Benthic nematode assemblage composition and diversity during a natural recovery process of Zostera noltii seagrass beds,

In 2008, the stable seagrass beds of the Mira estuary (SW Portugal) disappeared completely; however, during 2009, they have begun to present early symptoms of natural recovery, characterised by a strongly heterogeneous distribution. This study was designed to investigate the spatial and temporal variability patterns of species composition, densities and trophic composition of the benthic nematode assemblages in this early recovery process, at two sampling sites with three stations each and at five sampling occasions. Because of the erratic and highly patchy seagrass recovery and the high environmental similarity of the two sampling sites, we expected within-site variability in nematode assemblages to exceed between-site variability. However, contrary to that expectation, whilst nematode genus composition was broadly similar between sites, nematode densities differed significantly between sites, and this between-site variability exceeded within-site variability. This may be linked to differences in the Zostera recovery patterns between both sites. In addition, no clear temporal patterns of nematode density, trophic composition and diversity were evident.

The Selection Process of Applications to the Portuguese Innovation Incentive System: Who Gets Financial Support?

Public policies to support entrepreneurship and innovation play a vital role when firms have difficulties in accessing external finance. However, some authors have found evidence of long-term inefficiency in subsidized firms (Bernini and Pelligrini, 2011; Cerqua and Pelligrini, 2014) and ineffectiveness of public funds (Jorge and Suárez, 2011). The aim of the paper is to assess the effectiveness in the selection process of applications to public financial support for stimulating innovation. Using a binary choice model, we investigate which factors influence the probability of obtaining public support for an innovative investment. The explanatory variables are connected to firm profile, the characteristics of the project and the macroeconomic environment. The analysis is based on the case study of the Portuguese Innovation.Incentive System (PIIS) and on the applications managed by the Alentejo Regional Operational Program in the period 2007 – 2013. The results show that the selection process is more focused on the expected impact of the project than on the firm’s past performance. Factors that influence the credit risk and the decision to grant a bank loan do not seem to influence the government evaluator regarding the funding of some projects. Past activities in R&D do not significantly affect the probability of having an application approved under the PIIS, whereas an increase in the number of patents and the number of skilled jobs are both relevant factors. Nevertheless, some evidence of firms’ short-term inefficiency was found, in that receiving public financial support is linked to a smaller increase in productivity compared to non-approved firm applications. At the macroeconomic level, periods with a higher cost of capital in financial markets are linked to a greater probability of getting an application for public support approved, which could be associated with the effectiveness of public support in correcting market failings.

Era uma vez...As sete casas da infortuna: relação actor - marioneta : Relatório de estágio

O presente relatório tem como objectivo analisar a realidade de uma Companhia de Marionetas em Portugal, Teatro e Marionetas de Mandrágora, incidindo sobre a relação entre o actor, marioneta e meio envolvente (site specific) no contexto de uma prática teatral concreta, a produção do espectáculo Era uma vez ...As Sete Casas da Infortuna, no Castelo de Santa Maria da Feira. Os resultados apurados acompanham os moldes em que se procurou passar de um actor convencional para a especialização de um micromundo teatral onde a aprendizagem foi, fulcral desde o processo de construção até, à manipulação em cena num universo de trabalho particularmente árduo e específico. A minha trajectória no seio da companhia começou pela familiarização e aprendizagem informal da prática das marionetas através da observação directa dos espectáculos e de diferentes projectos da companhia. A formação feita no local de estágio (atelier da Companhia) foi outra das modalidades de formação que acompanhou o meu trajecto ao longo do estágio através da minha colaboração em projectos como Teatro nas Instituições, sempre sob a égide da divisão de tarefas e de alguma autoaprendizagem com a devida supervisão e orientação de artistas especialistas, como o Director Criativo, enVide neFelibata. O laboratório de aprendizagem prosseguiu pela mão da marionetista Clara Ribeiro que orientou a minha formação no sentido de absorver princípios teórico-práticos como o Foco, o Movimento e o Olhar para uma melhor consciencialização do universo do teatro de marionetas e formas animadas. Ainda nessa aprendizagem, a figura de alguns artistas especialistas foi fulcral, nomeadamente a da cenógrafa Marta Fernandes da Silva, que revelou ser de extrema importância ao longo do estágio pois permitiu uma verdadeira intersecção entre as componentes teórica e prática. Dessa forma pude acompanhar todo o processo de criação do Era uma vez ...As Sete Casas da Infortuna, e colaborar na construção das marionetas que iria manipular como actor - marionetista. Relativamente à questão da componente da interpretação no estágio, esta foi assumida pela encenadora - marionetista, Filipa Alexandre que, com a sua orientação, permitiu um enfoque do grupo de trabalho num processo de criação colectiva. Assim, a nível pessoal, fui movido por uma necessidade premente de descodificar o papel do actor na sua relação com a marioneta e o meio envolvente (site specific). ABSTRACT: This study aims to examine the reality of a Puppet Company in Portugal, the Puppet Theater of Mandrágora, focusing on the relationship between actor, puppet and environment (site specific) in the context of an actual theatrical practice, Once upon a time ...Seven houses of infortune, in the Castle of Santa Maria da Feira. The results obtained follow the way in which one seeks to move from one "conventional" actor to the specialization of a micro theater where learning was central from the building process to manipulation on the scene in a universe of work particularly hard and specific. My initial course within the company began with the familiarization and informal learning of the practice of puppetry through direct observation of performances and various projects of the company. The training done at the company (workshop of the Company) was one of the training arrangements that accompanied my way along the training through assistance on projects such as Teatro nas Instituições, always under the auspices of the division of tasks and due self-teaching with appropriate supervision and guidance of expert artists, such as the Creative Director, enVide neFelibata. The learning laboratory continued by the hand of the puppeteer Clara Ribeiro who supervised my training in order to absorb theoretical and practical principles as the Focus, the Movement and the Look for better awareness of the world of puppetry and animated forms. Also at this level, the figure of some specialist artists were central, such as the scenographer Marta Fernandes da Silva, who proved to be extremely important during this training, allowing a true intersection between the theoretical and the practical components. I could experience the surroundings of the creation notebook of Era uma vez ...As Sete Casas da Infortuna, and collaborate in the preparation of puppets that would handle as an actor - puppeteer. As to the question of the interpretation component on training, this was in charge of stage director - puppeteer, and the Artistic Director, Filipa Alexandre, whose instructions allowed a focus of the working group in a process of collective creation. Accordingly, to a personal level, I was urged to decode the role of the actor in relation to the puppet and the environment (site specific).