Fostering e-participation sustainability through a BPM-driven semantic model

According to a recent Eurobarometer survey (2014), 68% of Europeans tend not to trust national governments. As the increasing alienation of citizens from politics endangers democracy and welfare, governments, practitioners and researchers look for innovative means to engage citizens in policy matters. One of the measures intended to overcome the so-called democratic deficit is the promotion of civic participation. Digital media proliferation offers a set of novel characteristics related to interactivity, ubiquitous connectivity, social networking and inclusiveness that enable new forms of societal-wide collaboration with a potential impact on leveraging participative democracy. Following this trend, e-Participation is an emerging research area that consists in the use of Information and Communication Technologies to mediate and transform the relations among citizens and governments towards increasing citizens’ participation in public decision-making. However, despite the widespread efforts to implement e-Participation through research programs, new technologies and projects, exhaustive studies on the achieved outcomes reveal that it has not yet been successfully incorporated in institutional politics. Given the problems underlying e-Participation implementation, the present research suggested that, rather than project-oriented efforts, the cornerstone for successfully implementing e-Participation in public institutions as a sustainable added-value activity is a systematic organisational planning, embodying the principles of open-governance and open-engagement. It further suggested that BPM, as a management discipline, can act as a catalyst to enable the desired transformations towards value creation throughout the policy-making cycle, including political, organisational and, ultimately, citizen value. Following these findings, the primary objective of this research was to provide an instrumental model to foster e-Participation sustainability across Government and Public Administration towards a participatory, inclusive, collaborative and deliberative democracy. The developed artefact, consisting in an e-Participation Organisational Semantic Model (ePOSM) underpinned by a BPM-steered approach, introduces this vision. This approach to e-Participation was modelled through a semi-formal lightweight ontology stack structured in four sub-ontologies, namely e-Participation Strategy, Organisational Units, Functions and Roles. The ePOSM facilitates e-Participation sustainability by: (1) Promoting a common and cross-functional understanding of the concepts underlying e-Participation implementation and of their articulation that bridges the gap between technical and non-technical users; (2) Providing an organisational model which allows a centralised and consistent roll-out of strategy-driven e-Participation initiatives, supported by operational units dedicated to the execution of transformation projects and participatory processes; (3) Providing a standardised organisational structure, goals, functions and roles related to e-Participation processes that enhances process-level interoperability among government agencies; (4) Providing a representation usable in software development for business processes’ automation, which allows advanced querying using a reasoner or inference engine to retrieve concrete and specific information about the e-Participation processes in place. An evaluation of the achieved outcomes, as well a comparative analysis with existent models, suggested that this innovative approach tackling the organisational planning dimension can constitute a stepping stone to harness e-Participation value.

From "Humanities and Computing" to "Digital Humanities": Digital Humanities in Portugal with a focus on Historical Research

In the following text I will develop three major aspects. The first is to draw attention to those who seem to have been the disciplinary fields where, despite everything, the Digital Humanities (in the broad perspective as will be regarded here) have asserted themselves in a more comprehensive manner. I think it is here that I run into greater risks, not only for what I have mentioned above, but certainly because a significant part, perhaps, of the achievements and of the researchers might have escaped the look that I sought to cast upon the past few decades, always influenced by my own experience and the work carried out in the field of History. But this can be considered as a work in progress and it is open to criticism and suggestions. A second point to note is that emphasis will be given to the main lines of development in the relationship between historical research and digital methodologies, resources and tools. Finally, I will try to make a brief analysis of what has been the Digital Humanities discourse appropriation in recent years, with very debatable data and methods for sure, because studies are still scarce and little systematic information is available that would allow to go beyond an introductory reflection.

