Um presente com futuro? a importância da qualidade na educação de infância

Relatório da Prática Profissional Supervisionada Mestrado em Educação Pré-Escolar

O balanced scorecard aplicado a uma pme do setor audiovisual

Mestrado em Contabilidade e Gestão das Instituições

A interação entre Música e Dança na aula de Técnica de Dança Clássica : estratégias para o desenvolvimento da sensibilidade musical com alunas do 5º ano da Escola Vocacional de Dança da Sociedade Filarmónica Gualdim Pais

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

The expression of tubulin cofactor A (TBCA) is regulated by a noncoding antisense Tbca RNA during testis maturation

Abstract - Recently, long noncoding RNAs have emerged as pivotal molecules for the regulation of coding genes' expression. These molecules might result from antisense transcription of functional genes originating natural antisense transcripts (NATs) or from transcriptional active pseudogenes. TBCA interacts with β-tubulin and is involved in the folding and dimerization of new tubulin heterodimers, the building blocks of microtubules. Methodology/Principal findings: We found that the mouse genome contains two structurally distinct Tbca genes located in chromosomes 13 (Tbca13) and 16 (Tbca16). Interestingly, the two Tbca genes albeit ubiquitously expressed, present differential expression during mouse testis maturation. In fact, as testis maturation progresses Tbca13 mRNA levels increase progressively, while Tbca16 mRNA levels decrease. This suggests a regulatory mechanism between the two genes and prompted us to investigate the presence of the two proteins. However, using tandem mass spectrometry we were unable to identify the TBCA16 protein in testis extracts even in those corresponding to the maturation step with the highest levels of Tbca16 transcripts. These puzzling results led us to re-analyze the expression of Tbca16. We then detected that Tbca16 transcription produces sense and natural antisense transcripts. Strikingly, the specific depletion by RNAi of these transcripts leads to an increase of Tbca13 transcript levels in a mouse spermatocyte cell line. Conclusions/Significance: Our results demonstrate that Tbca13 mRNA levels are post-transcriptionally regulated by the sense and natural antisense Tbca16 mRNA levels. We propose that this regulatory mechanism operates during spermatogenesis, a process that involves microtubule rearrangements, the assembly of specific microtubule structures and requires critical TBCA levels.

DNA interaction and cytotoxicity studies of new ruthenium(II) cyclopentadienyl derivative complexescontaining heteroaromatic ligands

Four ruthenium(II) complexes with the formula [Ru(eta(5)-C(5)H(5))(PP)L][CF(3)SO(3)], being (PP = two triphenylphosphine molecules), L = 1-benzylimidazole, 1; (PP = two triphenylphosphine molecules), L = 2,2'bipyridine, 2; (PP = two triphenylphosphine molecules), L = 4-Methylpyridine, 3; (PP = 1,2-bis(diphenylphosphine) ethane), L = 4-Methylpyridine, 4, were prepared, in view to evaluate their potentialities as antitumor agents. The compounds were completely characterized by NMR spectroscopy and their crystal and molecular structures were determined by X-ray diffraction. Electrochemical studies were carried out giving for all the compounds quasi-reversible processes. The images obtained by atomic force microscopy (AFM) suggest interaction with pBR322 plasmid DNA. Measurements of the viscosity of solutions of free DNA and DNA incubated with different concentrations of the compounds confirmed this interaction. The cytotoxicity of compounds 1234 was much higher than that of cisplatin against human leukemia cancer cells (HL-60 cells). IC(50) values for all the compounds are in the range of submicromolar amounts. Apoptotic death percentage was also studied resulting similar than that of cisplatin. (C) 2010 Elsevier Inc. All rights reserved.

A new cloning system based on the OprI lipoprotein for the production of recombinant bacterial cell wall-derived immunogenic formulations

The conjugation of antigens with ligands of pattern recognition receptors (PRR) is emerging as a promising strategy for the modulation of specific immunity. Here, we describe a new Escherichia coli system for the cloning and expression of heterologous antigens in fusion with the OprI lipoprotein, a TLR ligand from the Pseudomonas aeruginosa outer membrane (OM). Analysis of the OprI expressed by this system reveals a triacylated lipid moiety mainly composed by palmitic acid residues. By offering a tight regulation of expression and allowing for antigen purification by metal affinity chromatography, the new system circumvents the major drawbacks of former versions. In addition, the anchoring of OprI to the OM of the host cell is further explored for the production of novel recombinant bacterial cell wall-derived formulations (OM fragments and OM vesicles) with distinct potential for PRR activation. As an example, the African swine fever virus ORF A104R was cloned and the recombinant antigen was obtained in the three formulations. Overall, our results validate a new system suitable for the production of immunogenic formulations that can be used for the development of experimental vaccines and for studies on the modulation of acquired immunity.

