Integrated coastal geoengineering approach for maritime environments

This dissertation introduces several methodological approaches which integrate a proposed coastal management model in an interdisciplinary perspective. The research presented herein is displayed as a set of publications comprising different thematic outlooks. The thesis develops an integrated coastal geoengineering approach which is intrinsically linked to the studied maritime environments. From sandy coasts and marine works to rocky platforms and sea cliffs, this study includes field work between Caminha – Figueira da Foz (NW Portugal) and Galicia (NW Spain). The research also involves an analysis and geological-geotechnical characterisation of natural rock (armourstone) and artificial units (concrete blocks) applied to coastal structures. The main goal is to contribute to the characterisation and re-evaluation of georesources and to determine armourstone suitability and availability from its source (quarry). It was also important to diagnose the geomaterials in situ concerning their degradation/deterioration level on the basis of the current status of the coastal protection works in order to facilitate more efficient monitoring and maintenance, with economic benefits. In the rocky coast approach the coastal blocks were studied along the platform, but also the geoforms were studied from a coastal morphodynamics point of view. A shoreline evolution analysis was developed for sandy coasts through Digital Shoreline Analysis System (DSAS) extension. In addition, the spatial and statistical analysis applied to sea cliffs allowed the establishment of susceptibility zones to erosion and hazardous areas. All of these studies have different purposes and results however, there is a common denominator – GIS mapping. Hence, apart from the studied coastal environment, there is an integrated system which includes a sequence of procedures and methodologies that persisted during the research period. This is a step forward in the study of different coastal environments by using almost the same methodologies. This will allow the characterisation, monitoring and assessment of coastal protection works, rocky coasts, and shore platforms. With such data, it is possible to propose or recommend strategies for coastal and shoreline management based on several justifications in terms of social, economic, and environmental questions, or even provide a GIS-based planning support system reinforced by geocartographic decisions. Overall the development of the applied cartography embraces six stages which will allow the production of detailed maps of the maritime environment: (1) high-resolution aerial imagery surveys; (2) visual inspection and systematic monitoring; (3) applied field datasheet; (4) in situ evaluation; (5) scanline surveying; and (6) GIS mapping. This thesis covers fundamental matters that were developed over the course of scientific publication and as a consequence they represent the results obtained and discussed. The subjects directly related to the thesis architecture are: (i) cartography applied to coastal dynamics (including an art historical analysis as a tool to comprehend the coastal evolution and the littoral zone); (ii) georesources assessment (the role of cartography in georesources zoning, assessment and armourstone durability); (iii) coastal geoengineering applications and monitoring (Espinho pilot site in NW Portugal as an experimental field); (iv) rocky coast and shore platform studies and characterisation; (v) sandy and mixed environment approaches; (vi) coastal geosciences GIS mapping and photogrammetric surveying (coastal geoengineering); and (vii) shoreline change mapping and coastal management strategies (the CartGalicia Project as an example – NW Spain). Finally, all of these thematic areas were crucial to generate the conceptual models proposed and to shape the future of integrated coastal coastal geoengineering management.

Present, imagination and memory in Zakes Mda and Mia Couto

Apesar de marcadas por contextos históricos e culturais distintos, é possível observar nas obras de dois dos autores mais significativos da África do Sul e de Moçambique, Zakes Mda e Mia Couto respectivamente, perspectivas semelhantes no que diz respeito à recuperação das memórias históricoculturais e à sua contribuição para a construção e compreensão das identidades pós-coloniais. Através da ficção, Zakes Mda e Mia Couto combinam a ligação da História a factos concretos com a necessidade de revelação associada à memória, criando assim espaços importantes para a discussão de algumas das mais complexas questões colocadas às identidades pós-coloniais. Para além dos contextos políticos, culturais e históricos que caracterizam e distinguem as literaturas sul-africana e moçambicana, tanto Zakes Mda como Mia Couto assumem nas suas obras a necessidade de analisar as identidades pós-coloniais contemporâneas dos dois países através da recuperação das suas memórias históricas.

PRESENTE, um projeto de futuro sobre o passado

No Monumento Nacional aos Combatentes do Ultramar, em Belém, encontram-se dispostos por ano e ordem alfabética os nomes dos militares mortos nesse conflito que durou treze anos. Este enunciado é o ponto de partida para um projeto artístico que, não sendo construído fisicamente a partir de fontes documentais ou de artefactos relacionados com os factos históricos, se irá desenvolver com base em premissas conceptuais no sentido de despoletar a partilha dessa memória. Este projeto artístico é, em si, a criação de um novo documento que olha o passado e o procura projetar no futuro com base no momento “PRESENTE”. Nesta comunicação propomo-nos, metodologicamente, discutir o processo de construção de um projeto artístico que, com a atribuição do prémio Bolsa Estação Imagem | Mora 2014 dará origem a uma exposição pública e à publicação de um livro relacionando-o com um conjunto de possibilidades que questionam as potencialidades que a área da criação artística dispõe para contaminar as questões da musealização de forma a contribuir com o despontar de novas abordagens e narrativas nas práticas da materialização de exposições como médium e lugar de criação artística. Através da consideração processual deste projeto procuramos atingir o significado da memória nos processos de mediação artística onde as imagens renunciando à possibilidade de serem simulacro ou fantasmagoria, simbolizam cada coisa e o seu contrário, abeirando-se da não representação e, neste limite, qual o papel do museu nessas práticas de mediação.