Статті в журналах з теми "Sawn oak timber pieces"

The purpose of the study was to search external features of timber useful for predicting modulus of rupture (MOR) and modulus of elasticity (MOE), both in axial direction bending, valid for a wide range of beam qualities. For the study, 23 European oaks (Quercus robur L.) were felled in northwestern Spain, where most of the oak stands in the country are located. The trees were sawn and a sample of quarter-sawn planks was selected. Planed and edged specimens (5×10×200 cm) were tested to obtain MOR, MOE, apparent density, wood moisture content, percentage of sapwood, ring width, slope of grain and size and position (faces, upper and lower edge, heads) of external defects. The MOR was correlated with the maximum face and edge knot diameter. However, the correlations were not high enough to justify construction of a predictive model of mechanical behavior on the basis of maximum knot size in the piece. The MOE was correlated with the size of knots and wane. Presence of sapwood did not exhibit significant influence on strength performance. Homogeneity in ring width was negatively related to MOR and mainly to MOE. Subject headings: Bending; Mechanical properties; Stiffness; Wood beams; Wood structures.

On the basis of research of quality indicators features of formation of surface of band saws are considered, prepared under various schemes of teeth set. In a study of process of sawing of timber on bandsaw equipment factors are defined which have the greatest impact on the quality of sawn timber, depending on the wood: hardwood (oak) and softwood (pine). According to the research regression models are obtained allowing calculating the optimal modes of band equipment to ensure the required quality of sawn obtained timber.

Comparison results of visual and machine strength grading of Scots pine sawn timber from the Silesian Forestry Region in Poland. The paper presents an analysis of the strength grading results performed by two methods – visual (appearance) and machine, carried out for sawn timber obtained from the Silesian Forestry Region in Poland. Visual strength grading was performed in accordance with PN-D-94021:2013, while the machine strength grading with the use of MTG device from Brookhuis Electronics BV. As a result of the tests, it was confirmed that the machine grading results in a very small share of sawn timber classified as rejects. At the same time, during machine strength grading there were some sawn timber pieces that were not classified for any class or a reject. Based on its visual appearance, such timber elements should be graded as rejects.

In this study, the development of non-homogeneous color changes in oak timber during conventional drying and their relationship with the moisture gradient across the wood thickness were analyzed. The research was conducted on radial and tangential boards with a thickness of 38 mm, cut from two oak logs, one of sessile oak (Quercus petraea L.) and one of pedunculate oak (Quercus robur L.). A conventional drying schedule commonly used in enterprises was applied, and at specified time intervals samples were taken to determine the moisture content profile and monitor color changes on the cross sections of the samples. The findings reveal a complex relationship between the wood moisture content, the moisture content profile across the thickness, and the occurrence of color changes. Additionally, it was found that the wood of sessile oak dries slower and with less intense color changes compared to the wood of pedunculate oak. It was demonstrated that quarter-sawn boards dry slower compared to flat-sawn boards for both wood species. No differences in the appearance of non-homogeneous color between quarter-sawn and flat-sawn boards were identified.

Round timber is often used for hydraulic engineering works, but the strength grading of round logs is not as well developed as that of sawn timber. The advantages of using defined strength classes, as well as the proper selection of the raw material, could be applicable to hydraulic works as well. In this study, the methods and rules developed for sawn timber were applied to the mechanical selection of oak round logs, paying particular attention to the issue of the simplicity of grading operations and the moisture content of the timber. Both the acoustic velocity and dynamic modulus of elasticity of oak logs were measured with different instruments before performing destructive bending tests; machine settings were derived for both properties and dry and wet grading operations were simulated to compare efficiency. The use of the dynamic modulus of elasticity makes machine grading more efficient. On the other hand, the use of acoustic velocity alone is feasible and makes the procedure much faster, even if wet grading resulted in very conservative estimations. The yields obtained were similar for lower grades, but to achieve higher strength classes, the dynamic modulus was preferable. For very fast and less expensive measurements, velocity could be considered an appropriate method, as an improvement over the use of unselected material.

The number of firms involved in the production of barrels from white oak (quercus petraea L,) is small. The production of wood barrels is quite complex and with a low exploitation coefficient. We think it is in the interests of firms to know how much the coefficient of use of sawn material for these types of products is. For the study we have chosen the firm "Beha-N" in Rahovec, which mainly deals with the production of oak wood barrels. The sawn material taken in the study was of a good quality. To do the tests we used weighing methods, as its volume was difficult to measure since it was half milled. Tests were conducted for the production of barrel details with a volume of 50, 30 and 20 litters, which are most widely used by the costumers. For the realization used by the firm were taken into account the dimensions and technology. From the measurement data it turned out that the weight of the sawn timber was about 250kg. The results of these weights were exchanged in volume and percentage and they are shown in final results.

The paper presents an analysis of the influence of geographical origin and Scots pine log type on the mechanical properties of the timber sawn from them. The tested timber was sawn from logs obtained from three different forestry regions in Poland, located in the western part of the country. A batch of 150 timber pieces was obtained from each region. The cross-section had the dimensions of 40 mm × 138 mm. The timber was sawn from logs of three different types: butt, middle and top, from a fresh, mixed forest around 120 years old. The timber was dried in industrial conditions and planed four times. The values determined for the timber under research were the static modulus of elasticity in bending (MOE), and the bending strength (MOR). Moreover, timber density (DEN) was determined with the stereometric method. For all three sites, the highest average values of the tested timber properties were obtained for timber made of butt logs, and the lowest for timber made of top logs. It was concluded that the tested Scots pine properties depended on the type of log, and to limited extent, on its geographic origin. The statistical analysis revealed that the geographic origin of the logs that the tested timber was made of had a statistically significant impact on the variance of all the tested timber properties. The type of log also had a statistically significant influence on the variance of all the tested properties.

Pine timber of Polish origin intended for structural purposes is characterized by significant variability in the quality parameters. Technological suitability determined on the basis of relevant international classifications is based on the assessment of both selected mechanical and physical properties of wood. Moreover, the description of visual properties is also a valuable indicator regarding defect distribution. In the group of quality features playing a crucial role in the classification of sawn timber, there are knots, disruptions of grains, cracks, etc. Thus, the aim of the research was to determine the correlation between the presence of selected defects and the strength properties of individual timber pieces. This type of study is based on a nondestructive test method that allows for high optimization of sawn materials processing. In the case of sawn timber of Polish origin, the modulus of elasticity (MOE) determined using the sonic test is commonly used as a criterion. The research material was harvested from southern Poland. The results of the conducted studies confirmed a correlation between an increasing occurrence of particular types of defects and the results of MOE. Furthermore, as a result of the performed investigations, no significant effect of narrow surface cracks on strength properties was observed.

The article presents the results of thermo-mechanical densification tests conducted on Scots pine timber. The densification process was carried out in industrial conditions with a high-pressure press, which allowed flat compression of boards that were up to 2,5 m long. A phenomenon of elastic redeformations was observed in the densified boards after each pulse of compression. As a result of thermo-mechanical compression, the average timber moisture content dropped to 9%, and the average density increased by 13.5%, from the level of 547 to 621 kg/m3. As a result of thermo-mechanical densification, the strength class C of most Scots pine timber pieces improved. Most timber pieces that were subjected to thermo-mechanical densification have improved their strength class, C, by one (72.7% of the tested batch) or two C classes (3.6% of the batch under study).

Structural Finger-jointed (FJ) lumber is a common building material used mainly in timber construction. The paper evaluated the factors influencing structural performances of FJ Chinese fir lumber. Lumber was sawn from the logs following a pattern typically used in China to maximize the volume of recovered sawn timbers. After kiln-drying, the rough-sawed lumber was planned to 4.5 cm thick, 9.0 cm wide and 100cm long. The lumber pieces were assigned to two groups according to their dynamical MOE. FJ lumber is produced by cutting a series of sloping fingers on the end of the wood pieces to be joined and interlocking the two pieces by MDI glue. Bending and tensile strengths of FJ lumber were tested. The results show that the structural performance of the MSR FJ lumber was increased effectively after these units were machine-graded in advance and the interaction of variables should be considered in the design of finger joints.

This article presents the results of tests conducted on Scots pine timber from three different kinds of logs: butt, middle and top. A planed pine timber batch composed of 510 pieces, dried to ca. 12% humidity, was machine-graded using a portable MTG device, and classified into the following classes: C18, C24, C30, C35 and C40 (according to EN 338:2016). During the second stage of the study, the timber was tested to determine its density, MOE and MOR, in accordance with EN 408:2012. We analyzed the impact of the timber’s log of origin on the results of machine strength grading and on the values of correlation coefficients between the tested properties. The results show, among others, that there is a correlation between the C classes and MOR of the tested timber, as well as its origin from butt, middle or top logs.

This study focuses on the friction characteristics of chestnut sawn timber (Castanea sativa Mill.) of Spanish origin. The values of both the static and dynamic friction coefficients were determined, as this knowledge is of interest for the numerical simulation of the stress transmission in joints of timber structures. Therefore, two sets of tests were carried out combining different orthotropic orientations. Firstly, timber-to-timber tests were assessed to obtain the coefficients applicable to carpentry joints; secondly, timber-to-steel friction was also evaluated to determine the coefficients needed for mechanical joints with metal plates and dowels. The results presented a conventional behavior of friction, i.e., a maximum static value before sliding and a subsequent decrease. For timber-to-timber tests, global mean values of μs = 0.47 and μk = 0.36 were found, and the results were slightly higher than those obtained between pieces with the same orthotropic orientation and sliding direction. Regarding timber-to-steel tests, the resulting friction coefficients, as well as the difference existing between the static and dynamic values were lower (μs = 0.19 and μk = 0.17) compared to the timber-to-timber sets. The use of these results in numerical studies would allow for closer simulations in which chestnut wood is involved in friction. In addition, the values provided herein could be included as new data in standards that already consider other wood species.

Feed rate of cutting equipment of compact band saw machine for cutting hardwood is substantiated on the basis of providing the desired value of roughness and polythickness of obtained sawn timber. The analytical expressions for determining the feed rate of cutting equipment with different widths of cut are got. Calculation for these dependences allows us to conclude that the studied conditions of oak wood sawing with requirements, limiting the maximum rough-ness values ​​of Rm = 320, 400, 500 microns, feed rate U = 1, 7; 2, 4; 3, 6 m / min can be recommended.

Engineered wood products, such as glulam beams, attract much attention from the building industry in recent years. Therefore, there is a constant necessity to seek new models of structural beams, which assume the use of outsized sawn wood pieces as an alternative for the standard construction timber. Three variants of glulam beams, composed of the main yield and side boards arranged in various structures, were proposed. Moreover, the usefulness of wedge-jointed, small-sized timber pieces was also investigated. The manufactured beams were tested, in terms of their mechanical properties, such as bending strength, elastic energy, modulus of elasticity, and resilience. The outcomes have shown that the beams manufactured using wedge-bonded timber of lower grade do not deviate considerably from beams produced from homogeneous lamellas. Furthermore, the results of modulus of elasticity, in the case of the three-layered beams composed of both small-sized non-homogenous main yield and side boards, exceeded the requirements from EN 14080. It allowed us to classify the obtained materials as GL 32c, which is the highest grade specified within the standard.

Off-cut wood is one of the wastes dumped by sawmills, and inadequate length of sawn timber materials fail to fully utilize the wood supply. Finger joint, a method that connects two small pieces of timber, is identified as a sound technique to minimize wastage. Different timber species should be bonded at the finger joint production process for making finger-jointed mixed boards. When mixing the different timber species, timber pieces should be matched based on the mechanical strength. This study was, therefore, conducted to find the strength properties of mixed finger-jointed timber species of wood, namely, Grandis (Eucalyptus grandis), Jack (Aartocarpus heterophyllus), Kumbuk (Terminalia arjuna) and Pine (Pinus caribaea), commonly used in Sri Lanka in the manufacture of furniture. The tests were carried out on timber samples with 19 mm finger lengths made of two sections bonded with an adhesive containing polyvinyl acetate (PVAc). The tensile strength and variation of the flexural strength of the finger length of the samples were studied. BS 373: 1957 was the standard used for the flexural tests. A Universal Testing Machine (UTM 100 PC) was used for the mechanical tests. Timber combination categories are not significantly different for the MOR tests. Pine-Pine vs. Pine-Grandis combination category is significantly different for Bending tests. According to overall results, timber combination categories are significantly different for the tensile tests except for Pine and Kumbuk combinations. The findings of this study will directly benefit the finger joint manufacturers in Sri Lanka.

