Animação Viral, Vanguarda Trash e o Capital Simbólico dos nossos Piores Defeitos: a Ideologia de Bruno Aleixo

"Bruno Aleixo" is a viral animation character, created by the Portuguese collective GANA, that surfaced online in 2008. Their animation works have meanwhile crossed onto the most diverse media, and have been branching out in multiple webs of narratives, constantly referring to each other, as well as constantly quoting disparate references such as film classics, chatrooms and TV ads for detergents. This paper attempts a triple analysis of this object of study: the ways in which technology has been fostering non-linear narratives while widening the available aesthetic spectrum, the ways in which processes of cultural consumerism are being reinvented in light of the web 2.0, and the use of "pseudo-nonsense" as a process of oblique cultural psychoanalysis. We will further attempt to demonstrate how new media and web networks have been contributing to a fragmentation of audiences, as well as a blurring between dominant cultures and sub-cultural phenomena; and we will end by positing that the structural principles behind the "Bruno Aleixo" series can be applied in social and cultural contexts situated at the opposite end of the spectrum of traditional expectations regarding Animation.

LEARNING ENVIRONMENTS IN THE CONTEXT OF A MASTER DEGREE IN ANIMATION AND ILLUSTRATION

This paper aims to describe the processes of teaching illustration and animation, together, in the context of a masters degree program. In Portugal, until very recently, illustration and animation higher education courses, were very scarce and only provided by a few private universities, which offered separated programs - either illustration or animation. The MA in Illustration and Animation (MIA) based in the Instituto Politécnico do Cávado e Ave in Portugal, dared to join these two creative areas in a common learning model and is already starting it’s third edition with encouraging results and will be supported by the first international conference on illustration and animation (CONFIA). This masters program integrates several approaches and techniques (in illustration and animation) and integrates and encourages creative writing and critique writing. This paper describes the iterative process of construction, and implementation of the program as well as the results obtained on the initial years of existence in terms of pedagogic and learning conclusions. In summary, we aim to compare pedagogic models of animation or illustration teaching in higher education opposed to a more contemporary and multidisciplinary model approach that integrates the two - on an earlier stage - and allows them to be developed separately – on the second part of the program. This is based on the differences and specificities of animation (from classic techniques to 3D) and illustration (drawing the illustration) and the intersection area of these two subjects within the program structure focused on the students learning and competencies acquired to use in professional or authorial projects.

Exploring the interdisciplinary process in design education

The work presented herein follows an ongoing research that aims to analyze methodological practices to be applied in Design Education. A reflection about methodological strategies in Design Education and the function of drawing in Design represents the beginning of this study. Then, we developed an interdisciplinary pedagogical experience with the Graphic Design 1st grade students from our institution (IPCA). In the current academic year, 2013/2014, we continue to evolve this project, introducing changes in the initial proposal. Major alterations focused on the aspects that could be strengthened in terms of interdisciplinarity. In this article, the authors describe those changes and discuss the outcomes of the novel proposal. As we have already reported, this investigation follows a reflection about working methods to be adopted in Design Education. This is in accordance with other previously published works that purpose the enlargement of Design into new knowledge fields such as Experience or Service Design, changing not only the role of the graphic designer, but also the skills required to be a professional designer (Alain Findelli, 2001), (Brian Lawson, 2006), (Ciampa-Brewer, 2010). Furthermore, concepts such as cooperation or multidisciplinary design, amongst others, have been frequently debated as design teaching strategies (Heller and Talarico, 2011, pp. 82-85). These educational approaches also have an impact on our research. The analysis of all these authors’ contributions together with a reflection on our teaching practice allowed us to propose an improved interdisciplinary intervention.

The strategic management of creation process and of change: a theoretical contribute from the perspective of tourism

The entrepreneurship and innovation have been gradually gaining ground in the academic community as a field of study. However, the interpretations surrounding fragmented, without a univocal definition. In last decades, tourism has received greater attention from researchers in various sciences, varying only by the different emphases considered: economic, social, cultural and environmental. As other emerging sectors in a modern economy, tourism is a dynamic and ever-changing industry. The study has as purpose to provide a better understanding regarding the essence of entrepreneurship: theoretical and practical implications from the perspective of tourism. Regarding the methodology used here, this is a conceptual paper with a literature review that brings together the major components of entrepreneurship and its implications tourist perspective and conceptual model of the dynamic nature of the Triggering Process and innovation (e.g. iTravey, Interactive Stores, Tourist Transportable Tower).

