Novas terapêuticas não farmacológicas da perturbação do pós-stress traumático

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

Colonoscopia virtual e DNA fecal : estudo de viabilidade como testes de rastreio do cancro colorretal

Tese de doutoramento, Cirurgia Geral (Medicina), Universidade de Lisboa, Faculdade de Medicina, 2014

Arte e realidade : aproximação, diluição e simbiose no século XX

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Aprendizagem da usabilidade e prototipagem e a sua aplicação no desenho de um museu virtual

Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino de Informática, Universidade de Lisboa, 2014

Desenvolvimento de um ambiente virtual de aprendizagem em regime de b-learning num curso de educação e formação de operadores de informática

Trabalho de projeto de mestrado, Educação (Área de Especialização em Educação e Tecnologias Digitais), Universidade de Lisboa, Instituto de Educação, 2014

The transformation of landscape as as aesthetic idear

The present study seeks to thoroughly investigate and delineate the concept alongside the transformation of landscape as an aesthetic idea. On the one side it runs that nature perceived as landscape remains nothing else but granted, evident or 'natural'. On yet another side, and to some fairly significant extend, this thesis identifies landscape as a sheer idea and concept that is shaped and (re-)mediated in an ongoing process. The thesis examines the role of the observer and brings into agreement that every landscape is a produce of creative mental processes. In brief outline, this approach provides a framework for identifying landscape as being inextricably linked with media from the very beginning of their social and cultural inception. As glowing examples for the paradigmatic shift of the classical subjective vision model culminating in the emergence of a new prototype, the camera obscura, together with the panorama, fortify the prevailing argument that the mode of human sense perception is organised and determined by earlier acquainted recognitions. In this matter, as each and every medium strive after accomplishment, then this accomplishment is substantially determined by overwhelming historic, as well as thriving cultural circumstances. In conclusive terms, this study seeks to show how landscape counts as content of a representation, while simultaneously being a very own medium that specifically carries social, geological as well as historic knowledge. In fact, modern vision shall therefore never be bound to any single format or process, rather it will have to always undergo procedures aiming at reshaping the perceivable. Landscape is playing out its major characteristic, specifically that of being, in essence, a purely intellectual, virtual and synthetic product