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.

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

Durability of ancient lime mortars in humid environment

Historical buildings are important fingerprints of the history and culture of a region and its communities. Climatic and environmental conditions are often very severe for construction materials, namely in presence of high humidity or in direct contact with water and salts. However, some historical buildings have in our days a very good condition, probably due to careful construction and/or accurate materials selection and to a specific technology. The knowledge of old mortars composition has a fundamental role on the preservation of cultural heritage, allowing information about the used materials, their performance in their specific environment, conducting to adequate and compatible materials to conservation purposes. This article presents two case studies of historical buildings with important defence functions in Lisbon coast, in which ancient lime mortars where used under severe seaside environmental actions. Mortar samples from these two case studies are characterized and the relationship of their composition with the good performance and high durability observed is discussed.

Production, purification and characterization of laccase from pleurottus ostreatus grown on tomato pomace

A strain of Pleurotus ostreatus was grown in tomato pomace as sole carbon source for production of laccase. The culture of P. ostreatus revealed a peak of laccase activity (147 U/L of fermentation broth) on the 4th day of culture with a specific activity of 2.8 U/mg protein. Differential chromatographic behaviour of laccase was investigated on affinity chromatographic matrices containing either urea, acetamide, ethanolamine or IDA as affinity ligands. Laccase exhibited retention on such affinity matrices and it was purified on a Sepharose 6B-BDGE-urea column with final enzyme recoveries of about 60%, specific activity of 6.0 and 18.0 U/mg protein and purification factors in the range of 14-46. It was also possible to demonstrate that metal-free laccase did not adsorb to Sepharose 6B-BDGE-urea column which suggests that adsorption of native laccase on this affinity matrix was apparently due to the specific interaction of carbonyl groups available on the matrix with the active site Cu (II) ions of laccase. The kinetic parameters (V (max), K (m) , K (cat), and K (cat)/K (m) ) of the purified enzyme for several substrates were determined as well as laccase stability and optimum pH and temperature of enzyme activity. This is the first report describing the production of laccase from P. ostreatus grown on tomato pomace and purification of this enzyme based on affinity matrix containing urea as affinity ligand.

Sigilo bancário

Mestrado em Contabilidade e Gestão das Instituições Financeiras

A capacidade inovadora das empresas em função da gestão do conhecimento

Mestrado em Controlo de Gestão e dos Negócios

Avaliação da cultura de segurança num serviço de medicina nuclear

Mestrado em Gestão e Avaliação de Tecnologias em Saúde

Gestão de manutenção de uma empresa gráfica

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia Mecânica

O impacto da formação contínua no desenvolvimento pessoal e profissional dos técnicos de Análises Clínicas e Saúde Pública

Mestrado em Intervenção Sócio-Organizaional na Saúde - Ramo de especialização: Intervenção Comunitária

Comunidades de prática nas organizações de saúde: proposta de modelo numa organização hospitalar

Mestrado em Intervenção Sócio-Organizacional na Saúde - Ramo de especialização: Políticas de Administração e gestão de Serviços de Saúde

O conhecimento e inovação como factor de sucesso de uma organização : o caso Sport Lisboa e Benfica

Mestrado em Gestão e Empreendedorismo

Cultura da (in) segurança nos contextos de trabalho em enfermagem: o caso do Hospital do Espírito Santo de Évora - E.P.E.

Mestrado em Intervenção Sócio-Organizacional na Saúde - Área de especialização: Políticas de Administração e Gestão de Serviços de Saúde

A Obra “Faça-você-mesmo” : Estética da Participação nas Artes Digitais

Doutoramento em Ciências da Comunicação - Especialidade de Comunicação e Artes

Corre mãe! Corre!: trabalho de projecto

Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Teatro do Movimento.