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.

A motivação da aprendizagem de um instrumento musical em alunos do ensino básico articulado sob a perspectiva da teoria da auto-determinação no Conservatório Regional de Setúbal: relatório de estágio

O presente relatório, no âmbito da obtenção do grau de Mestre no Ensino da Música, na Escola Superior de Música de Lisboa, descreve o estágio efectuado no Conservatório Regional de Setúbal e analisa a prática pedagógica do professor através de três alunos de violino e viola d´arco de níveis diferentes: Iniciação (violino); 4º grau, Ensino Básico (viola d´arco) e 7º grau, Ensino Secundário (viola d´arco). São descritas e analisadas as práticas pedagógicas desenvolvidas com base na filosofia do Método Suzuki e na Teoria da Auto-­determinação de Edward L. Deci e Richard M. Ryan. O objectivo fundamental do processo de ensino-­ aprendizagem é a criação de condições para que os alunos se motivem autonomamente e atinjam níveis altos de motivação intrínseca (Teoria da Auto-­determinação), e que se tornem bons instrumentistas e melhores seres humanos (Método Suzuki).

Safe dance practice: uma abordagem estratégica sobre as condições psicomotoras e emocionais nas aulas de Técnica de Dança Contemporânea - 5º ano A da Escola de Dança do Conservatório Nacional

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

A autorregulação aplicada aos métodos de estudo

Relatório de Estágio apresentado à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Ensino do 1.º e 2.º Ciclos do Ensino Básico

Towards an Academic Social Network for Bologna Process

The Bologna Process aimed to build a European Higher Education Area promoting student's mobility. The adoption of Bologna Declaration directives requires a self management distributed approach to deal with student's mobility, allowing frequent updates in institutions rules or legislation. This paper suggests a computational system architecture, which follows a social network design. A set of structured annotations is proposed in order to organize the user's information. For instance, when the user is a student its annotations are organized into an academic record. The academic record data is used to discover interests, namely mobility interests, among students that belongs the academic network. These ideas have been applied into a demonstrator that includes a mobility simulator to compare and show the student's academic evolution.

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.