Annual growth ring width was considered relative to the mechanical properties of timber from the Silesian Forestry Region in Poland. The timber was acquired from raw wood aged approximately 120 years old, with log quality A, B, and C. The study was conducted on 210 pieces of timber; 70 of them were from each part of the log: butt, middle, and top. The tested parameters, modulus of elasticity (MOE) and modulus of rupture (MOR), were measured on fully dimensional timber (40 × 138 × 3500 mm3) that had been dried and planed in industrial conditions. The density of wood (stereometric method) and annual rings width were calculated after MOR and MOE determination on samples including the entire cross-section cut near the failure zone. The tests revealed that the correlation between the width of growth rings and MOE or MOR depended on the log area: it was the highest for timber from butt logs and the lowest for timber from top logs. Moreover, the correlation between growth ring width and MOE or MOR depended also on the quality class of the logs from which the samples were obtained: it was the highest for timber from class A, and the lowest for class C.

Amazon forest management plans have a variety of effects on carbon emissions, both positive and negative. All of these effects need to be quantified to assess the role of this land use in climate change. Here, we contribute to this effort by evaluating the carbon stocks in logs and timber products from an area under forest management in the southeastern portion of Acre State, Brazil. One hundred and thirty-six trees of 12 species had DBH ranging from 50.9 cm to 149.9 cm. Basic wood density ranged from 0.3 cm−3 to 0.8 g cm−3 with an average of 0.6 g cm−3. The logs had a total volume of 925.2 m3, biomass of 564 Mg, and carbon stock of 484.2 MgC. The average volumetric yield coefficient (VYC) was 52.3% and the carbon yield coefficient (CYC) was 53.2% for logs of the 12 species. The sawn-wood products had a total volume of 484.2 m3, biomass of 302.6 Mg, and carbon stock of 149.9 MgC. Contributions of the different species to the total carbon stored in sawn-wood products ranged from 2.2% to 21.0%. Means and standard deviations for carbon transferred to sawn-wood products per-species from the 1252.8-ha harvested area ranged from 0.4 ± 1.1 MgC to 2.9 ± 0.4 MgC, with the largest percentages of the total carbon stored in wood products being from Dipteryx odorata (21.0%), Apuleia leiocarpa (18.7%), and Eschweilera grandiflora (11.7%). A total of 44,783 pieces of sawn lumber (such as rafters, planks, boards, battens, beams, and small beams) was obtained from logs derived from these trees. Lumber production was highest for boards (54.6% of volume, 47.4% of carbon) and lowest for small beams (1.9% of volume, 2.3% of carbon). The conversion factor for transforming log volume into carbon stored in sawn-wood products was 16.2%. Our results also show that species that retain low amounts of carbon should be allowed to remain in the forest, thereby avoiding low sawmill yield (and consequent generation of waste) and allowing these trees to continue fulfilling environmental functions.

AbstractNeedle penetration resistance (NPR), screw withdrawal resistance (SWR), core drilling (CD) and drilling chips extraction (DCE) are nondestructive and semi-destructive techniques used to estimate density in timber structures. In most of the previous studies, these techniques were tested in clear sawn timber and clear specimens. The goal of the present paper is to study the relationship between density and these techniques by means of five different devices in whole pieces of timber from built-in engineering structures, which are from 12 4.5-m long structural timber joists of Norway spruce from a 19thcentury building in Barcelona (Catalonia, Spain). Although determination coefficients (R2) for density estimation models were lower than those from clear timber, the results obtained confirmed that these four techniques are suitable forin-situdensity estimation of woods in buildings. The best results were obtained by CD (the bigger the bit, the higher the correlation), followed by DCE, and SWR. The worst correlation was found for NPR devices, but the results could be probably improved with more measurements.

Abstract Today, a dominant trend in factory construction is to account for the eco-economic aspects of their further operations. It requires sustainable technological solutions, with regard for structural specificities or for production technology used. At the same time, the buildings shall be architecturally attractive and distinct. In the paper, the author considered architectural, technological, structural, ecological, and economic factors for construction of wood-processing and furniture-making facilities. The author analyzed the actual Project Design to build the type of facility in Krekhiv village, Zhovkva district, Lviv region (western Ukraine) as commissioned by a well-known French company (the author have been engaged in the design). The study focused on a wood-processing Woodman company designed for the midtech production of edge glued panels and furniture. According to the design documentation by types of products planned, the Project Design provided for the following production units: unit for wood-sawing and drying; unit for mechanical processing of wood, production of edge glued panels and furniture; unit for mechanical repairs; and an administrative and services unit. The anticipated annual production capacity is: for edge glued panels – 600 m3 a year, furniture production– up to 4,000 pc a year. “Wood-sawing unit”, according to the Project Design, is organized according to the following principles of production technology based on the stages and operations: stockholding and storage of round timber (sawtimber); cutting the sawtimber into the shaped timber and logs; stocking the sawn timber (untrimmed boards) into stockpiles and on separators for further atmospheric and chamber drying. Sawn timber drying is taking place in the “Drying Unit”. It is the process of moisture removal from timber to a certain degree of humidity. The Project Design provided for the atmospheric drying of logs and boards in the furnished stockpiles under the roof, and artificial seasoning in a steam-curing and drying chambers. The artificial seasoning technology for sawn timber and logs is organized with the help of drying chambers and a boiler room with a sawdust bunker. The “Unit for Mechanical Wood Processing, Production of Edged Glued Panels and Furniture” is used for production of the edged glued panels from the sawn timber coming from hardwood (beech, oak). The production process of the edged glued panels includes the following stages: 1) cross-cutting of dry boards; 2) line cutting of board edges for the rough-sawn stock; 3) primary mechanical processing; 4) sorting by quality, color; 5) end-jointing gluing line; 6) log finishing; 7) press-molding of logs into panels; 8) panel surface preparation; 9) size cutting; 10) preservative treatment; 11) quality control; 12) storage and sales. "Administrative and Service Block", according to the Project Design, is an inbuilt part of the Main Building (Unit). It is a two-story insert separated with the fire safety barriers from the manufacturing facilities. It has isolated outside entrances and a technological corridor linking the manufacturing facilities. With account for production process requirements, fire safety, and sanitary standards, the Unit is divided into several personal services rooms for the staff and administrative rooms.

The expediency of conducting comparative studies of the assortment of dry sawn oak timber established according to different regulatory documents has been verified: by the current standard - DSTU EN 975-1-2001 and the standard cancelled in 2019 - GOST 2695-83. A methodology for conducting experimental studies of timber assortment has been developed and tested. It has been established that there is a certain correlation between the results of the evaluation of the quality characteristics of the investigated timber, in accordance with the requirements of the relevant regulatory documents. In particular, higher-grade timber according to GOST 2695-83 corresponded to higher grades according to DSTU EN 975-1-2001, but the presence of a different number of grades in the standards used, 5 in DSTU EN 975-1-2001 and 3 in GOST 2695-83, predisposes a certain redistribution of timber among the grades. The studied timber of grade 1 established according to GOST 2695-83 was redistributed into 3 grades (Q-FA, Q-F1a, Q-F1b) according to DSTU EN 975-1-2001, grade 2 timber established according to GOST 2695-83 was redistributed into 2 grades (Q-F1b, Q-F2) according to DSTU EN 975-1-2001, including the lowest quality, and grade 3 timber established according to GOST 2695-83 was also redistributed into 2 grades (Q-F2, Q-F3) according to DSTU EN 975-1-2001.

Canary Island pine (Pinus canariensis C.Sm. ex DC) is a species endemic to the Canary Islands (Spain) that was for centuries overexploited for its wood and resin. Due to the state of the pine forest, more than 10,000 hectares were reforested in the middle of the 20th century. Now, under the silvicultural management plan, thinning operations have allowed Canary Island pine wood to be mechanically characterised for the first time using large test pieces. In total, 1529 pieces measuring 2600 × 120 × 35 mm and visually graded according to Spanish standard UNE 56544 (Visual grading of large structural coniferous sawn timber) were assessed, resulting in 872 pieces in grades ME-1 and ME-2 and 657 rejects. After the characteristic values of density (479–453 kg∙m−3), modulus of elasticity (MOE) (14,023–11,276 N∙mm−2) and bending strength (MOR) (26–14 N∙mm−2) were determined for both grades (ME-1 and ME-2), strength class C24 was assigned to grade ME-1, with similar values to Pinus radiata D.Don and Pinus pinaster Aiton, and C14 was assigned to grade ME-2. Density, number of growth rings, growth ring width, and presence/absence of resinous wood have a significant influence on MOE and MOR, for a confidence level of 95%. Reforestation of Canary Island pine not only allows restoration of the forest cover, but also provides an opportunity, through thinning, to obtain quality wood, helping to create employment and associated industry. This local example with an endemic species can be extrapolated to other parts of the world.

Abstract The subject of this paper is the analysis of the influence of laser cutting of oak wood on its drying process. The subject of the research was the comparison of the drying process and the quality of the dried wood in samples cut by classical technology (sawing) and samples cut with the use of laser. The research was carried out on two sets of samples which were subjected to an identical drying process. Continuous moisture loss and final moisture attained, moisture gradients before and after drying, and internal tensions before and after drying were monitored by means of the fork test and the cut-test. The final moisture content at the end of drying was 8.09% for the saw-cut samples and 8.22% for the laser-cut samples, a difference of only 0.13%. The analysis of the individual characteristics observed showed that the influence of the cutting technology did not have a significant effect on the drying process or the quality of the dried oak sawn timber.

Abstract Bending properties have been determined by mechanical testing [modulus of elasticity (MOE) and modulus of rupture (MOR)] and by means of longitudinal (L) and transverse (T) vibration nondestructive methods on 150 sawn timber pieces of Pinus radiata D. Don, with the dimensions of 80×120 mm cross-section and 2500 mm long, from Catalonia, Spain. The fundamental vibration frequency was measured by recording the sound produced by hitting the piece in L and T directions, and this signal was analyzed by fast Fourier transform sound analyzer. The dynamic MOE was obtained for both procedures and compared with static MOE and MOR. The notion of concentrated knot diameter ratio (CKDR) was introduced to improve the prediction of MOR. CKDR gives better results when this parameter is referred to the central portion of piece length. Both methods (L and T frequencies) have similar accuracy in prediction of mechanical properties, but the first one is simpler and has some practical advantages. The timber graded with this nondestructive method offers better results than the visual grading rules for the same output.

Background and Objectives: In the near future, in Europe a raised availability of hardwoods is expected. One possible sales market is the building sector, where medium dense European hardwoods could be used as load bearing elements. For the hardwood species beech, oak, and sweet chestnut technical building approvals already allow the production of hardwood glulam. For the species maple and ash this is not possible yet. This paper aims to evaluate the economic feasibility of glulam production from low dimension ash and maple timber from thinnings. Therefore, round wood qualities and the resulting lumber qualities are assessed and final as well as intermediate yields are calculated. Materials and Methods: 81 maple logs and 79 ash logs cut from trees from thinning operations in mixed (beech) forest stands were visually graded, cant sawn, and turned into strength-graded glulam lamellas. The volume yield of each production step was calculated. Results: The highest volume yield losses occur during milling of round wood (around 50%) and “presorting and planning” the dried lumber (56–60%). Strength grading is another key process in the production process. When grading according to DIN 4074-5 (2008), another 40–50% volume loss is reported, while combined visual and machine grading only produces 7–15% rejects. Conclusions: Yield raise potentials were identified especially in the production steps milling, presorting and planning and strength grading.

ResumenEn este trabajo se analiza el comportamiento a compresión de piezas de madera de pino silvestre de pequeña escuadría sometidas a un esfuerzo de compresión longitudinal a las fibras. Se han obtenido las propiedades mecánicas asociadas a este tipo de solicitación, se ha analizado qué correlaciones pueden emplearse con éxito y se ha comprobado el ajuste de los valores obtenidos con los estimados por las normas de clasificación visual y resistente de la madera en uso. Para ello se han ensayado a compresión en sentido longitudinal a la fibra y hasta rotura 11 piezas de madera de pino silvestre de pequeña escuadría de 27x140x300mm. Las piezas ensayadas son ME1 según clasificación visual de UNE 56544 y clasificación mecánica C27 según UNE-EN 1912. En las conclusiones se presentan los resultados del análisis de las correlaciones efectuadas en la investigación.AbstractThis paper presents an experimental study of the compression behaviour of small pine wood pieces subjected to a longitudinal - compressive stress to the fibers. The mechanical properties obtained are associated with this type of load. The correlations that can be used successfully have been analysed and the concordance between the values obtained with those estimated by the visual grading rules of sawn timber for structural use has been tested. To this end, 11 small pine wood pieces (27x140x300mm) have been tested, subjected to a longitudinal - compressive stress to the fibers. The wood pieces tested are ME1 according to visual classification of UNE 56544 and C27 according to mechanical classification of UNE-EN 1912. The results of the analysis of correlations are presented in the conclusions.

