Gestão integrada de resíduos de construção e demolição: análise de estudo

A actividade de construção civil é responsável por grande parte dos resíduos produzidos, nomeadamente em obras de construção, demolições de edifícios ou derrocadas, operações de manutenção, restauro, remodelação e reabilitação de construções. A gestão dos resíduos deste sector, abreviadamente designada por resíduos de construção e demolição (RCD), passou a estar regulada, através de regime de operações de gestão de RCD. Este diploma, define entre outras, a responsabilidade dos vários intervenientes no processo de gestão de resíduos, fase de projecto, execução, transporte e recepção. Com a evolução das preocupações ambientais da população e maior envolvência das empresas na contribuição para uma gestão integrada de resíduos, existe um crescente desenvolvimento de estudos no âmbito de caracterização de quantidades e tipos de resíduos produzidos pelo sector. Neste contexto, e por ser importante uma economia integrada com a gestão de resíduos, os principais desafios passam pelo planeamento e preparação de Obra desde da fase de projecto à fase de execução, com vista à prevenção, redução, reutilização e valorização dos RCD. O presente trabalho pretende contribuir para este desenvolvimento do sector, mais concretamente na obtenção de indicadores de resíduos de construção (RC), resíduos de demolição (RD) e caracterização da tipologia destes. Para tanto, foi feita uma avaliação dos estudos desenvolvidos no âmbito de caracterização dos tipos de resíduos e indicadores de RC e RD, como método comparativo. Os indicadores deste estudo foram obtidos com base na análise de dados de casos de estudo, no caso concreto RC, de obras de estruturas, e RD de edifícios com execução de demolição selectiva. Na parte final deste estudo apresentam-se algumas conclusões e recomendações.

A heráldica do exército português

A Heráldica do Exército Português tem reconhecidamente uma qualidade excepcional e os organismos que deste ramo das Forças Armadas dependem vêm recebendo armas bem ordenadas, com simbologia adequada à história e missão do organismo e de belo efeito plástico. Neste artigo são analisadas as armas e alguma emblemática, ordenadas nos últimos anos e que se reputam de exemplares. ABSTRACT - The Portuguese Army Heraldry has exceptional quality and its organisms have been receiving correct coats of arms with appropriate symbology to the history and mission of the organism and with good aesthetics. In this article are analyzed and some iconic coats of arms produced, in recent years, by the Army heraldry office, considered good examples.

A arte e a heráldica autárquica em Portugal

RESUMO: Aborda-se a heráldica autárquica portuguesa não sob o aspecto da correcção da ordenação dos brasões de armas, mas privilegiando-se a abordagem em termos artísticos, ou seja a experimentação estética das armas e sua experimentação em termos de inovação e criatividade.

Direitos das crianças institucionalizadas: um estudo de caso num centro de acolhimento temporário

Dissertação de 2º Ciclo conducente ao grau de Mestre em Ciências da Educação, especialização em Intervenção Precoce.

Transvase : quando a ficção invade a realidade

ABSTRACT: Adopting the concept of metalepsis, as explained by Gérard Genette, I intend to tackle the miscegenation of ontological worlds as practiced in metacinematic films dealing either with the creator or the spectator and made famous with Woody Allen’s film The Purple Rose of Cairo (1985, EUA). Assuming the existence of two adjoining fictional universes, one of them intrafilmically projected onto a screen and the other positioned in front of it so as to create or observe the other, one realizes that, in fact, they both communicate in a more intense way. That is, they both can cross the barrier that separates them and function, literally, as communicating vessels thrusting themselves onto the other side of fiction. The use of this screen passage technique – which I call ‘spilling narrative’ – although it takes place inside the film, at an intradiegetic level, cannot be considered a simple comic effect. In actuality, it is a very serious affair, denoting the authorial intervention as a reflexive practice of écriture by means of a mise en abyme, according to Lucien Dällenbach. Therefore, the fictional spilling over of worlds which totally blends together both sides of the twice artificial universe of the fabula, represents the emotional and intellectual involvement of the creator with his/her creation and of the spectator with the world watched. Both illustrate the desire of fusion inherent in the acts of creation and reception. My approach will be based on Gabriele Salvatores’ Happy Family (2010) and Wojciech Marczewski’s Escape from the ‘Liberty’ Cinema (1990).