Development of an experimental setup for metal cutting research

Analytical, numerical and experimental models have been developed over time to try to characterize and understand the metal cutting process by chip removal. A true knowledge of the cutting process by chip removal is required by the increasing production, by the quality requirements of the product and by the reduced production time, in the industries in which it is employed. In this thesis an experimental setup is developed to evaluate the forces and the temperature distribution in the tool according to the orthogonal cutting model conditions, in order to evaluate its performance and its possible adoption in future works. The experimental setup is developed in a CNC lathe and uses an orthogonal cutting configuration, in which thin discs fixed onto a mandrel are cut by the cutting insert. In this experimental setup, the forces are measured by a piezoelectric dynamometer while temperatures are measured by thermocouples placed juxtaposed to the side face of the cutting insert. Three different solutions are implemented and evaluated for the thermocouples attachment in the cutting insert: thermocouples embedded in thermal paste, thermocouples embedded in copper plate and thermocouples brazed in the cutting insert. From the tests performed in the experimental setup it is concluded that the adopted forces measurement technique shows a good performance. Regarding to the adopted temperatures measurement techniques, only the thermocouples brazed in the cutting insert solution shows a good performance for temperature measurement. The remaining solutions show contact problems between the thermocouple and the side face of the cutting insert, especially when the vibration phenomenon intensifies during the cut. It is concluded that the experimental setup does not present a sufficiently robust and reliable performance, and that it can only be used in future work after making improvements in the assembly of the thermocouples.

Entre a plasticidade do corpo e da imagem : contributos para uma viagem interactiva pelos territórios incertos da arte contemporânea

Este trabalho de investigação começou por ser estruturado em torno de quatro grandes capítulos (quatro grandes linhas de orientação temática), todos eles amplamente desenvolvidos no sentido de podermos cartografar alguns dos principais territórios e sintomas da arte contemporânea, sendo certo também, que cada um deles assenta precisamente nos princípios de uma estrutura maleável que, para todos os efeitos, se encontra em processo de construção (work in progress), neste caso, graças à plasticidade do corpo, do espaço, da imagem e do uso criativo das tecnologias digitais, no âmbito das quais, aliás, tudo se parece produzir, transformar e disseminar hoje em dia à nossa volta (quase como se de uma autêntica viagem interactiva se tratasse). Por isso, a partir daqui, todo o esforço que se segue procurará ensaiar uma hipótese de trabalho (desenvolver uma investigação) que, porventura, nos permita desbravar alguns caminhos em direcção aos intermináveis túneis do futuro, sempre na expectativa de podermos dar forma, função e sentido a um desejo irreprimível de liberdade criativa, pois, a arte contemporânea tem essa extraordinária capacidade de nos transportar para muitos outros lugares do mundo, tão reais e imaginários como a nossa própria vida. Assim sendo, há que sumariar algumas das principais etapas a desenvolver ao longo desta investigação. Ora, num primeiro momento, começaremos por reflectir sobre o conceito alargado de «crise» (a crise da modernidade), para logo de seguida podermos abordar a questão da crise das antigas categorias estéticas, questionando assim, para todos os efeitos, quer o conceito de «belo» (Platão) e de «gosto» (Kant), quer ainda o conceito de «forma» (Foccilon), não só no sentido de tentarmos compreender algumas das principais razões que terão estado na origem do chamado «fim da arte» (Hegel), mas também algumas daquelas que terão conduzido à estetização generalizada da experiência contemporânea e à sua respectiva disseminação pelas mais variadas plataformas digitais. Num segundo momento, procuraremos reflectir sobre alguns dos principais problemas da inquietante história das imagens, nomeadamente para tentarmos perceber como é que todas estas transformações técnicas (ligadas ao aparecimento da fotografia, do cinema, do vídeo, do computador e da internet) terão contribuído para o processo de instauração e respectivo alargamento daquilo que todos nós ficaríamos a conhecer como a nova «era da imagem», ou a imagem na «era da sua própria reprodutibilidade técnica» (Benjamin), pois, só assim é que conseguiremos interrogar este imparável processo de movimentação, fragmentação, disseminação, simulação e interacção das mais variadas «formas de vida» (Nietzsche, Agamben). Entretanto, chegados ao terceiro grande momento, interessa-nos percepcionar a arte contemporânea como uma espécie de plataforma interactiva que, por sua vez, nos levará a interpelar alguns dos principais dispositivos metafóricos e experimentais da viagem, neste caso, da viagem enquanto linha facilitadora de acesso à arte, à cultura e à vida contemporânea em geral, ou seja, todo um processo de reflexão que nos incitará a cartografar alguns dos mais atractivos sintomas provenientes da estética do flâneur (na perspectiva de Rimbaud, Baudelaire, Long e Benjamin) e, consequentemente, a convocar algumas das principais sensações decorrentes da experiência altamente sedutora daqueles que vivem mergulhados na órbita interactiva do ciberespaço (na condição de ciberflâneurs), quase como se o mundo inteiro, agora, fosse tão somente um espaço poético «inteiramente navegável» (Manovich). Por fim, no quarto e último momento, procuraremos fazer uma profunda reflexão sobre a inquietante história do corpo, principalmente com o objectivo de reforçar a ideia de que apesar das suas inúmeras fragilidades biológicas (um ser que adoece e morre), o corpo continua a ser uma das «categorias mais persistentes de toda a cultura ocidental» (Ieda Tucherman), não só porque ele resistiu a todas as transformações que lhe foram impostas historicamente, mas também porque ele se soube reinventar e readaptar pacientemente face a todas essas transformações históricas. Sinal evidente de que a sua plasticidade lhe iria conferir, principalmente a partir do século XX («o século do corpo») um estatuto teórico e performativo verdadeiramente especial. Tão especial, aliás, que basta termos uma noção, mesmo que breve, da sua inquietante história para percebermos imediatamente a extraordinária importância dalgumas das suas mais variadas transformações, atracções, ligações e exibições ao longo das últimas décadas, nomeadamente sob o efeito criativo das tecnologias digitais (no âmbito das quais se processam algumas das mais interessantes operações de dinamização cultural e artística do nosso tempo). Em suma, esperamos sinceramente que este trabalho de investigação possa vir a contribuir para o processo de alargamento das fronteiras cada vez mais incertas, dinâmicas e interactivas do conhecimento daquilo que parece constituir, hoje em dia, o jogo fundamental da nossa contemporaneidade.