ResumenEn este trabajo se realiza un estudio experimental del comportamiento de dieciocho vigas de madera aserrada para uso estructural, de dimensiones 155x75x1090mm. La madera empleada ha sido de pino silvestre de Valsaín. Los ensayos se han realizado en el Laboratorio de Materiales de Construcción de la Escuela Técnica Superior de Edificación de Madrid. El objetivo del trabajo es el análisis del comportamiento a flexión de las piezas ensayadas teniendo en cuenta de los defectos y singularidades que presentan, realizando un estudio de la influencia de éstos. Se han ensayado dieciocho piezas en total, de las cuales nueve se colocaron en posición plana y las otras nueve de canto. Antes de proceder a los ensayos, la muestra ha sido clasificada según la norma UNE 56544 de clasificación visual de la madera aserrada para uso estructural, determinándose la calidad estructural de cada pieza y la clase resistente teniendo en cuenta que la especie de la madera es pino silvestre. Se identifican las singularidades y defectos que presenta cada una de las piezas y se mide la humedad, el peso y dimensiones de éstas. En las conclusiones se presentan los resultados del análisis realizado, comparando los datos de los ensayos con las características de las piezas, determinando la influencia de la presencia de defectos y las características de las piezas con sus propiedades mecánicas. AbstractThis paper presents an experimental study of the behavior of 18 timber beams for structural use of 155x75x1090mm dimensions. The origin of the wood is Valsaín sawmill. The tests were performed at the Laboratory of Construction Materials at the University School of Technical Architecture. The objective of this work is the analysis of flexural behavior of test pieces according to the defects and singularities, carrying out an analysis of their influence. 18 pieces have been tested, of which 9 were placed in a flat position, and the other 9 were placed in edge position. Before testing, the samples were classified according to UNE 56544 visual grading of sawn timber for structural use, determining the structural quality of each piece and the strength class. Singularities and defects found in each one of the pieces, moisture, weight and dimensions are measured and identified. The results of the analysis are presented in the conclusions, comparing the test data with the characteristics of the beams, determining the influence of the presence of defects and the characteristics of the timber beams with resistance in tests.Index Terms—

Introduction: Wood is susceptible to be used as a carbon source by fungal species damaging the wood. Its durability has been categorized according to its weight loss, without taking into account the decrease in the inherent physicochemical and mechanical properties. Objective: To evaluate how how weight loss affects the physicochemical and mechanical properties of Pinus pseudostrobus Lindl. wood exposed to brown-rot fungi Gloeophyllum trabeum (Pers.) Murrill. Materials and methods: Sawn timber pieces of P. pseudostrobus were inoculated with 50 mL of G. trabeum (106 UFC∙mL-1). Periodically (zero, three, six and nine months) and with the help of a universal testing machine, parallel compression (PC), static bending (SB) and perpendicular compression to the grain (CPG) were evaluated, and holocellulose, cellulose and lignin were quantified. Results and discussion: After nine months of interaction with G. trabeum, the pieces of wood were resistant to degradation, taking into account only weight loss. However, the chemical-mechanical properties evaluated showed that the fungus produced thinning and rupture of the tissue cells causing significant decrease in SB (100 to 56 N∙mm-2) and CPG (42.2 to 20.2 N∙mm-2), which reduced its resistance to mechanical stress. Conclusions: Wood exposed to fungal degradation is significantly affected in its mechanical properties, disqualifying it for construction. The damage is not reflected in the aesthetics of the material, which is surprising, since the common user of pine wood would not be able to notice the problem.

This article presents the operation of an automatic pine sawn timber inspection system, which was developed at the Woodinspector company and is offered commercially. The vision inspection system is used to detect various wood defects, including knots, blue stain, and mechanical damage caused by worms. A blue stain is a defect that is difficult to detect based on the color of the wood, because it can be easily confused with wood defects or dirt that do not impair its strength properties. In particular, the issues of detecting blue stain in wood, the use of artificial neural networks, and improving the operation of the system in production conditions are discussed in this article. While training the network, 400 boards, 4 m long, and their cross-sections of 100 × 25 [mm] were used and photographed using special scanners with laser illuminators from four sides. The test stages were carried out during an 8-hour workday at a sawmill (8224 m of material was scanned) on material with an average of 10% blue stain (every 10th board has more than 30% of its length stained blue). The final learning error was assessed based on defective boards detected by humans after the automatic selection stage. The system error for 5387 boards, 550 m long, which had blue staining that was not detected by the scanner (clean) was 0.4% (25 pieces from 5387), and 0.1 % in the case of 3412 boards, 610 mm long, on which there were no blue stains, but were wrongly classified (blue stain). For 6491 finger-joint boards (180–400 mm), 48 pieces were classified as class 1 (clean), but had a blue stain (48/6491 = 0.7%), and 28 pieces did not have a blue stain, but were classified as class 2 (28/3561 = 0.7%).

Abstract Logging residues were inventoried in a 14-county region of southern West Virginia during the summer of 2002. A total of 70 sites that were harvested in 2000–2001 were sampled. The average overall weight of wood residue left after harvest in the region was 10.4 tons per acre (T/ac). Oak (Quercus spp.) was the most prevalent species group by weight, averaging 5.0 T/ac over the study area. Miscellaneous hardwoods, yellow-poplar, and maple species (Acer spp.) followed the oaks with 2.7, 1.2, and 1.2 T/ac, respectively. The average large-end and small-end diameter of the pieces measured on intensive lines was 9.2 and 4.9 in., respectively. The average length of all logging residue was 20.4 ft. Wood residue loads after timber harvesting in West Virginia continue to be substantial. Although yellow-poplar and other soft hardwood residues alone do not provide an adequate fiber resource to supply new engineered wood products facilities, these residues can supplement current needs. Attention should be given toward increasing the use of these residues in West Virginia, especially in attracting industry that can use oak and mixed hardwood logging residues in a sustainable fashion.

While it has been established previously that the strengths of commercial timber products containing knots and other natural growth characteristics are greatly influenced by the physical dimensions of the pieces, it has not been established whether the same is the case for defect-free wood. The structural engineer has a choice of many grades of timber available for his designs and it may be argued that these grades form a stepwise progression from the rather weak No. 3 grade through select structural grade and into clear defect-free sawn wood. For efficient design, it is important to have the size effects correctly quantified for the different qualities. This study concentrates on quantifying the size effect at the strong end of the perceived progression of increased strength, the clear defect-free wood. For the bending tests carried out in this study, it was found that the length effect was very pronounced while thickness did not affect strength. A consistent depth effect could not be found. If some depth effect did exist, it would be of second order in importance relative to the length effect. From the tests, it was established that the length effect parameter is unlikely to be less than 0.17 for bending. The work was conducted using the species group spruce–pine–fir, which is the most abundant species group in Canada. The tests add further evidence to the argument that the effect of length must be included in the design process for any material where the strength varies along the length of the member. Key words: size effects, defect-free wood, spruce–pine–fir, adjustment factor, length effect parameter.

This article deals with the testing of a methodology for creating log cutting patterns. Under this methodology, programs were developed to optimize the log yield. Testing was conducted by comparing the values of the proportions of the individual products resulting from an implementation of the proposed cutting pattern of a specific log with the calculated values of these proportions of products using the tested methodology. For this test, nine pieces of logs (three pieces of oak, three pieces of beech and three pieces of spruce) were chosen, and then the proposed cutting pattern was applied on each log and the proportions of the resulting products were determined gravimetrically. The result of the statistical comparison is as follows: The prediction model that has been tested meets the basic requirement of insensitivity to the tree species. This means that the model tested does not create differences in the results based on the type of wood. In the case of timber, the model statistically significantly underestimates its proportion by 3.7%. The model underestimates the proportion of residues by 0.14%, but is not statistically significant. This model statistically significantly underestimates the proportion of sawdust by 2.25%. By evaluating the results obtained, we can conclude that the prediction model is a good basis for optimizing log yields. In its further development, it has to be supplemented with a log curvature parameter and for the most accurate yield optimization, in terms of the product quality, it must be connected with new scanning technologies as well. These will supplement the prediction model with information about internal and external wood defects and these defects will be taken into account then.

AlrumBurnt houses at an Early Iron Age tell site in Western JutlandThe Alrum settlement is renowned in particular for producing one of the largest prehistoric finds of charred grain and seeds ever discovered in Denmark.The site was excavated in 1939 under the direction of Gudmund Hatt, but it was Hans Helbæk who carried out a detailed analysis of the plant remains. The latter were subjected to re-examination in 1994, whereas the extensive finds assemblage, stored at Ringkøbing Museum, has only now been fully investigated and analysed. The reason for this is that the excavation records, thought for many years to have been lost, turned up by chance at the National Museum of Denmark in 2000.The Alrum site is located on a slight elevation, about 1 km from Stadil Fjord and 10 km north of the town of Ringkøbing (fig. 1).The settlementThe excavation trench exposed an area of about 300 m2, within which there were sequences of six to seven house sites lying one on top of the other, resulting in cultural deposits with a vertical stratigraphy of 1.5 m, in other words a tell site (fig. 2). Two of the houses (house I and house II) had been destroyed by fire and had been abandoned in such great haste that everything remained within the burnt-out remains of the buildings. House II was the better preserved of the two, containing building timbers, c. 50 pottery vessels, straw ropes, some stone tools, a ball of wool etc. The house was 14.5 m long and 4.5 m wide (c. 60 m2), with living quarters at the western end and a presumed byre to the east. Relative to contemporary houses in Eastern Jutland, those in Western Jutland were small. The roof was borne by five pairs of posts arranged along the length of the house and was probably comprised of heather turf. The post-built walls had an inner cladding of thick oak planks, whereas the outer surface is presumed to have been covered with a layer of straw or grass. The living quarters were fitted out with a clay bench or platform at the gable, an ornamented hearth in the middle and, between the two, a stone mortar set firmly into the clay floor (fig. 3). No traces were seen in the byre of the usual stall dividers, so perhaps the house had not been fully completed when the fire broke out! Most of the pottery lay close to the clay bench, together with several bodies of untempered clay; these weighed c. 9 kg. Up against the north wall there were two impressive solid andirons, 27-28 cm in height and weighing more than 3 kg (figs. 4, 5, 6, 7 and 8). The pottery dates the house to the late Pre-Roman Iron Age.Beneath house II lay the successive remains of six to seven other houses. The pottery reveals that this small village was founded around 500 BC, whereas the latest examples are from the century around the birth of Christ (figs. 6 and 13). Only parts of house I could be excavated, but here too a great deal of pottery was encountered, together with a few stone artefacts (figs. 9 and 11).Building timberVirtually all the woodwork in the burnt houses was of oak, supplemented by a little willow and alder which are well suited to making the wattle of the walls. In each house there was a large number of roof and wall postholes, with the charred post ends still in situ; along the walls lay large pieces of so-called wattle panels. As a consequence, it was possible to measure the dimensions of the timbers. Charring leads to a reduction in size of the timber, but by how much? Information received from the Danish Institute of Fire and Security Technology states that, as a rule of thumb, there is a reduction of 0.5-0.6 mm for every minute the fire burns. Figure 10 gives the timber dimensions alongside a column showing measurements after 20 minutes of burning, to which 1 cm has been added. In spite of the latter, the timber dimensions were still markedly less than those of unburnt posts seen at for example Feddersen Wierde in the North German salt marshes. As oak is totally dominant as the building timber, this begs the question as to where it was obtained? A pollen diagram from a site located 4-5 km from Alrum shows that the landscape was open and unlikely to have had large areas of oak woodland. One possibility is that the oak wood was obtained from Eastern Jutland, perhaps being exchanged for fish and other marine resources?Agriculture and fishingThe large quantities of charred grain and seeds recovered from the site constitute an excellent basis on which to gain a detailed insight into the subsistence. The most important cereals were barley and oats, accompanied by a little wheat, flax and gold of pleasure. In addition to these, seeds had been gathered from a range of weedy species, with corn spurrey, goosefoot, and persicaria being the commonest (fig. 14). These weeds show that the arable fields were sandy and only lightly manured and this conclusion is supported by the size of the cereal grains which is also very modest. It seems likely that the low-lying fields were flooded with salt water from time to time, but barley, flax and gold of pleasure are all salt tolerant.In historical times seeds of the above weed species were used in bread, porridge and gruel by farmers living on the Jutland heath. Tubers of false oat grass were also found at Alrum; these are rich in starch and therefore represent a good food supplement. The heaps of crop plant remains can be classified as threshed and unthreshed (fig. 15). This can perhaps give an indication of the time of year at which the fire took place; it was most probably in the autumn. On the other hand, the bone material from the site is very limited due to the well-drained acid sandy soil. Mention can, however, be made of a perforated ox astragalus (fig. 11a-b). Even so, it can safely be presumed that the many good grazing areas were extensively exploited.On the basis of the site’s location and finds of stone net sinkers, it seems justified to refer to Alrum’s inhabitants as fisher-farmers.Settlement and landscapeToday, the Jutland west coast has a harsh climate with sand drift and storms as significant factors in the lives of the inhabitants. But this was not always the case and in the Early Iron Age the situation must have been quite different: Sand drift was less extensive, the coastline had a different appearance and the sea level fluctuated, as can be seen for example at Højbjerg just south of Ringkøbing Fjord and in several other locations (fig. 1). A rise in sea level of just 0.5 m would reduce the area of shore meadow considerably (fig. 16). The woodland picture was also different.The most important indicator of this very different landscape and environment is the sustained habitation which characterises many settlements, and is exemplified by Alrum with more than 500 years of activity at the same location, and even a further couple of centuries close by, as suggested by recent aerial photographs. People lived at Nørre Fjand for 300-400 years and Klegod, now located directly on the present-day coastline, was probably occupied for at least a century. Such extended occupation of the same site must also be presumed to have resulted in social and family-related changes.There was of course some sand drift in the Early Iron Age. This is apparent from sand layers between the individual house phases and on the arable fields. However, it was apparently not so extensive that it prompted people to move; the sand layers are modest in their thickness. A good example of the stubbornness of these Iron Age people is seen at the small village of Klegod where the inhabitants ploughed through a layer of sandy soil of no less than 40 cm in thickness.The course of the coastline must also have been quite different back then as remains of Iron Age settlements are revealed now and then by today’s fierce winter storms which can cut deep into the sand dunes. Klegod, which dates from c. 500 BC, is just such a locality and provides secure proof that the coast must have lain a good way out to the west at the time, perhaps as much as several kilometres.In this dynamic and changeable landscape, the fisher-farmers of the Early Iron Age managed to maintain their existence over many generations and they were perhaps not as isolated as one could easily imagine. However, one main question remains: What led these people to settle in these near-coastal areas? The numerous Iron Age sites show that many families must have been involved. Was it marine resources or the good grazing along the shore meadows which attracted them? Another factor should also be pointed out: The coastline also hosted an archipelago, with a protective row of islands located offshore as seen today in the Netherlands and Northern Germany and these provided opportunities for closer contacts with the latter areas.Jørgen Lund & Poul NissenMoesgård Museum

