Exploração do contexto de implantação da escola como matéria-prima projetual : Desenho A, 12º ano

Relatório da Prática de Ensino Supervisionada, Ensino de Artes Visuais no 3º Ciclo do Ensino Básico e no Ensino Secundário, Universidade de Lisboa, 2013

A política pública de reordenamento da rede escolar : perspetivas de atores em relação à intervenção autárquica em matéria relativa a agrupamentos de escolas

Dissertação de mestrado, Ciências da Educação (Administração Educacional), Universidade de Lisboa, Instituto de Educação, 2014

Interacção mente-matéria com intenção terapêutica : breve revisão sobre imunologia, oncologia e dor moduladas pela hipnose

Trabalho Final do Curso de Mestrado Integrado em Medicina, Faculdade de Medicina, Universidade de Lisboa, 2014

Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element

A proposta (i)modesta de Berkeley. Um mundo sem matéria

Berkeley’s general tenet about immaterialism is presented and discussed. I examined apart the several theses that concur to the immaterialist theory. After that, the general argument is presented and discussed. In particular, I stress Berkeley’s assumption that a world without matter and a world with matter would be indistinguishable from the point of view of (i) the content of perceptions, (ii) natural science (viz. Newtonian mechanics). I stress that this assumption depends on a relative account of circular motion, generating the centrifugal forces, as Newton shows in his bucket experiment. In spite of the efforts by Leibniz and Huygens, such a relative account of rotational motion was never presented. So the thesis about the scientific and perceptual identity between worlds with and without matter remains a simple case of wishful thinking in need for a justification.