Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present.

Large scale underground energy storage for renewables integration: general criteria for reservoir identification and viable technologies.

The increasing integration of renewable energies in the electricity grid contributes considerably to achieve the European Union goals on energy and Greenhouse Gases (GHG) emissions reduction. However, it also brings problems to grid management. Large scale energy storage can provide the means for a better integration of the renewable energy sources, for balancing supply and demand, to increase energy security, to enhance a better management of the grid and also to converge towards a low carbon economy. Geological formations have the potential to store large volumes of fluids with minimal impact to environment and society. One of the ways to ensure a large scale energy storage is to use the storage capacity in geological reservoir. In fact, there are several viable technologies for underground energy storage, as well as several types of underground reservoirs that can be considered. The geological energy storage technologies considered in this research were: Underground Gas Storage (UGS), Hydrogen Storage (HS), Compressed Air Energy Storage (CAES), Underground Pumped Hydro Storage (UPHS) and Thermal Energy Storage (TES). For these different types of underground energy storage technologies there are several types of geological reservoirs that can be suitable, namely: depleted hydrocarbon reservoirs, aquifers, salt formations and caverns, engineered rock caverns and abandoned mines. Specific site screening criteria are applicable to each of these reservoir types and technologies, which determines the viability of the reservoir itself, and of the technology for any particular site. This paper presents a review of the criteria applied in the scope of the Portuguese contribution to the EU funded project ESTMAP – Energy Storage Mapping and Planning.