AbstractAs was the case with silversmiths (Note 3), many more cabinet-makers were wcrking in Amsterdam during the second half of the 18th century than in any other city in the Dutch Republic, the names of 195 of them being now known as opposed to 57 in The Hague and 32 in Rotterdam (Note 2). Most of those 195 names have been culled from the few surviving documents of the Guild of St. Joseph in Amsterdam, to which the cabinet-makers belonged (Note 4), supplemented by other sources, such as printed registers of craftsmen and shopkeepers (Note 6). Another important source is the newspaper the Amsterdamsche Courant with its advertisements placed by craftsmen themselves, with notices of sales, bankruptcies, lotteries and annual fairs and with advertisements concerning subsidiary or related trades. Since these advertisements were directed at the consumer, they often contain stylistic descriptions such as are not found elsewhere. Moreover, they aford valuable clues to archival material. Hence an investigation of all the advertisements from the years 1751-1800 has formed the basis for a study of Amsterdam cabinet-making, some results of which are presented here. Such a study is doomed largely to remain theoretical. The records can hardly ever be linked with surviving pieces, as these are virtually always anonymous since Amsterdam cabinet-makers were not required to stamp or sign their work. Moreover, only a few pieces of Dutch 18th-century furniture have a known provenance, so that it is only rarely possible to link a piece with a bill or another document and identify its maker. Thus it is not yet possible to form a reliable picture of a local Amsterdam style, let alone embark on attributions to individual makers (Note 8). In this light special importance may be attached to two commodes of the third quarter of the century which are exceptional in that they bear a signature, that of Andries Bongen (Figs. 1, 2, Notes 10, 11). These commodes, being entirely French-inspired, illustrate a specific and little-known aspect of Amsterdam cabinet-making. French furniture was so sought after in Amsterdam at that period that in 1771 a strict ban was imposed on its importation in order to protect local cabinet-makers (Note 12). It had begun to be imitated even before that and the commodes by Bongen exemplify this development. Andries Bongen, who was probably born in Geldern, south of Cleves and just east of the border of the Dutch Republic, is first recorded in Amsterdam in May 1763 on his marriage to Willemina, daughter of the smith Lambert van der Beek. He registered as a citizen on 5 July 1763 and became a master cabinet-maker some time between March 1763 and March 1764 (Note 19), so that, accordirtg to the Guild regulations, he must previously have trained for two years under an Amsterdam master (Note 20). At the time of his marriage he was living in St. Jorisstraat, but by the end of 1766 he had moved to Spui and between 1769 and 1771 he moved again, to Muiderpleinlje. When he and his wife made their will in 1772, their possessions were worth something under 8000 guilders (Note 23). This suggests that the business was quite flourishing, which seems to be confirmed by the fact that Bongen received a commission from the city of Amsterdam in 1771. Two more pieces were made for the city in 1786 and 1789, but in the latter year Bongen was declared bankrupt. The inventory of his possessions drawn up then (see Appeytdix) shows how parlous his conditions had become, his goods being valued at only 300 guilders. The reference to a shop indicates that Bongen sold his own furniture, although he had no stock to speak of at that point. The mention of eight work-benches, however, sugests that his output had previously been quite large. This is confirmed by the extent of his debts, notably that to the timber merchant Jan van Mekeren (Note 27). Other creditors included 'Rudolfeus Eyk', who probably supplied iron trelliszvork for bookcases and the like (Note 28), and the glass merchants Boswel en Zonen (Note 29) No debtors are listed and the only customer who can tentatively be identified is a 'Heer Hasselaar' who might be Pieter Cornelis Hasselaer (1720-95), several times burgomaster of Amsterdam between 1773 and 1794 (Note 30). Bongen died three years after his bankruptcy, at which time he was living in Nieuwe Looiersstraat. He appears to have continued working as a cabiytet-maker up to his death and his widow probably carried on the business until her own death in 1808, but nothing is known of this later period. The clearest insight into the character of part of Bongen's output is aforded by the advertisement he placed in the Amsterdamsehe Courant of 4 December 1766, describing three pieces of furniture 'in the French manner'. This is the first announcement by an 18th-century Amsterdam cabinet-maker of work in the French style. Bongen mentions two commodes decorated with floral marquetry, a technique which had flourished in Amsterdam in the late 17th and early 18th centuries (Note 34), but which had largely fallen into disuse on the advent around 1715 of a more sober type of furniture with plain walnut veneers on the English model (Note 36). In France a form of floral marquetry reappeared in the 1740s, being further developed in the following decade under the influence of Jean-François Oeben (1721-63). From the late 1750s there are indications of the presence of pieces of French marquetry furniture in the new style in Amsterdam (Notes 42, 43). The earliest explicit description of floral marquetry appears in a sale catalogue of 5 June 1765 (Note 44), while in another of 25 March 1766 (Note 46) many French pieces are detailed. Obviously, then, Bongen was endeavouring to capture a share, of this new market. The reappearance of elaborate marquetry on Amsterdam-made furniture was the result of a desire to emulate the French examples. The two commodes described in Bongen's advertisement can be identified with the one now in Amsterdam (Fig.2) and the one sold in London in 1947 (Fig.1). The latter still had more of its original mounts at the time nf the sale (Fig. 4) and the two probably formed a pair originally. The unusual fact that they are signed indicates that Bongen intended them to serve as show-pieces to demonstrate his skill at the beginning of his career (cf. Note 51, for another craftsman from abroad who began his career in Amsterdam by similarly advertising a spectacular piece). The commode in Amsterdam, with all its original mounts, demonstrates most clearly how close Bongen came to French prototypes, although his work has many personal traits nonetheless. In the marquetry the vase on a plinth on the front and the composition of the bouquets on the sides are notable (Fig.5), as are the large, full-blown blooms. The carcase, made entirely of oak, is remarkably well constructed and has a heavy, solid character. The commodes are outstanding for the complete integration of the marquetry and the mounts, in the manner of the finesl French furniture. The mounts presenl a problem, as it is not clear where they were made. They do not appear to be French or English, but one hesitates to attribute them to Amsterdam, as it is clear from documentary material that ornamental furniture-mounts were hardly ever made there in the second half of the 18th century. The mounts advertised by Ernst Meyrink in 1752 (Note 53) were probably still of the plain variety of the early part of the century and there is no further mention of mounts made in Amsterdam in the Amsterdamsche Courant. Once, in 1768, the silversmith J. H. Strixner placed an advertisement which refers to their gilding (Note 55). There is virtually no indication either of French mounts being imported and there is little Dutch furniture of this period that bears mounts which are indisputably French. In contrast to this, a large number of advertisements from as early as 1735 show that many mounts were imported from England, while among English manufacturers who came to sell their wares in Amsterdam were Robert Marshall of London (Note 60), James Scott (Note 61), William Tottie of Rotterdam (Note 62), whose business was continued after his death by Klaas Pieter Sent (Note 64), and H. Jelloly, again of Rotterdam (Notes 66, 67). It seems surprising that in a period when the French style reigned supreme so many mounts were imported from England, but the English manufacturers, mainly working in Birmingham, produced many mounts in the French style, probably often directed expressly at foreign markets. On the two commodes by Bongen only the corner mounts and the handles are of types found in the trade-catalogues of the English manufacturers (Figs. 7, 8, Notes 65, 70). The corner mounts are of a common type also found on French furniture (Note 71), so they doubtless copy a French model. The remaining mounts, however, are the ones which are so well integrated with the marquetry and these are not found elsewhere. Recently a third commode signed by Bongen has come to light, of similar character to the first two (Fig.3). Here all the mounts are of types found in the catalogues (Figs.7-10, Note 72). Apparently Bongen could not, or did not choose to, obtain the special mounts any more, although he clearly wanted to follow the same design (Fig. 6). This third commode was undoubtedly made somewhal later than the other two. The marquetry on it is the best preserved and it is possible to see how Bongen enlivened it with fine engraving. Because this piece is less exceptional, it also allows us to attribute some unsigned pieces to Bongen on the basis of their closeness to it, namely a commode sold in London in 1962 (Fig.11, Note 73) and two smaller, simpler commodes, which may originally have formed a pair, one sold in London in 1967 (Fig.12, Nole 74) and the other in a Dutch private collection (Figs.13, 14). The first one has a highly original marquetry decoration of a basket of flowers falling down. On the sides of this piece, and on the front of the two smaller ones, are bouquets tied with ribbons. These were doubtless influenced by contemporary engravings, but no direct models have been identified. The construction of the commode in the Netherlands tallies completely with tltat of the signed example in Amsterdam. The mounts are probably all English, although they have not all been found in English catalogues (Fig.15, Note 76). A seventh commode attributable to Bongen was sold in Switzerland in 1956 (Fig.16, Note 77). It is unusual in that walnut is employed as the background for the floral marquetry, something virtually unknown in Paris, but not uncommon on German work of French inspiration (Note 78). That commodes constitute the largest group among the furniture in the French style attributable to Bongen should cause no surprise, for the commode was the most sought after of all the pieces produced by the ébénistes not only in France, but all over Europe. Two other pieces which reveal Bongen's hand are two tables which look like side-tables, but which have fold-out tops to transform them into card-tables, a type seldom found in France, but common in England and the Netherlands (Note 80). One is at Bowhill in Scotland (Figs.17, 19, 20), the other was sold in London in 1972 (Fig.18, Note 79). The corner mounts on the Bowhill table, which probably also graced the other one originally, are the same as those on the two small commodes, while the handles are again to be found in an English catalogue (Fig.21, Note 81). What sounds like a similar card-table was sold at auction in Amsterdam in 1772 (Note 82). In Bongen's advertisement of 1766 mention is also made of a secretaire, this being the first appearance of this term in the Amsterdamsche Courant and Bongen finding it necessary to define it. No secretaire is known that can be attributed to him. A medal-cabinet in the form of a secretaire in Leiden (Figs.22, 23) hasfloral marquetry somewhat reminiscent of his work, but lacking its elegance, liveliness and equilibrium. Here the floral marquetry is combined with trompe l'oeil cubes and an interlaced border, early Neo-Classical elements which were first employed in France in the 1750s, so that this piece represents a later stage than those attributable to Bongen, which are all in a pure Louis xvstyle. Virtually identical in form to the medal-cabinet is a secretaire decorated solely with floral marquetry (Fig. 24, Note 87). This also appears not to be by Bongen, but both pieces may have been made under his influence. The picture we can form of Bongen's work on the basis of the signed commodes is clearly incomplete. His secretaire was decorated with '4 Children representing Trade', an exceptionally modern and original idea in 1766 even by French standards (Note 88). His ambitions in marquetry obviously wentfar beyondflowers, but no piece has yet beenfound which evinces this, nor is anything known of the Neo-Classical work which he may have produced after this style was introduced in Amsterdam around 1770. Bongen may perhaps have been the first Amsterdam cabinet-maker to produce marquetry furniture in the French style, but he was not to remain the only one. In 1771 and 1772 furniture in both the Dutch and French mode was advertised for sale at the Kistenmakerspand in Kalverstraat, where all furniture-makers belonging to the Guild of St. Joseph could sell their wares (Note 89). The 'French' pieces were probably decorated with marquetry. Only a small number of cabinet-makers are known to have worked in this style, however. They include Arnoldus Gerritsen of Rheestraat, who became a master in 1769 and sold his stock, including a 'small French inlaid Commode', in 1772, and Johan Jobst Swenebart (c.1747 - active up to 1806 or later), who became a master in 1774 and advertised in 1775 that he made 'all sorts of choice Cabinet- and Flower-works', the last term referring to furniture decorated with floral marquetry. Not only French types of furniture, but also traditional Dutch pieces were now decorated with French-inspired marquetry,for example a collector's cabinet advertised in 1775 by Johan Jacob Breytspraak (c.1739-95), who had become a master in 1769-70; a bureau-bookcase, a form introduced in the first half of the century probably under English influence (Note 100), exhibited in 1772 (Note 99); and a display cabinet for porcelain supplied, though not necessarily made, by Pieter Uylenburg en Zoon in 1775 (Notes 101, 102). Even long-case clocks were enriched with marquetry, witness the one advertised by the clock-maker J. H. Kühn in 1775 and another by him which was sold by auction in Edam in 1777 (Note 104). The latter was, like the bureau-bookcase exhibited in 1772, decorated with musical instruments, again a motif borrowed from France, where it was used increasingly from the 1760s onwards (Note 105). A clock signed by the Amsterdam clock-maker J. George Grüning also has a case with marquetry of musical instruments. This must date from about 1775-80, but its maker is unknown (Fig. 25, Notes 106, 107). All four of the Amsterdam cabinet-makers known to have done marquetry around 1770 came from Germany and all were then only recently established in Amsterdam. In fact half of the 144 Amsterdam cabinet-makers working in the second half of the 18th century whose origins it has been possible to trace came from Germany, so the German element was even stronger there than in Paris, where Germans comprised about a third of the ébénistes (Note 108) and where they had again played an important role in the revival of marquetry. None qf the four in Amsterdam was exclusively concerned with marquetry. Indeed, for some of them it may only have been a secondary aspect of their work. This was not true of Bongen, but he too made plain pieces, witness the four mahogany gueridons he made for the city of Amsterdam in 1771 or the two cupboards also made for the city in 1786 and 1789 (Notes 111, 112).No marquetry is listed in his inventory either. Perhaps fashions had changed by the time of his bankruptcy. Such scant knowledge as we have of Amsterdam cabinet-making between 1775 and 1785 certainly seems to suggest this. In the descriptions of the prizes for furraiture-lotteries, such as took place regularly from 1773 onwards (Note 114), marquetry is mentioned in 1773 and 1775 (Notes 115, 116), but after that there is no reference to itfor about tenyears. Nor is there any mention of marquetry in the very few cabinet-makers' advertisements of this period. When the clock-maker Kühn again advertised long-case clocks in 1777 and 1785, the cases were of carved mahogany (Notes 121, 122). Certainly in France the popularity of marquetry began to wane shortly before 1780 and developments in the Netherlands were probably influenced by this. Towards the end of the 1780s, however, pieces described as French and others decorated with 'inlaid work' again appear as prizes in lotteries, such as those organized by Johan Frederik Reinbregt (active 1785-95 or later), who came from Hanover (Note 128), and Swenebart. The latter advertised an inlaid mahogany secretaire in 1793 (Note 132) and similar pieces are listed in the announcement of the sale of the stock of Jean-Matthijs Chaisneux (c.1734-92), one of a small group of French upholsterers first mentioned in Amsterdam in the 1760s, who played an important part in the spread of French influence there (Note 134). In this later period, however, reference is only made to French furniture when English pieces are also mentioned, so a new juxtaposition is implied and 'French' need not mean richly decorated with marquetry as it did in the 1760s. In fact the marquetry of this period was probably of a much more modest character. A large number of pieces of Dutch furniture in the late Neo-Classical style are known, generally veneered with rosewood or mahogany, where the marquetry is confined to trophies, medallions on ribbons, geometric borders and suchlike. A sideboard in the Rijksmuseum is an exceptionally fine and elaborately decorated example of this light and elegant style (Fig. 26) None of this furniture is known for certain to have been made in Amsterdam, but two tobacco boxes with restrained marquetry decoration (Fig.27, Note 136) were made in Haarlem in 1789 by Johan Gottfried Fremming (c.1753-1832) of Leipzig, who had probably trained in Amsterdam and whose style will not have differed much from that current in the capital. Boxes of this type are mentioned in the 1789 inventory of the Amsterdam cabinet-maker Johan Christiaan Molle (c.1748-89) as the only pieces decorated with inlay (Note 138). In the 1792 inventory of Jacob Keesinger (active 1764-92) from Ziegenhain there are larger pieces of marquetry furniture as well (Note 139), but they are greatly in the minority, as is also the case with a sale of cabinet-makers' wares held in 1794 (Note 141), which included a book-case of the type in Fig.28 (Note 142). Similarly the 1795 inventory of Johan Jacob Breytspraak, one of the most important and prosperous cabinet-makers of the day, contains only a few marquetry pieces (Note 144). The 1793 inventory of Hendrik Melters (1720-93) lists tools and patterns for marquetry, but no pieces decorated with it (Note 145). Melters seems to have specialized in cases for long-case clocks, the Amsterdam clock-maker Rutgerus van Meurs (1738-1800) being one of his clients (Note 146). The cases of clocks signed by Van Meurs bear only simple marquetry motifs (Note 147). The Dutch late Neo-Classical furniture with restrained marquetry decoration has no equivalent in France; it is more reminiscent of English work (Note 148). The pattern-books of Hepplewhite and Sheraton undoubtedly found their way to the Dutch Republic and the 'English' furniture mentioned in Amsterdam sources from 1787 probably reflected their influence. However, the introduction of the late, restrained Neo-Classical style in furniture was not the result of English influence alone. Rather, the two countries witnessed a parallel development. In England, too, marquetry was re-introduced under French influence around 1760 and it gradually became much simpler during the last quarter of the century, French influences being amalgamated into a national style (Notes 150, 151). On the whole, the Frertch models were followed more closely in the Netherlands than in England. Even at the end of the century French proportions still very much influenced Dutch cabinet-making. Thus the typically Dutch late Neo-Classical style sprang from a combirtation of French and English influences. This makes it difficult to understand what exactly was meant by the distinction made between ;French' and 'English' furniture at this time. The sources offer few clues here and this is even true of the description of the sale of the stock of the only English cabinet-maker working in Amsterdam at this period, Joseph Bull of London, who was active between 1787 and 1792, when his goods were sold (Notes 155, 156).

