Visual and verbal processing effects on human memory

In this study in the field of Consumer Behavior, brand name memory of consumers with regard to verbal and visual incongruent and congruent information such as memory structure of brands was tested. Hence, four experimental groups with different constellations of verbal and visual congruity and incongruity were created to compare their brand name memory performance. The experiment was conducted in several classes with 128 students, each group with 32 participants. It was found that brands, which are presented in a congruent or moderately incongruent relation to their brand schema, result in a better brand recall than their incongruent counterparts. A difference between visual congruity and moderately incongruity could not be confirmed. In contrast to visual incongruent information, verbal incongruent information does not result in a worse brand recall performance.

The thermal effects on the methanol-to-olefins reaction: A modelling and experimental approach

With the projection of an increasing world population, hand-in-hand with a journey towards a bigger number of developed countries, further demand on basic chemical building blocks, as ethylene and propylene, has to be properly addressed in the next decades. The methanol-to-olefins (MTO) is an interesting reaction to produce those alkenes using coal, gas or alternative sources, like biomass, through syngas as a source for the production of methanol. This technology has been widely applied since 1985 and most of the processes are making use of zeolites as catalysts, particularly ZSM-5. Although its selectivity is not especially biased over light olefins, it resists to a quick deactivation by coke deposition, making it quite attractive when it comes to industrial environments; nevertheless, this is a highly exothermic reaction, which is hard to control and to anticipate problems, such as temperature runaways or hot-spots, inside the catalytic bed. The main focus of this project is to study those temperature effects, by addressing both experimental, where the catalytic performance and the temperature profiles are studied, and modelling fronts, which consists in a five step strategy to predict the weight fractions and activity. The mind-set of catalytic testing is present in all the developed assays. It was verified that the selectivity towards light olefins increases with temperature, although this also leads to a much faster catalyst deactivation. To oppose this effect, experiments were carried using a diluted bed, having been able to increase the catalyst lifetime between 32% and 47%. Additionally, experiments with three thermocouples placed inside the catalytic bed were performed, analysing the deactivation wave and the peaks of temperature throughout the bed. Regeneration was done between consecutive runs and it was concluded that this action can be a powerful means to increase the catalyst lifetime, maintaining a constant selectivity towards light olefins, by losing acid strength in a steam stabilised zeolitic structure. On the other hand, developments on the other approach lead to the construction of a raw basic model, able to predict weight fractions, that should be tuned to be a tool for deactivation and temperature profiles prediction.

Rating corporate groups a modelling experience

This paper aims to provide a model that allows BPI to measure the credit risk, through its rating scale, of the subsidiaries included in the corporate groups who are their clients. This model should be simple enough to be applied in practice, accurate, and must give consistent results in comparison to what have been the ratings given by the bank. The model proposed includes operational, strategic, and financial factors and ends up giving one of three results: no support, partial support, or full support from the holding to the subsidiary, and each of them translates in adjustments in each subsidiary’s credit rating. As it would be expectable, most of the subsidiaries should have the same credit rating of its parent company.

A cenografia oitocentista como fonte de cultura visual e de ideologia

A argumentação centra-se na história da produção cenográfica da segunda metade do século XIX em Portugal, propondo um tratamento teórico mais abrangente, que desloque o enfoque analítico da peça de arte em si ou do carácter efémero e global da espectacularidade que tem merecido alguma atenção da historiografia contemporânea, para uma escala de cultura visual ou mesmo de visualidade, no sentido mais dilatado destas expressões. Discutindo essencialmente a problemática em torno da imagem teatral como produto do mundo oitocentista analisa-se o potencial cognitivo da série cenográfica na sua capacidade de representação e apropriações ideológicas. Para esta dialéctica concorrem as repercussões epocais do espectáculo, designadamente na regulação da vida social, na mediação de processos económicos, no combate político, e sobretudo, em modelos de percepção artística fundados nos convencionalismos cenográficos como acontece, por exemplo, na produção decorativa e arquitectónica integradas num particular campo visual ou na teatralidade actuante dos edifícios, cuja essência, em todos os casos, é devedora de uma cultura paradoxalmente centrada nos limites da caixa cénica e na infinitude emotiva do espectacular.

Visual politics of the estado novo realized on the Alameda Dom Afonso Henriques in Lisbon – the construction of ideal citizenship?

The stylistic categorization of the Estado Novo has been intensely discussed by Portuguese art historians. The square Alameda Dom Afonso Henriques in Lisbon (Alameda) can be seen as paradigmatic for the architecture of power of the Estado Novo. The Alameda forms a gardened valley between two hills. There you find two prominent and highly propagandist buildings: The Instituto Superior Técnico (IST) and the Fonte Luminosa are dedicated to modern sciences and respectively to the harmonious contribution of nature to the city. The iconography of the Alameda as well as its incorporation into the propagandist use of urban planning in the 1930s and 1940s exemplify the visual politics during Salazarism. Urban planning programs intended to create cities that would preserve the character of a traditional catholic society and at the same time answer to the need to modernize the country and evoke the image of a progressive state. Thus, public buildings and urban squares such as the Alameda contributed to design a corporate image and to the ‘spirit’ of the regime.