O reconhecimento dos heritage assets: o caso dos municípios da sub-região Minho--Lima

Este trabalho tem por objetivos analisar o disposto no POCAL (1999), na NICSP nº 17 do IPSASB (2006c), e na opinião de diversos autores, quanto ao reconhecimento dos heritage assets; bem como, verificar se poderão existir problemas inerentes ao reconhecimento dos heritage assets, na sub-região Minho-Lima, ultrapassáveis com a adoção das NICSP em Portugal. Do estudo efetuado, concluímos que o POCAL (1999) não apresenta os requisitos para o reconhecimento dos ativos. A NICSP nº 17 (IPSASB, 2006c) refere que, se a entidade reconhecer esses elementos como ativos, deve observar os requisitos para o reconhecimento dos ativos fixos tangíveis mencionados nessa norma. Atendendo também a que alguns dos municípios portugueses sentem dificuldades no reconhecimento dos heritage assets, concluímos que adotar um novo Sistema de Normalização Contabilística aplicável à Administração Pública (SNC-AP), assente nas NICSP, poderá ser a solução para ultrapassar tais dificuldades e garantir alguma comparabilidade da informação.

O reconhecimento dos bens do património histórico, artístico e cultural: esudo de caso dos municípios da sub-região Minho-Lima

Este trabalho tem por objetivos analisar o disposto no POCAL (1999), na NICSP nº 17 do IPSASB (2006c), e na opinião de diversos autores, quanto ao reconhecimento dos bens do património, histórico, artístico e cultural (BPHAC); bem como, verificar se poderão existir problemas inerentes ao reconhecimento destes bens, na sub-região Minho-Lima, ultrapassáveis com a adoção das NICSP em Portugal. Do estudo efetuado, concluímos que o POCAL (1999) não apresenta os requisitos para o reconhecimento dos ativos. A NICSP nº 17 (IPSASB, 2006c) refere que, se a entidade reconhecer esses elementos como ativos, deve observar os requisitos para o reconhecimento dos ativos fixos tangíveis mencionados nessa norma. Atendendo também a que alguns dos municípios portugueses sentem dificuldades no reconhecimento dos bens do património, histórico, artístico e cultural, concluímos que adotar um novo Sistema de Normalização Contabilística aplicável à Administração Pública (SNCAP), assente nas NICSP, poderá ser a solução para ultrapassar tais dificuldades e garantir alguma comparabilidade da informação.

The international harmonization process of public accounting in Portugal: the perspective of different stakeholders

This paper investigates the reform of public accounting in Portugal through the IPSAS adoption highlighting the perception of different stakeholders. Two competing theories (NPM and the institutional theory) are used to understand public accounting changes within the Portuguese context. In general, different stakeholders agree with the favorable moment and the context of the reform. The context of financial crises and the great external pressures to cut public deficits and to improve the quality of financial information seem to be the most important factors to stimulate changes in public accounting. In addition, stakeholders recommend the use of different strategies to ensure success.

The internationally standardized process of public accounting: the perspective of different stakeholders in Portugal

New Public Management (NPM) led to great pressures for to introduce and adapt businesslike accounting in the public sector (Hood, 1995; Lapsley, 2008; Lapsley et al., 2009), specially the transition from cash basis to accrual-based accounting. In consequence, since the last 20 years we assist to a movement towards internationally standardized of public sector accounting that led to the publication of 32 International Public Sector Accounting Standards (IPSAS) for all public sector entities from national central governments to local governments (IFAC, 2008). These standards are accrual-basis and they emphasize the balance sheet approach, the fair value measurement and the revenue-expense approach (Hints, 2007). The main innovations are associated with the use of the balance sheet approach and the fair value measurement because, traditionally, public accounting systems are mainly focused on the revenue-expense approach and on historical cost valuation (Oulasvirta, 2014).