The timber concrete composite (TCC) deck system is a new technology that consists of timber and concrete composite structures but remains uncommon in Malaysia. TCC is a structural system where timber beams and concrete slabs are combined to form a composite material, resisting tensile stress and compressive stress, respectively. The addition of concrete slabs protects timber beams from direct contact with water, which is crucial to ensure the durability of timber beams. Different types of connectors can be used to provide force exchange between concrete slabs and timber beams. This research was conducted to study the vibration behavior of timber-concrete composite deck systems with or without concrete topping. The deck was constructed using twenty pieces of sawn timber measuring 3.6m x 0.09 m with a concrete topping of 0.065m. Experimental tests were conducted using an electrodynamic shaker with a frequency range of 1 Hz to 200 Hz. The shaker was placed on a laminated deck as vertical force and 15 accelerometers were used as output data collectors. Me´scope and SAP2000 package were used for data analysis. The natural frequency values of the first mode shape with and without concrete topping based on Me´scope analysis are 12.8Hz and 16.9Hz, respectively. Meanwhile, the finite element modeling analysis shows that the frequency of the first mode shape with laminated deck without concrete topping is 11.4 Hz while the one with concrete topping is 16.2 Hz. The natural frequencies obtained from the experimental test and the modal analysis are greater than 8 Hz, thereby concluding that the TCC laminated deck system is suitable and comfortable for building occupants.

Today, furniture made of wood, on which the openings of insect passageways are visible, is popular. Artificially creating such holes on healthy wood does not meet the aesthetic needs of consumers. Considering the annual increase of 8-10 thousand hectares in drying oak stands in Ukraine and, accordingly, the cost of deadwood reduced by almost 50%, it is proposed to use it after proper treatment to destroy pests for the manufacture of furniture products. An analysis of wood disinfection methods was carried out, which transformed over time from non-toxic substances and processing methods – oil, tar, resin, storage in salt water, charring to modern ones using harmful chemical compounds – pentachlorophenol, alkaline chloride, sodium fluorosilicates, tars, DDT, etc. Analysis of available methods for exterminating timber pests allowed distinguishing antiseptics, fumigation, ultra-high frequency current treatment and thermal modification. The purpose of this study was to determine the method of disinfection of sawn goods made from deadwood oak for further use in furniture products. Theoretical and experimental methods were used to achieve this purpose. The scientific originality of this study lies in the application of the fuzzy logic method to select the priority method of wood disinfection, which lies in decomposition of the problem into simpler components and step-by-step prioritisation of the evaluated components using paired comparisons. For alternative options to achieve the purpose, the following criteria were applied: efficiency, environmental friendliness, industrial manufacturability, durability of the result. The corresponding calculations performed, confirmed by the required consistency index, showed the priority of the method of thermal modification of wood. Experimental studies of heat treatment with the proposed modes of deadwood oak with existing pests, namely Xyleborus dispar (Xyleborus dispar), were carried out. The study determined the possibility of using the action of hot temperatures (t>110 °C) for complete sterilisation of deadwood oak. The result of practical application of this eco-safe method for the manufacture of tabletops has shown its effectiveness and can be useful for furniture makers

Abstract In order to obtain high production rates of sawn timber, the sawmilling industry can use laser scanning, allowing knot detection and machine strength grading. In particular, laser scanners measure grain angle using the so-called tracheid effect on wood surface where an elliptic scattering of the laser light can be observed. This paper aims to describe the light scattering obtained by a laser beam projection on wood surface and to assess the accuracy of such fiber orientation measurement on five European species. Firstly, fiber orientation measurement error was assessed by rotating samples. Secondly, the description of the scattering effect was done considering ellipse axis ratios and areas. This was studied according to several parameters such as wood surface machining, moisture content, and orthotropic planes of symmetry. Fiber orientation measurement was successfully performed on all the tested species. The measurement error was below 1.6°, except for oak longitudinal–radial (LR) plane showing an error up to 3.1°. For most of the species, the error was higher in LR plane because of the influence of medullary rays. Despite the observation of major variabilities in laser light scattering, it was possible to measure the grain angles with a good accuracy for all investigated species.