Development of human central nervous system 3D in vitro models for preclinical research

Neurological disorders are a major concern in modern societies, with increasing prevalence mainly related with the higher life expectancy. Most of the current available therapeutic options can only control and ameliorate the patients’ symptoms, often be-coming refractory over time. Therapeutic breakthroughs and advances have been hampered by the lack of accurate central nervous system (CNS) models. The develop-ment of these models allows the study of the disease onset/progression mechanisms and the preclinical evaluation of novel therapeutics. This has traditionally relied on genetically engineered animal models that often diverge considerably from the human phenotype (developmentally, anatomically and physiologically) and 2D in vitro cell models, which fail to recapitulate the characteristics of the target tissue (cell-cell and cell-matrix interactions, cell polarity). The in vitro recapitulation of CNS phenotypic and functional features requires the implementation of advanced culture strategies that enable to mimic the in vivo struc-tural and molecular complexity. Models based on differentiation of human neural stem cells (hNSC) in 3D cultures have great potential as complementary tools in preclinical research, bridging the gap between human clinical studies and animal models. This thesis aimed at the development of novel human 3D in vitro CNS models by integrat-ing agitation-based culture systems and a wide array of characterization tools. Neural differentiation of hNSC as 3D neurospheres was explored in Chapter 2. Here, it was demonstrated that human midbrain-derived neural progenitor cells from fetal origin (hmNPC) can generate complex tissue-like structures containing functional dopaminergic neurons, as well as astrocytes and oligodendrocytes. Chapter 3 focused on the development of cellular characterization assays for cell aggregates based on light-sheet fluorescence imaging systems, which resulted in increased spatial resolu-tion both for fixed samples or live imaging. The applicability of the developed human 3D cell model for preclinical research was explored in Chapter 4, evaluating the poten-tial of a viral vector candidate for gene therapy. The efficacy and safety of helper-dependent CAV-2 (hd-CAV-2) for gene delivery in human neurons was evaluated, demonstrating increased neuronal tropism, efficient transgene expression and minimal toxicity. The potential of human 3D in vitro CNS models to mimic brain functions was further addressed in Chapter 5. Exploring the use of 13C-labeled substrates and Nucle-ar Magnetic Resonance (NMR) spectroscopy tools, neural metabolic signatures were evaluated showing lineage-specific metabolic specialization and establishment of neu-ron-astrocytic shuttles upon differentiation. Chapter 6 focused on transferring the knowledge and strategies described in the previous chapters for the implementation of a scalable and robust process for the 3D differentiation of hNSC derived from human induced pluripotent stem cells (hiPSC). Here, software-controlled perfusion stirred-tank bioreactors were used as technological system to sustain cell aggregation and dif-ferentiation. The work developed in this thesis provides practical and versatile new in vitro ap-proaches to model the human brain. Furthermore, the culture strategies described herein can be further extended to other sources of neural phenotypes, including pa-tient-derived hiPSC. The combination of this 3D culture strategy with the implemented characterization methods represents a powerful complementary tool applicable in the drug discovery, toxicology and disease modeling.