·94Ni–1·61Al–1·01Mo–0·23Nb (wt-%) was investigated. Optical, scanning electron and transmission electron microscopy and X-ray diffraction analysis were employed to study the microstructure of the steel after different aging periods at temperatures of 450–600°C. Hardness and Charpy impact toughness of the steel were measured. The study of microstructure and mechanical properties showed that nanosized precipitates were formed homogeneously during the aging process, which resulted in high hardness. As the aging time is prolonged, precipitates grow and hardness increases. Fractography of the as forged steel has shown mixed ductile and brittle fracture and has indicated that the steel has good toughness. Relationships among heat treatment, microstructure and mechanical properties are discussed. Further experiments using tensile testing and impact testing for aged steel were carried out.

Network[ed] Listening – towards a de-centering of beings

In this paper, I question modes of listening in network music performance environments, and specifically draw on my experience as a performer listening in these scenarios. I situate network listening within the context of current music making, and refer to changes in compositional practices that draw specific attention to listening. I argue that some of these compositional developments play a determining role in articulating a new discourse of listening. Eric Satie's concept of Furniture Music, Schaeffer's ideas on reduced listening, Oliveros' deep listening practices as well as digital music platforms all serve to show a development towards a proliferation in listening experiences. I expand this narrative to listening practices in network performance environments, and identify a specific bodily fragility in listening in and to the network. This fragile state of listening and de-centered kind of performative being allow me to draw parallels to the Japanese art form Butoh and Elaine Scarry's metaphor of beauty. My own performance experiences, set within the context of several critical texts, allow me to see network[ed] listening as an ideal corporeal state, which offers a rethinking of linear conceptions of the other and a subject's own relation with her world. Ultimately, network[ed] listening posits listening as a corporeal and multi-dimensional experience that is continuously being re-shaped by technological, socio-political and cultural concerns.

A Computer Music Retrospective

A composer who has worked in the field of computer music for the last 25 years reflects on how technological developments during that time have affected his work in computer music, instrumental music and hybrid combinations of the two. The compositional trajectories traced here often run parallel to opportunities afforded by the evolution of computer technology suitable for the generation of digital audio.

Dartmouth Symposium on the Future of Computer Music Software: A Panel Discussion

Transcript of a Panel Discussion at the Dartmouth Symposium, chaired by Eric Lyon.

Deer Park

The score to a musical setting of a text by J. K. Randall.

Mushroom: An Oracular Sound Processor

Composers of digital music today have a bewildering variety of sound-processing tools and techniques at their disposal. At their best, these tools allow composers to hone a sound to perfection. However, they can also lead us into a routine which bypasses avenues of experimentation, simply because the known tools work so well and their sonic output is so attractive. An alternative strategy is oracular sound processing. An oracular sound processor creates a derived version of its input whose characteristics could not have been fully predicted, while affording the user little or no parametric control over the process.