The article presents the preliminary results of the interdisciplinary research (geological and geospatial studies, archaeological excavations, salt production experiments, and ethnographic survey) carried out during 2016-2019, in the site and hybrid saltscape of Băile Figa, well known for its remarkable environmental, ancient and current salt exploitation evidence. Besides, the article aims to evaluate the contribution of the recent research to a better understanding of the environmental context of the site and ancient salt production technology in the Inner Carpathian region. Also, it focuses on the hybrid character of the site and its potential to the transdisciplinary and holistic study. Environmental context. The site is rich in environmental, archaeological and ethnographic evidence. It is positioned in the salt-rich area of the Someșul Mare Basin at the northern edge of the Transylvanian Plain (Fig. 1/2; 2/1). The site is part of the landscape that was and is strongly affected by the dynamics of a salt diapir (Fig. 2/2) and deposits of salt mud, brine and halo-biotic factors, as well as by the intense human activity. Excavation. The excavation was carried out in Trench S.XV (16 m x 14 m), located in the central-southern sector of the site. The trench cut through the stream-bed and steep and high banks of the salt stream that crosses the site from south to north (Fig. 4; 5, 10). Its profile sections show four major stratigraphic units: a blackish topsoil, yellow clay mixed with gravel, salty mud, and the rock salt massif. The excavation was conducted in the mud layer, in the central sector of the trench, and in the clay-and-gravel layer found in its lateral sectors. In the area of ca. 60 square meters of the central sector, the excavation has reached the rock salt massif (Fig. 7-11). The excavation in the trench has uncovered rich evidence for Late Bronze Age salt production: seven interconnected features and around one hundred artifacts. The vast majority of the finds have been uncovered in the mud layer. The uncovered features included five timber structures surviving in the salt mud layer, as well as a ditch and a pit dug in the rock salt massif. Feature 1-XV-2013 (Fig. 12; 14/1) is a structure that includes a cone-shaped wattle-lined pit surrounded by a roundish wattle-made fence. The pit cuts through the mud up to the rock salt massif. Its rock salt bottom was sectioned by a ditch, 0.4-0.5 m wide and over 0.9 m deep. It seems that first, by rather extensive digging, the soil and mud were removed down to the salt massif. Then, a ditch, about 5 m long, 0.4 m wide and over 0.9 m deep (see below), was dug in the rock, from east to west. After that, a cone-shaped outer framework made of wattle (D maximal: 1.2 m, D minimal: 0.4 m, H: 1.8 m) was placed over the ditch, narrow end down. After that, the empty space around the framework was filled with mud. Then the pit was surrounded by a roundish wattle fence. A 1.6 m long massive rope made of three twisted threads (Clematis vitalba) has been found in the ditch (Fig. 41). Four samples taken from the wattle framework have produced five dates which fall between 2821±24 and 2778±26 BP. Feature 2-XV-2013 (Fig. 13) was uncovered in the northern part of the trench, on the right side of the stream, between feature 1-XV-2013 (see above) and the north edge of the trench. It was a rectilinear fence, 3.6 m long, built of vertical planks, split troughs, and channelled pieces, pushed into the mud down to the rock salt massif. Three fragments of the troughs from the fence were dendrochronologically dated to the period between 996 and 980 BC. Feature 1-XV-2015 (Fig. 14) was uncovered in the central-southern part of the trench. It was a corridor, 2.5 m long and 1 m wide, oriented E – W, made of two parallel rectilinear alignments of massive upright poles driven into the mud. One of its poles was at the same time part of the fence of the Feature 1-XV-2013. The corridor, on the base of three samples, has been radiocarbon-dated between 2870±32 and 2718±30 BP. Feature 1-XV-2018 (Fig. 15-17) was partially uncovered in the north-west part of the trench, about 3.5 m west of the stream. It is a 5 m long fence, oriented S – N, made of vertical planks, stakes (Fig. 17/2), and a split trough (Fig. 17/1), stuck into the mud, and four horizontal planks linking them to each other (Fig.17/2). Not dated. Feature 2-XV-2018 (Fig. 18; 19/1) was partially uncovered in the western part of the trench, in the rock salt massif. It is a roundish pit (over 2.5 x 1.8 m) with irregular edges, ca. 1.7 m deep below the salt massif surface. Not dated. Feature 3-XV-2018 (Fig. 19; 20) was uncovered in the central part of the trench. It was a ditch dug in the salt massif, 0.4 to 0.8 m wide, over 0.9 m deep, and about 4 m long. It cuts through the bottom of feature 1-XV-2013 (Fig. 12/2) and links it to the feature 2-XV-2018. Not dated. Feature 4-XV-2018 (Fig. 19/1; 20-22) was uncovered in the south-east corner of the trench, covering about 4 x 4 m, and consisted of a cluster of parallel beams laying on the salt massif, and a few vertical poles. The feature continues eastwards and southwards beyond the sides of the trench. On the base of three samples, it was radiocarbon-dated between 2856±31 and 2817±30 BP. Artifacts. We found some 100 artifacts in Trench S.XV during the excavation seasons, between 2016 and 2019. Most of them were made of wood, 1 of hemp (?), and 3 of stone (basalt). The wooden artifacts include 31 component pieces and fragments of trough bodies (Fig. 24-27), 17 channelled pieces (Fig. 28-30), 2 shovels (Fig. 33), 12 paddles (Fig. 31; 32), 4 mallets (Fig. 34/2,3), an L-shaped haft for a socketedaxe (Fig. 34/1), 2 pans (Fig. 35), a bowl (Fig. 36), fragments of 2 ladders (Fig. 37), 3 knife-shaped tools (Fig. 38/2,3), 11 rods with pointed end (Fig. 38/4), 4 loops made of twisted twigs (Fig. 40), a massive rope made of three twisted threads (Clematis vitalba) (Fig. 41), and 5 wedges. One of the artifacts found was made of plant material, possibly hemp: a small twisted cord (it may come from a peg inserted in the trough hole). Stone (basalt) artifacts include 2 mining hammers (mining tools) with engraved grooves aimed to fix the bindings (Fig. 44/1,3), an ovoid-shaped object with many percussion marks at its thicker end (Fig. 44/2). The chronology of the finds. In 2018 4 samples (wattle) from the Feature 1-XV-2013 were dated at Oxford University Research Laboratory for Archaeology and the History of Art / Radiocarbon Accelerator Unit. In 2019 some of the timber features (1-XV-2015 and 4-XV-2018) and wooden artifacts (the ladder, the troughs nos. 4 and 5 and some others) were radiocarbon dated by “Horia Hulubei” National Institute for Research and Development in Physics and Nuclear Engineering. Most of the dates fall between 1000 – 900 cal BC. Just one date (a wooden bowl) falls between ca. 1419-1262 cal BC (Tabels 1, 2, 3). The structures and most of the artifacts uncovered in S.XV date to ca. XI-IX centuries cal BC and seem to have been part of a complex production system aimed at brine and rock salt processing. Differential distribution of finds across the site. The research has revealed differential distribution of finds across the site. Thus, the evidence dating to ca. 2300 – 2000 cal BC (a pit dug in the rock massif and pottery), 1600 – 1400 cal BC (a wattle-built structure and wooden troughs), and 400 – 180 cal BC (timber-lined shaft, a wooden ladder and pottery) is mainly concentrated in the southern sector of the site. In exchange, the finds dating to ca. 1400 – 1100 cal BC have mainly been uncovered in the south-central part of the site (timber structures) and northern part of the site (pottery). The evidence dating to about 1050 – 850 cal BC covers two distinct areas: the south-central and northern sectors of the site. While about thirty fragmented troughs have been found in the south-central sector, no one object of this kind has been found in the northern sector. There are also differences concerning the timber structures between these sectors of the site. These strongly suggest that in XI – IX centuries cal BC, at least two different and complementary production areas were active in the site. Salt production experiments. The experiments on salt production, using faithful replicas of Late Bronze Age artifacts uncovered in trenches S.I and S.XV – troughs, channelled pieces, mallets, wedges, stone mining hammers, etc. – aimed to obtain from the different source material – rock salt massif, brine, and mud – various forms of salt: lumps of rock salt, fine salt, and highly concentrated and pure brine. The experiments showed the technical validity of several techniques. The most effective were as follows: 1. Detaching lumps of rock salt from the massif. By means of jets of fresh water directed with the troughs (along the twisted cords fitted in the perforations of the sticks that went through the pegs which were fixed in the holes at the base of the trough) depressions were simultaneously created in the rock salt at ten to twenty spots, 10 to 15 cm apart and 7 to 12 cm deep. This process took few hours (Fig. 45/1). It was noticed that each hole generated one to three cracks in the salt massif, around 1 m long and 5 to 10 cm deep. The holes and cracks allowed the insertion of wooden wedges. By hitting them with heavy wooden mallets, the wedges were pushed down to ca. 20 cm deep. Finally, using hooked sticks, many blocks of rock salt could be detached from the massif. The larger blocks were easily broken by stone hammers (mining tools). 2. Producing small pieces of salt and fine salt from the rock salt massif. The first stages of the process were identical to the previously described. After the holes and cracks were created, the rock salt mass was beaten with stone hammers (mining tools) along the cracks and holes, so that small pieces of salt, as well as wet and soft fine salt, were easily separated from the mass. Thus, about 50 kilograms of fine salt were collected in 30 minutes during the experiment (Fig. 45/2). 3. Boiling brine in the troughs with hot stones and drawing off the brine. Stones heated as much as possible in a fire were immersed in the brine with which the trough was filled, thus bringing it to the boil (Fig. 46). The boiling continued until the salt begun to crystallize. After that, the trough, full of highly concentrated brine, was left motionless for several hours. The insoluble impurities of the brine sedimented according to their specific weight: the lightest of them floated to the top, while the heaviest (metals and minerals) settled on the bottom. Above the sediment lying on the bottom of the trough and under that at the top remained a rather thick layer of fairly clean brine. During the experiments, the lower sediment has never reached 3 cm in thickness. The wider tops of the plugs that were inserted into the holes found at the bottom of the trough, were at least 3 cm high. Because of this, the upper edges of the plugs remained above the sediment on the bottom of the trough. We then slightly raised the long sticks that were tightly inserted into the axial holes of the plugs, which in turn tightly closed the holes in the trough’s bottom. The sticks were fixed and maintained in a slightly raised position by a kind of pliers – half split twigs – set transversely over the trough opening. In this way, the brine was allowed to drain easily into channelled pieces set under the trough. The brine then flowed through the channelled pieces to the next trough(s). The process could be repeated in the next trough(s) until the salt makers would get a fairly clean and highly concentrated brine. Ethnographic survey. Băile Figa and its surroundings are places where the evidence for ethnographic research, of what is commonly called ‘the traditional salt civilization’, can still be found. In every ancient salt production archaeological site known in Romania, without any exception, the current folk salt exploitation is still in progress. The latter offers to these sites a valuable research potential, almost unique in Europe, for the ethnoarchaeological research. The ethnographic survey has attested a number of aspects of the present-day folk ways of exploiting brine, rock salt, salt mud, and halophytic vegetation, as well as other traditional practices and customs related to these resources. Brine folk exploitation. The most exploited saline occurrence at Băile Figa is currently brine. Brine is taken directly from the numerous springs filling the central salty stream valley (Fig. 48/1). Then, it is loaded into plastic drums of 50 to 200 litres and transported by carts to the neighbouring villages (Fig. 48/2). The locals told us that, in the past, the brine was transported in large, cone-shaped barrels, called “bote mari”, of 60 litres, made of softwood boards connected to each other with circles of hazel twigs (Fig. 49/5), in smaller containers, of approx. 20 litres, called “barbânțe” (Fig. 49/3), as well as in smaller containers hollowed out of tree trunks and called “bote” (Fig. 49/2). The most remote localities, to which the brine from Băile Figa is transported, are situated at a distance of 11 km. But most people that currently get brine from Băile Figa live within a maximum perimeter of 6 km. Brine is mainly used for preserving meat, bacon (especially around the winter holidays), and vegetables. Sometimes the brine is used for health care purposes, mainly against colds, rheumatic pains, skin diseases or circulatory deficiencies, either on the spot or at home. In the 1960s and 1970s, the locals built two brine ponds and used them for health cure baths. Rock salt folk exploitation. According to some elderly locals, until 1989, the rock salt was periodically extracted at Băile Figa, by manual or mechanized digging of vertical pits. It was mainly used to supplement the feed of domestic animals in the individual households, sheepfolds (Fig. 50) and collective farms or state agricultural enterprises. Sometimes, the locals crushed and grinded salt lumps. In some households in the village of Figa, we have identified and documented some primitive millstones used in salt grinding (Fig. 49/1). Ground salt is added to animal feed and very rarely in human food, people being sure that this kind of salt can harm their health. Sapropelic mud folk exploitation. The ethnographic surveys have documented the traditional exploitation of sapropelic mud at Băile Figa. It is found only in some limited spots of the salt stream valley. The spots with small deposits of sapropelic mud are known only by “connoisseurs” who, among the clues, are guided by a specific smell. The sapropelic mud is used for health care purposes, especially for the treatment of rheumatic diseases. The mud is applied, either on most of the body or only on the parts affected by pain. Sometimes, the mud is applied to animal wounds, for disinfection and drying. Mud-based treatments are done both on-site and at home. Shepherding. Until the building, during 2007 – 2011, of the leisure resort, Băile Figa was the favourite place for grazing for the local domestic animals (sheep, cows, buffaloes, and horses). The animals, according to the information delivered by the shepherds, loved salt grass and brine (Fig. 49/2). Shepherds tried to prevent the animals from drinking brine from the springs because their fondness of the salty taste made them to drink it in unhealthy quantities, so that they could “swell” and die. Beekeeping. In the northern sector of the salt stream valley, at the surface of the soil, in the summer of 2018, a primitive beehive made of a hollowed-out oak trunk was discovered (Fig. 48/4). So far, as we can know, it is a unique find of this sort in a saline context.