Arrow Plot: a new graphical tool for selecting up and down regulated genes and genes differentially expressed on samples subgroups

Background: A common task in analyzing microarray data is to determine which genes are differentially expressed across two (or more) kind of tissue samples or samples submitted under experimental conditions. Several statistical methods have been proposed to accomplish this goal, generally based on measures of distance between classes. It is well known that biological samples are heterogeneous because of factors such as molecular subtypes or genetic background that are often unknown to the experimenter. For instance, in experiments which involve molecular classification of tumors it is important to identify significant subtypes of cancer. Bimodal or multimodal distributions often reflect the presence of subsamples mixtures. Consequently, there can be genes differentially expressed on sample subgroups which are missed if usual statistical approaches are used. In this paper we propose a new graphical tool which not only identifies genes with up and down regulations, but also genes with differential expression in different subclasses, that are usually missed if current statistical methods are used. This tool is based on two measures of distance between samples, namely the overlapping coefficient (OVL) between two densities and the area under the receiver operating characteristic (ROC) curve. The methodology proposed here was implemented in the open-source R software. Results: This method was applied to a publicly available dataset, as well as to a simulated dataset. We compared our results with the ones obtained using some of the standard methods for detecting differentially expressed genes, namely Welch t-statistic, fold change (FC), rank products (RP), average difference (AD), weighted average difference (WAD), moderated t-statistic (modT), intensity-based moderated t-statistic (ibmT), significance analysis of microarrays (samT) and area under the ROC curve (AUC). On both datasets all differentially expressed genes with bimodal or multimodal distributions were not selected by all standard selection procedures. We also compared our results with (i) area between ROC curve and rising area (ABCR) and (ii) the test for not proper ROC curves (TNRC). We found our methodology more comprehensive, because it detects both bimodal and multimodal distributions and different variances can be considered on both samples. Another advantage of our method is that we can analyze graphically the behavior of different kinds of differentially expressed genes. Conclusion: Our results indicate that the arrow plot represents a new flexible and useful tool for the analysis of gene expression profiles from microarrays.

Characterization of a polyubiquitin gene in T. thermophila and of ubiquitin gene expression during sexual reproduction and under stress conditions

A 5-unit polyubiquitin gene, TTU3, was isolated from a T. thermophila genomic library and sequenced. This gene presents an extra triplet coding for Phe, a AGAGA motif and a putative HSE element in its 5'-non-coding region. The ubiquitin gene expression in this ciliate was investigated by Northern blot hybridization in conjugating cells or cells under stress conditions. Exponentially growing cells express two ubiquitin mRNAs of 0.75 and 1.8 kb and a new species of 1.4 kb is induced under hyperthermic stress. During sexual reproduction of the cells (conjugation) the 1.8-kb mRNA is still transcribed whereas the steady-state population of the 0.75 mRNA transcripts is strongly diminished. Southern blot analysis suggests that ubiquitin in T. thermophila constitutes a large family of about ten members.

Como avaliar as aprendizagens das práticas musicais em Educação Musical

É do conhecimento geral que muitos professores ensinam os alunos a ouvir, cantar e compor, mas usam testes escritos para avaliar as aprendizagens. Este facto revela que, por um lado, há quem tenha a ideia que os testes escritos estão mesmo a avaliar as práticas musicais e, por outro lado, também há quem considere que é muito difícil e inconsistente avaliar as práticas musicais porque a Música tem um carácter transitório, efémero, imaterial. Além do problema ser interessante, ele é abrangente porque existe tanto entre os professores especialistas de Música como entre os professores generalistas de Educação de Infância e de 1º Ciclo. A experiência levada a cabo nos últimos três anos no Mestrado em Ensino de Educação Musical no Ensino Básico sobre a forma de avaliar as aprendizagens dos alunos em Educação Musical mantém os testes escritos para avaliar os conhecimentos teóricos, mas introduz um instrumento de avaliação das práticas musicais, as grelhas de descritores de desempenho. Estas grelhas, ainda que mantendo princípios orientadores comuns, são sempre feitas à medida para cada situação específica de obra, atividade musical, alunos e são aplicadas não só em observação direta, mas também sobre registos áudio/vídeo. Estes instrumentos são construídos pelos docentes e não em conjunto com os alunos, mas são-lhes apresentados e explicados desde o início de cada unidade didática, usados regulamente para autoavaliação formativa e nas apresentações finais para avaliação sumativa. Desta forma os alunos sabem desde o início onde se espera que cheguem e sabem em cada momento do processo em que ponto se encontram e que problemas/dificuldades musicais devem ser ultrapassados. Em cada atividade comparámos a autoavaliação dos alunos com a avaliação dos professores e verificámos em todas as situações uma elevada correlação positiva (r > 0,9). Teremos ainda que consolidar os dados já obtidos pelo que esperamos o envolvimento de mais professores. A possibilidade de divulgar a solução aqui apresentada, nomeadamente, através de ações de formação contínua, permitirá um evidente aumento da consistência e fiabilidade da avaliação das práticas musicais em Educação Musical.