Operação em ambiente móvel baseado em modelo de mercado

Projecto Final para obtenção do grau de Mestre em Engenharia Informática e de Computadores

Perceção da contemporaneidade pelos pré-adolescentes: o que se aprende com a obra de arte

Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Artística, na Especialização de Artes Plásticas na Educação

Exposure to volatile organic compounds, particulate matter and fungi in a composting plant

Composting is an important process of solid waste management and it can be used for treatment of a variety of different wastes (green waste, household waste, sewage sludge and more). This process aims to: 1. Reduce the volumes of waste and; 2. Create a valuable product which can be recycled as a soil amendment in agriculture and gardening. A natural self-heating process involving the biological degradation of organic matter under aerobic conditions. The handling of waste and compost is responsible for the release of airborne microorganisms and their compounds in the air. Possible contaminants: a) Dust; b) Mesophilic and thermophilic microorganisms; c) Volatile organic compounds; d) Endotoxins and mycotoxins…. Aim: assess exposure/contamination to: a) Volatile organic compounds (VOCs); b) Particulate matter (PM); c) Fungi. In a composting plant located in Lisbon. An additional goal was to identify the workplace with higher level of contamination. In a totally indoor composting plant. The composting operations consisted: 1º Waste already sorted is unloaded in a reception area; 2º Pretreatment - remove undesirable materials from the process (glass, rocks, plastics, metals…); 3º Anaerobic digestion; 4º Dehydration; 5º Open composting with forced aeration. All the process takes thirteen weeks.

Lá contribution des technologies a l'apprentissage du français à l'ecole primaire georgienne

Les méthodes modernes d’enseignement exigent de recréer le milieu de la langue étudiée, de faire parler les élèves dans des situations différentes. En Géorgie, l’enseignement de la langue étrangère s’effectue à partir de 6 ans, en même temps que celui de la langue maternelle. Les élèves apprennent à écrire en français après l’apprentissage de l’écriture en géorgien. A l’âge de 7-10 ans, ils connaissent déjà 3 alphabets différents : le géorgien, le latin et le cyrillique. L’objectif de cet article est de proposer une méthode qui pourra faciliter l’apprentissage du français aux non francophones grâce aux moyens audiovisuels qui sont très efficaces surtout au moment quand l’enfant ne sait ni lire, ni écrire en langue étrangère. Cependant, les moyens audiovisuels doivent être utilisés à des doses normales sans empêcher l’activité de l’élève.

O papel do adulto na resolução de conflitos entre crianças do jardim de infância

Relatório da Prática Profissional Supervisionada Mestrado em Educação Pré-Escolar

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

The telegraph as an omen of the future in James W. Carey's vision

In the history of modern communication, after the development of the printing press, the telegraph unleashed a revolution in communications. Today, Internet is in many ways its heir. Reflections on the telegraph may open up perspectives concerning tendencies, possibilities and pitfalls of the Internet. The telegraph has been well explored in important literature on communication and media which tends to emphasize the history of this technology, its social context and institutional meaning [e.g. Robert L. Thompson, 1947, Tom Standage, 2007 [1998]. James W. Carey, the North- American critical cultural studies' mentor, in his essay "Technology and Ideology. The Case of the Telegraph" (2009 [1983]), suggests a distinctive approach. In the telegraph, Carey sees the prototype of many subsequent commercial empires based on science and technology, a pioneer model for complex business management; an example of interest struggle for the patents control; an inductor of changes both in language and in structures of knowledge; and a promoter of a futurist and utopian thought of information technologies. Having in mind a revolution in communications promoted by the Internet, this paper revisits this seminal essay to explore its great attainment, as well as the problems of this kind of approach which conceives the innovation of the telegraph as a metaphor for all the innovations announcing the modern stage of history and determining still today the major lines of development in modern communication systems.

Melhoria da eficiência de amplificadores de potência para sinais RF com envolvente variável

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia Electrónica e Telecomunicações

Dimensionamento de um edifício misto de receção de areias e pirites

Trabalho de Projeto para obtenção do grau de Mestre em Engenharia Civil na Área de Especialização em Estruturas

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.