Низкая эффективность отечественного лесного хозяйства делает его отсталой отраслью экономики страны. Для исправления этой ситуации необходимо совершенствование лесного законодательства, разработка новой научно обоснованной нормативно-правовой документации, изменение психологии временщиков у хозяйствующих структур, в том числе у арендаторов лесного фонда, и внедрение современных технологий, повышающих качественную продуктивность выращиваемых насаждений. К числу таких технологий относится комплексный уход за лесом, который включает интенсивные рубки ухода, неоднократное внесение минеральных удобрений, а также многоприемную обрезку ветвей у целевых деревьев. Применение данной технологии позволит получать к возрасту рубки крупномерное пиловочное и фанерное сырье, а также различные спецсортименты, в том числе резонансные, с однородной бессучковой древесиной, высокими физико-механическими и акустическими свойствами. Обладая высокой стоимостью, такая древесина будет приносить значительную прибыль при лесовыращивании. Определение трудозатрат при удалении ветвей до высоты 2, 4, 6 м выполнено методом хронометража с выявлением устойчивости хроноряда. Психо- физическое состояние исполнителей не учитывалось. Разработанная технология выращивания высококачественной древесины ели заключается в следующем: производится отбор еловых насаждений искусственного или естественного происхождения Iа–II классов бонитета, первого или второго класса возраста; в них отбираются целевые деревья, удовлетворяющие определенным требованиям, в количестве 600–800 шт./га, которые войдут в состав спелого древостоя. На отобранных деревьях при помощи штангового высотореза производится обрезка ветвей и сучьев до высоты 2, 4 и 6 м с интервалом в 5 лет. Таким образом, к 25–30- летнему возрасту необходимо сформировать шестиметровую бессучковую зону комлевой части ствола. Другим вариантом данного способа является одноприемная обрезка ветвей до высоты 6 м в возрасте 25–30 лет, но итоговый объем высококачественной древесины будет ниже. Проведенными исследованиями установлены общие дополнительные трудозатраты на выполнение работ по обрезке ветвей до 6 м у 600–800 целевых деревьев на 1 га; сделано сравнение стоимости стандартных (1–3 сортов) обрезных и бессучковых, а также резонансных пиломатериалов, которое находится в пределах 146–923%. Установлено, что увеличение затрат рабочего времени на 1 чел./ч приводит к увеличению средней стоимости 1 м3 древесины на 1,6–13,2%. Тем самым подтверждается вывод о том, что своевременная обрезка ветвей значительно повышает капитализацию выращиваемых целевых насаждений. The low efficiency of domestic forestry makes it a backward sector of the country's economy. To remedy this situation, it is necessary to improve forest legislation, develop new evidence-based legal documentation, change the psychology of temporary workers in economic structures, incl. tenants of the forest fund and the introduction of modern technologies that increase the quality of the cultivated plantations. Among these technologies is complex care for the forest, which includes intensive thinning, repeated application of mineral fertilizers, as well as multi-tree pruning of target trees. The use of this technology will make it possible to obtain by the age of felling large-sized sawlog and plywood raw materials, as well as various specialty grades, for example, resonant, with homogeneous branchless wood, which has high physical and mechanical and acoustic properties. Possessing high cost, such wood will bring considerable profit at forest growing. The determination of labor costs for pruning to a height of 2 m, 4 m, 6 m is performed by the timekeeping method with determination of chronological stability. The psycho-physical state of the performers was not taken into account. The developed technology for growing high-quality spruce wood is as follows: selection of spruce stands of artificial or natural origin of Ia–II bonitet classes, first or second class of age; they select target trees that meet certain requirements, in the amount of 600–800 pieces/ha, which will be included in the composition of ripe stand. On selected trees, using a sucker-rod high-cut, the branches are pruned at intervals of 5 years to heights of 2 m, 4 m and 6 m. Thus, by the age of 25–30, it is necessary to form a 6-m branchless zone of the butt end of the trunk. Another variant of this method is single-pruning up to a height of 6 m at the age of 25–30 years, but the total volume of high-quality wood will be lower. The conducted studies established the total additional labor costs for pruning up to 6 m in 600–800 target trees per 1 ha; a comparison is made between the cost of standard edging and knotless, as well as resonant sawn timber, which ranges from 146% to 923%. It has been established that an increase in working time per 1 person/hour leads to an increase in the average cost of 1 m3 of wood by 1,6%–13,2%. Thus, the conclusion is confirmed that the timely pruning significantly increases the capitalization of the cultivated target plantations.