How new online communication tools and the availability of content influence the audiences and the creative process

We live in a changing world. At an impressive speed, every day new technological resources appear. We increasingly use the Internet to obtain and share information, and new online communication tools are emerging. Each of them encompasses new potential and creates new audiences. In recent years, we witnessed the emergence of Facebook, Twitter, YouTube and other media platforms. They have provided us with an even greater interactivity between sender and receiver, as well as generated a new sense of community. At the same time we also see the availability of content like it never happened before. We are increasingly sharing texts, videos, photos, etc. This poster intends to explore the potential of using these new online communication tools in the cultural sphere to create new audiences, to develop of a new kind of community, to provide information as well as different ways of building organizations’ memory. The transience of performing arts is accompanied by the need to counter that transience by means of documentation. This desire to ‘save’ events reaches its expression with the information archive of the different production moments as well as the opportunity to record the event and present it through, for instance, digital platforms. In this poster we intend to answer the following questions: which online communication tools are being used to engage audiences in the cultural sphere (specifically between theater companies in Lisbon)? Is there a new relationship with the public? Are online communication tools creating a new kind of community? What changes are these tools introducing in the creative process? In what way the availability of content and its archive contribute to the organization memory? Among several references, we will approach the two-way communication model that James E. Grunig & Todd T. Hunt (1984) already presented and the concept of mass self-communication of Manuel Castells (2010). Castells also tells us that we have moved from traditional media to a system of communication networks. For Scott Kirsner (2010), we have entered an era of digital creativity, where artists have the tools to do what they imagined and the public no longer wants to just consume cultural goods, but instead to have a voice and participate. The creativity process is now depending on the public choice as they wander through the screen. It is the receiver who owns an object which can be exchanged. Virtual reality has encouraged the receiver to abandon its position of passive observer and to become a participant agent, which implies a challenge to organizations: inventing new forms of interfaces. Therefore, we intend to find new and effective online tools that can be used by cultural organizations; the best way to manage them; to show how organizations can create a community with the public and how the availability of online content and its archive can contribute to the organizations’ memory.

Uma análise das diferenças em termos da cultura e dos interesses profissionais a partir do projeto de substituiçao das IAS 39: Financial Instruments - Recognition and Measurement

Mestrado em Contabilidade

Remistura de vídeo: um estudo exploratório de diferentes estilos

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Relatório de estágio

I - As minhas expectativas eram elevadas pois este regresso à Escola Superior de Música de Lisboa permitia-me voltar a trabalhar com os professores que me formaram como músico e professor e com eles poder actualizar-me sobre vários temas ligados à pedagogia. Este aspecto é muito importante pois chego à conclusão que o tempo por vezes provoca-nos excesso de confiança que parece “cegar-nos” não nos deixando ver erros pedagógicos muitas vezes evitáveis. Quando ingressei neste estágio sentia-me confiante e seguro quanto às minhas capacidades como professor. O momento de viragem na minha perspectiva do estágio dá-se quando surgem as observações/gravações e respectivas análises e reflexões das aulas. Procurei trabalhar nessas aulas da forma mais natural possível pois o meu objectivo era observar o meu trabalho diário. A primeira observação das aulas permitiu-me anotar algumas coisas menos boas. Contudo, quando essa observação foi feita com o professor de didática os aspectos menos positivos ganharam uma enorme proporção: (1) falhas ao nível da instrução: demasiado longo, (2) feedback de pouca qualidade ou eficácia , (3) pouca percentagem de alunos que atingiam os objectivos., (4) ritmo de aula por vezes baixo devido a períodos longos de instrução ou devido a uma má gestão do espaço. Todos estes problemas eram mais visíveis quando as turmas eram maiores. Ao longo do estágio, e após a detecção destas falhas, fui procurando evitar estas práticas em todas as turmas onde leccionava. Senti que o ritmo de aula aumentou substancialmente não apenas à custa da energia do professor e de boas estratégias mas porque sobretudo se “falava menos e trabalhava-se mais”. Os erros dos alunos passaram a ser corrigos enquanto trabalhavam (feedback corretivo próximo do momento positivo ou negativo), o feedback positivo passou a ser mais destacado, a disposição da sala alterou-se de forma aos alunos estarem mais perto do professor, e este procurou ser menos “criativo” no momento de alterar o plano de aula devido a ideias momentâneas o que provocou mais tempo para cada estratégia e para que mais alunos fossem atingindo os objectivos. Apesar da evolução no sentido de proporcionar aos alunos aulas mais rentáveis e de ainda melhor qualidade, existe a consciência que alguns dos erros cometidos eram hábitos e como tal poderão levar algum tempo a ser corrigidos. Contudo, existe a consciência e a vontade em debelá-los da minha prática docente.

As Relações Públicas e a gestão de artistas numa editora musical

Trabalho de projeto apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Gestão Estratégica das Relações Públicas.

Fazer, dançar, de dentro : a fusão entre os processos do fazer e do sentir na prática diária da Técnica de Dança Clássica

Relatório Final de Estágio apresentado à Escola Superior de Dança com vista à obtenção do Grau de Mestre em Ensino de Dança.