Introduction The concept of ‘wellbeing’ is typically thought of in human-centric ways, referring to the affective feelings and bodily sensations that people may have which inform their sense of health, safety, and connection. However, as our everyday lives, identities, relationships, and embodiments become digitised and datafied, ‘wellbeing’ has taken on new practices and meanings. The use of digital technologies such as mobile and wearable devices, social media platforms, and networks of information mediate our interactions with others, as well as the ways we conceptualise what it means to be human, including where the body begins and ends. In turn, digital health technologies and ‘wellness’ cultures such as those promoted on social media sites such as Instagram, Pinterest, YouTube, TikTok, and Facebook have also shaped our understanding of ‘wellness’ and ‘wellbeing’, their parameters, and how they ought to be practiced and felt (Baker; Lupton Digital Health; Lupton et al.). For millennia, aspects of human bodies have been documented and materialised in a variety of ways to help people understand states of health and illness: including relationships to the environments in which they lived. Indigenous and other non-Western cosmologies have long emphasised the kinds of vibrancies and distributed agencies that are part of reciprocal more-than-human ‘manifestings’ of kinships, and have called for all people to adopt the role of stewards of the ecosystem (Bawaka Country et al.; Hernández et al.; Kimmerer; Rots; Todd; Tynan). In Western cultures, ideas of the human body that reach back to ancient times adopt a perspective that viewed the continuous flows of forces (the four humours) in conjunction with the elements of air, wind, earth, and fire inside and outside the body as contributing to states of health or ill health. It was believed that good health was maintained by ensuring a balance between these factors, including acknowledgement of the role played by climactic, ecological, and celestial conditions (Hartnell; Lagay). A more-than-human approach is beginning to be re-introduced into Western cultures through political activism and academic thinking about the harms to the planet caused by human actions, including global warming and climate crises, loss of habitats and ecological biodiversity, increased incidence of extreme weather events such as bushfires, floods, and cyclones, and emerging novel pathogens affecting the health not only of humans but of other living things (Lewis; Lupton Covid Societies; Lupton Internet of Animals; Neimanis et al.). Contemporary Western more-than-human philosophers argue for the importance of acknowledging our kinship with other living and non-living things as a way of repositioning ourselves within the cosmos and working towards better health and wellbeing for the planet (Abram; Braidotti; Plumwood). As these approaches emphasise, health, wellbeing, and kinship are always imbricated within material-social assemblages of humans and non-digital things which are constantly changing, and thereby generating emergent rather than fixed capacities (Lupton "Human-Centric"; Lupton et al.). In this article, we describe our More-than-Human Wellbeing exhibition. To date, new media, Internet, and communication studies have not devoted as much attention to more-than-human theory. It is this more-than-digital and more-than-human approach to health information and wellbeing that marks out our research program as particularly distinctive. Our research focusses on the many and varied digital and non-digital forms that information about health and bodies takes. We are interested in health data as they are made and form part of the objects and activities of people’s everyday lives and aim to expand the human-centric approach offered in digital health by positioning human health and embodiment as always imbricated within more-than-human ecosystems. We acknowledge that all environments (natural and human-built) are intertwined with humans, and that to a greater or lesser extent, all are configured with and through the often exploitative and extractive practices and ideologies of those living in late modern societies in which people are positioned as superior to and autonomous from other living things. Together with more-than-human scholarship, we take inspiration from work in which arts-based, multisensory, and museum curation methods are employed to draw attention to the intertwining of people and ecologies (Endt-Jones; Howes). Our exhibition was planned as a research translation and engagement project, communicating several of our studies’ findings in arts-based media (Lupton "Embodying"). In what follows, we outline the concepts leading to the creation of our exhibits and describe how these pieces materialise and extend more-than-human concepts of wellbeing and care. Five of the exhibits we created for this exhibition are discussed. They all draw on our research findings across a range of studies, together with more-than-human theory and medical history (Lupton "More-Than-Human"). We describe how we used these pieces to materialise more-than-human concepts of health, wellbeing, and kinship in ways that we hoped would provoke critical thought, affective responses, and open capacities for action for contributing to both human and nonhuman flourishing. The background, thinking, and modes of making leading to the creation of ‘Cabinet of Human/Digital/Data Curiosities’, ‘Smartphone Fungi’, ‘Hand of Signs’, ‘Silken Anatomies’, and ‘Talking/Flowers’ are explained below. Bodily Curios Vaughan Wozniak-O’Connor and Deborah Lupton. Cabinet of Human/Digital/Data Curiosities. Reclaimed timber, found objects, resin 3D prints. 2023. Fig. 1: Cabinet of Human/Digital/Data Curiosities. Fig. 2: Detail from Cabinet of Human/Digital/Data Curiosities. The objects we have placed in Cabinet of Human/Digital/Data Curiosities (figs. 1 and 2) mix together such things from the past as prosthetic human eyeballs and teeth used in medicine and dentistry in earlier eras. This collection of found and manufactured objects, both old and new, draws on the concept of the ‘cabinet of curiosities’, also known as cabinets of wonder, which first became popular in the sixteenth century. Artefacts were assembled together for viewing in a room or a display case. The items were chosen for being notable in some way by the curator, including objects from natural history, antiquities, and religious relics, as well as works of art. These collections, purchased, curated, and assembled by members of the nobility or the wealthy as a marker of refinement, knowledge, or social status, were the precursor of museums (Endt-Jones). We see digital devices such as mobile phones as one of a multitude of ways that operate to document and preserve elements of human embodiment – indeed, as contemporary ‘cabinets of curiosities’. Our cabinet also refers to the tradition of medical museums, which display preserved human organs, body parts, and tissue in glass bottles for pedagogical purposes. Under this model of health, specimens of both ‘ideal’ health and also ‘ill’ health – abnormalities in the flesh – were documented as a means of categorising wellbeing. Museums such as these would often treat diseased and disabled bodies as oddities and artefacts of ‘curiosity’. In this work, we reimagine and wind back this way of thinking, through displaying and drawing attention and curiosity towards signs of the body and the everyday. We are showing that wellbeing is more than a process of categorisation, comparison, or measurement of ‘ideal’ or ‘abnormal’; it is in the traces we leave behind us when we return to the earth. Our information data are human remains, moving as endless constellations of the interior and exterior of the body (Lupton Data Selves). In this artwork, both reclaimed wood and 3D-printed resin were used as a synergy between the natural and synthetic. Taking our cue from the manner of display of these items in medical museums, we have added our own curios, including 3D-printed body organs sprouting fungi (fig. 2), as a way of demonstrating the entanglements between humans and the fungal kingdom. Interspersed among these relics of human bodies is a discarded mobile phone with its screen badly shattered. It is displayed as a more recent antiquated object for making images and collecting, storing, and displaying information and images about human bodies, which itself is subject to disastrous events despite its original high-tech veneer of glossy impermeability. Technologies are more-than-flesh as human-made simulacra of body parts. Our wellbeing is sensed and made sense of through bodies’ entanglements of human and nonhuman. These curios both materialise traces of our bodies and wellbeing and extend our bodies into the physical spaces we inhabit and through which we move. Reading the Traces and Signs Vaughan Wozniak-O’Connor and Deborah Lupton. Smartphone Fungi. Recycled European oak, 3D printed resin, CNC carved plywood. 2023 Vaughan Wozniak-O’Connor and Deborah Lupton. Hand of Signs. Laser-etched walnut and plywood. 2023. Fig. 3: Smartphone Fungi. / Fig. 4: Detail from Smartphone Fungi. Wellbeing is also a process of mark-making, realised through the reciprocal impressions we leave on each other and the world around us. In Smart Phone Fungi (figs. 3 and 4) we capture the idea of ‘recording’ that takes place between people, technologies, and the natural world. It was inspired by a huge tree which members of our team noticed on a bush walk in the Blue Mountains, near Sydney, Australia. Growing from this tree were fungi of similar size and shape to the smartphone that was used to capture the image. In our interpretation, a piece of reclaimed timber was used to represent the tree, itself marked by its human use, and fungal shapes replicating those on the tree were produced using computer numerical controlled (CNC) carving. The central timber post is covered with human and more-than-human traces, such as old tool marks, weather damage, and wood borer holes. Alongside these traces, the CNC-carved fungi forms add a conspicuously digital layer of human intervention. Fig. 5: Hand of Signs. In Hand of Signs (fig. 5), we extend this idea of both organic and digital data traces as something that can be ‘read’ or interpreted. Inspired by the practice of palmistry, this work re-interprets line reading, the historical wooden anatomical model, and human body scanning as ways of reading for signs of wellbeing in past and future. Palm readers interpret people’s character, health, longevity, and other aspects of their lives through the creases and traces of development, wear, and deteriorations in the skin of our hands (Chinn). Life leaves its traces on our palms. The piece also refers to the newer tradition of digitising human bodies (Lupton Quantified Self; Lupton et al.), employing scanning and data visualising technologies, which uses spatial GPS data to deduce patterns of human activity. For both palmistry and in more contemporary monitoring technologies, one’s wellbeing can be deduced through the map: the lines of the palm and the errant traces collected by satellites and sensors. To reflect this relation between mapping and palmistry, our updated anatomical model references both the contours of 3D geospatial data and of the human palm. However, this piece looks to represent more layers of data beyond those captured by GPS data. By using reclaimed wood to construct this human hand model, we are again making an analogy between the marks of growth and life that timber displays and those that the human body bears and develops as people move through more-than-worlds throughout their lifespans. The piece also seeks to draw attention to the various ‘signs’ that have been used across centuries to interpret the current and future health and wellbeing of humans (once markings on or morphologies of the body, now often the digitised visualisations of the internal operations and physical movements of the body that are generated by digital health technologies), superimposing older and newer modes of corporeal knowledge. Layers of Mediation Megan Rose. Silken Anatomies. Digital print on satin and yoryu silk chiffon. 2023. Ash Watson. Talking/Flowers. Collage and digital inkjet on paper. 2023. Fig. 6: Detail from Silken Anatomies. The ways that we come to sense and understand wellbeing are also mediated through the reproductive interplay of natural and technological elements. Silken Anatomies (fig. 6) was inspired by anatomical prints from the Renaissance showing details of the interiors of human bodies and organs together with living things and objects from the natural world. These webs of interconnectivity were thought to be key to wellbeing and health. Produced at scale through metal engraving and woodblock printing, these natural history and compendia took on major importance as part of these educational resources (Kemp; Swan). In an effort to extend the reach of artefacts beyond their tangible presence, libraries globally have sought to create open access digital scans of historic medical and botanical illustrations. The images reconfigured in Silken Anatomies were downloaded from the Wellcome Trust’s online archive and have been reimagined through digital enhancement and sublimation dye techniques. Referencing shrouds, the yoryu silk panels enfold exhibition visitors, who were able to touch and pass through the silks, causing them to billow in response to human movement. We bring together an animal-made material (crafted by silkworms) with more-than-human images featuring both humans and other living creatures. The vibrancies of these beautifully engraved and coloured anatomical images are given a new life and a new feel, both affectively and sensuously, through this piece. We can both see and touch these more-than-human illustrations that speak to us of the early modern natural science visualisations that underpin contemporary digital images of the human body and the more-than-human world. The vibrancies of these beautifully engraved and coloured anatomical plates are given a new life and a new feel, both affectively and sensuously. The digital is returned to the tangible. Fig. 7: Detail from Talking/Flowers. Even in increasingly digitised healthcare environments, paper and other printed materials remain central documents in the landscape of health and wellbeing. Zines are small-scale, DIY, and typically handcrafted publications, which are often made to express creators’ thoughts and feelings about health and wellbeing (Lupton "Health Zines"; Watson and Bennett). Talking/Flowers (fig. 7), a zine of visual and textual work, explores the materialities of health information and healthcare encounters by creatively layering a diverse range of materials: clippings from MRI scans, digitally warped and recoloured images from medical infographics, and found poetry made from research publications. In this way, the zine remixes and reconstitutes key documents of authority in health institutions which continue to take primacy as evidence. While vital in the pipeline of diagnosis and treatment, such documents can become black boxes of meaning, and serve to distance health professionals from consumers and consumers from agentic understandings of their own health. These evidentiary materials are brought together here with other imagery, textures, and recollections of personal experience; the pages also feature leaves, flowers, fungi, and oceanic tones. Oceans, pools, rivers, lakes, and other coastal forms or waterways offer all-consuming sensory spaces in which people can find calm, balance, buoyancy, and connection with the wider world. Aqua tides, purple eddies, and misshapen pearls flow through the pages as the golden thread of the zine’s aesthetic theme. Also featured are three original poems. The first and third poems, ‘talking to a doctor’ and ‘talking to other people’, explore moments of relational vulnerability. The second poem, ‘untitled’, is a found poem made from the conclusions of sociologist Talcott Parsons’s 1975 article on the sick role reconsidered. In each of these poems, information and communication jar the encounters and more-than-human metaphors hold space for complex feelings. The cover similarly merges imagery from botanical and historical medical illustrations with a silver shell, evoking the morphological dimensions that connect the more-than-human. Exhibition visitors were able to turn the pages of the original copy of the zine, and were invited to take a printed copy away with them. Conclusion More-than-Human Wellbeing is an exhibition which aims to expand the horizons of how we understand wellbeing and our entanglements with the world. Our exhibition was designed to draw on our research into the more-than-human dimensions of health and wellbeing in the context of an increasingly digitised and datafied world. We wanted to attune visitors to the relational connections and multisensory ways of knowing that develop with and through people’s encounters and entanglements with creatures, things, and spaces. We sought to demonstrate that in this digital age, in which digital devices and software are often considered the most accurate and insightful ways to monitor and measure health and wellbeing, multisensory and affective engagements with elements of the natural environment remain crucial to understanding our bodies and health. Through engagements with our artworks, we hoped that new capacities for visitors’ learning and thinking about the relational and distributed dimensions of more-than-human wellbeing would be opened. While traditionally thought of as human-centered, we explore human health and wellbeing as interconnected with both the natural and technological. We used materials from the natural world – timber, paper materials, and silk fabric – in our artworks to capture both the multigenerational traces and entanglements between humans and plant matter. Recent works of natural and cultural history have drawn attention to the mysterious and important worlds of the fungi kingdom and its role in supporting and living symbiotically with other life on earth, including humans as well as plants (Sheldrake; Tsing). We also made sure to acknowledge this third kingdom of living things in our artworks. We combined these images and materials from nature with digitised modes of printing and fabrication to highlight the intersections of the digital with the non-digital in representations and sensory feelings of health and wellbeing. We disrupt and make strange signs of traditional human-centric medicine through reconfigurations, bricolage, and re-imaginations of more-than-human wellbeing. As humans we are interconnected with the natural world, and the signs of these meetings can be traced and read. Through our artistic creations, we hope to re-orient people towards this more open way of thinking about wellbeing. Working with arts practices and creative data visualisations, both digital and analogue, we bring to the fore the role that more-than-human agents play in mediating and making these convivial more-than-digital connections. Acknowledgments This research was funded by the ARC Centre of Excellence for Automated Decision-Making and Society (CE200100005) and a Faculty of Arts, Design & Architecture collaboration grant. UNSW Library provided financial and curatorial support for the mounting of the exhibition. References Abram, David. "Wild Ethics and Participatory Science: Thinking between the Body and the Breathing Earth." Planet. Volume 1. Kinship: Belonging in a World of Relations. Eds. Gavin van Horn et al. Center for Humans & Nature Press, 2021. 50-62. Baker, Stephanie Alice. Wellness Culture: How the Wellness Movement Has Been Used to Empower, Profit and Misinform. Emerald Group, 2022. Bawaka Country, et al. "Working with and Learning from Country: Decentring Human Author-Ity." cultural geographies 22.2 (2015): 269-283. DOI: 10.1177/1474474014539248. Braidotti, Rosi. "'We' Are in This Together, But We Are Not One and the Same." Journal of Bioethical Inquiry 17 (2020): 465-469. DOI: 10.1007/s11673-020-10017-8. Chinn, Sarah E. Technology and the Logic of American Racism: A Cultural History of the Body as Evidence. Continuum, 2000. Endt-Jones, Marion. "Cultivating ‘Response-Ability’: Curating Coral in Recent Exhibitions." Journal of Curatorial Studies 9 (2020): 182-205. DOI: 10.1386/jcs_00020_1. Hartnell, Jack. Medieval Bodies: Life, Death and Art in the Middle Ages. Profile Books, 2018. Hernández, K.J., et al. "The Creatures Collective: Manifestings." Environment and Planning E: Nature and Space 4.3 (2020): 838-863. DOI: 10.1177/2514848620938316. Howes, David. "Introduction to Sensory Museology." The Senses and Society 9.3 (2014): 259-267. DOI: 10.2752/174589314X14023847039917. Kemp, Martin. "Style and Non-Style in Anatomical Illustration: From Renaissance Humanism to Henry Gray." Journal of Anatomy 216.2 (2010): 192-208. DOI: 10.1111/j.1469-7580.2009.01181.x. Kimmerer, Robin. "Restoration and Reciprocity: The Contributions of Traditional Ecological Knowledge." Human Dimensions of Ecological Restoration: Integrating Science, Nature, and Culture. Eds. Dave Egan et al. Springer, 2011. 257-276. Lagay, Faith. "The Legacy of Humoral Medicine." AMA Journal of Ethics 4.7 (2002): 206-208. Lewis, Bradley. "Planetary Health Humanities—Responding to Covid Times." Journal of Medical Humanities 42.1 (2021): 3-16. DOI: 10.1007/s10912-020-09670-2. Lupton, Deborah. Covid Societies: Theorising the Coronavirus Crisis. Routledge, 2022. ———. Data Selves: More-than-Human Perspectives. Polity Press, 2019. ———. Digital Health: Critical and Cross-Disciplinary Perspectives. Routledge, 2017. ———. "Embodying Social Science Research – the Exhibition as a Form of Multi-Sensory Research Communication." LSE Impact of the Social Sciences, 2023. <https://blogs.lse.ac.uk/impactofsocialsciences/2023/07/12/embodying-social-science-research-the-exhibition-as-a-form-of-multi-sensory-research-communication/>. ———. "From Human-Centric Digital Health to Digital One Health: Crucial New Directions for Mutual Flourishing." Digital Health 8 (2022). DOI: 10.1177/20552076221129103. ———. "Health Zines: Hand-Made and Heart-Felt." Routledge Handbook of Health and Media. Eds. Lester Friedman and Therese Jones. Routledge, 2022. 65-76. ———. The Internet of Animals: Human-Animals Relationships in the Digital Age. Polity Press, 2023. ———. "The More-than-Human Wellbeing Exhibition." <https://dlupton.com/>. ———. The Quantified Self: A Sociology of Self-Tracking. Polity Press, 2016. Lupton, Deborah, et al. "Digitized and Datafied Embodiment: A More-than-Human Approach." Palgrave Handbook of Critical Posthumanism. Eds. Stefan Herbrechter et al. Springer International Publishing, 2022. 1-23. DOI: 10.1007/978-3-030-42681-1_65-1. Neimanis, Astrida, et al. "Four Problems, Four Directions for Environmental Humanities: Toward Critical Posthumanities for the Anthropocene." Ethics & the Environment 20.1 (2015): 67-97. Plumwood, Val. Feminism and the Mastery of Nature. Routledge, 2002. Rots, Aike P. Shinto, Nature and Ideology in Contemporary Japan: Making Sacred Forests. Bloomsbury Publishing, 2017. Sheldrake, Merlin. Entangled Life: How Fungi Make Our Worlds, Change Our Minds & Shape Our Futures. Random House, 2020. Swan, Claudia. "Illustrated Natural History." Prints and the Pursuit of Knowledge in Early Modern Europe. Ed. Susan Dackerman. Harvard Art Museums, 2011. 186-191. Todd, Zoe. "An Indigenous Feminist's Take on the Ontological Turn: ‘Ontology’ Is Just Another Word for Colonialism." Journal of Historical Sociology 29.1 (2016): 4-22. Tsing, Anna Lowenhaupt. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton UP, 2015. Tynan, Lauren. "What Is Relationality? Indigenous Knowledges, Practices and Responsibilities with Kin." cultural geographies 28.4 (2021): 597-610. DOI: 10.1177/14744740211029287. Watson, Ash, and Andy Bennett. "The Felt Value of Reading Zines." American Journal of Cultural Sociology 9.2 (2021): 115-149. DOi: 10.1057/s41290-020-00108-9.