Evaluation of different postharvest conditions to preserve the amount of bioactive compounds, physicochemical quality parameters and sensory attributes of ‘Sweetheart’ cherries.

Sweet cherries (Prunus avium L.) ‘Sweetheart’ were harvested at different production regions from Portugal (Cova da Beira and Portalegre) and Spain (Valle de Jerte). Cherries were harvested at their commercial maturation according to the empirical knowledge of external color corresponding to good quality. Fruits were stored and evaluated in order to study their quality on the harvest day and during a period of 21 days, at cold storage (1 ºC, 95% RH). The sweet cherry ‘Sweetheart’ is a well-known variety and a highly appreciated one but fruits present a short shelf life. On the other hand the effect of different “terroir” on cherry characteristics should be known and clarified. Fruits from day 0, considered without storage, were kept at 20ºC and analyzed. Every weak, 3 replicas were randomly picked up and 10 fruits from each one were submitted to several analyses after fruit temperature stabilized at 20ºC. Several quality parameters were evaluated: external colour (L*, a*, b*), texture, soluble solids content (SSC), titratable acidity (TA) and the ratio between soluble solid contents (SSC) and tritratable acidity (TA). Fruits from different orchards and locations were significantly different according to these parameters. Fruits from Cova da Beira were less firm comparing with other two regions, Valle de Jerte and Portalegre, which may indicate a higher maturation rate at harvest in those fruits. This is in accordance with SSC/titratable acidity rate suggesting a late harvest in Cova da Beira comparing with other two orchards, however fruits from Cova da Beira exhibit a poor color at harvest. These results clearly showed a lower correlation between SSC and firmness considering fruits origin.

Consumers sensory evaluation of melon sweetness and quality

CONSUMERS SENSORY EVALUATION OF MELON SWEETNESS AND QUALITY Agulheiro Santos, A.C, Rato, A.E., Laranjo, M. and Gonçalves, C. Departamento de Fitotecnia, Escola de Ciências e Tecnologia, Instituto de Ciências Agrárias e Ambientais Mediterrânicas (ICAAM), Instituto de Investigação e Formação Avançada (IIFA), Universidade de Évora, Polo da Mitra, Ap.94, 7002-554 Évora, Portugal. ABSTRACT The sensory quality of fruits is made of a range of attributes like sweetness, acidity, aroma, firmness, color. Taste perception and perception threshold of these attributes are variable according to the psychological and cultural development of individuals. To better understand the quality evaluation of melon by consumers, consumers were invited to taste melon samples, in supermarkets in Évora (South region), Lisbon (Central region) and Vila Nova de Gaia (North region). The present work explored the importance given by consumers to sweetness in order to classify the overall quality of melon. Furthermore, the relationship of the chemical evaluation of Total Soluble Solids (TSS) with sweetness of melon was studied. Fruits from the variety Melão branco picked randomly from those that were exposed for sale in supermarkets were used for analysis. Fruits were chinned along the equatorial zone and only the central part of the fruit, opposite to the part that leaned on the soil, was used to obtain homogeneous samples. Consumers were invited to taste four small pieces of each fruit, previously referenced with a code number, and answer a questionnaire with two questions related to sweetness and overall quality. Each question had five possible levels, identified from “Nothing sweet”, to “Extremely sweet”, in one case, and from “Poor” to “Excellent” in the other. Simultaneously, the values of TSS (measured in ºBrix) for each melon used in the study were evaluated by refractometry. This sensory analysis allowed us to point out the following findings: first of all, there is good agreement between the results obtained to classify “Sweetness” and “Overall Quality” (Cohen’s Kappa=53.1%, p<0.001), which means, for example, that fruits with excellent quality are in general extremely sweet. Moreover, fruits with less than 9.6 °Brix are considered of poor quality and nothing sweet, whereas fruits with values between 10 °Brix and 12 °Brix are considered good in terms of overall quality. It seems that the thresholds for the stimulus/intensity of sweetness lied between 10 °Brix to 14 °Brix for this melon variety. Acknowledgments This work was support by national funds through Fundação para a Ciência e a Tecnologia (FCT) under the Strategic Project Pest-OE/AGR/UI0115/2014 and co-funded by FEDER funds through the COMPETE Program.

Narrative change in psychotherapy

This thesis focuses on the processes of narrative change in psychotherapy. Previous reviews of the processes of narrative change in psychotherapy concluded that a general theory that details narrative concepts appropriate to understand psychotherapy processes, explains the dynamic processes between narratives, and how they relate to positive outcomes is needed. This thesis addresses this issue by suggesting a multi-layered model that accounts for transformations in different layers of narrative organization. Accordingly, a model was specified that considers three layers of narrative organization: a micro-layer of narrative innovations that disrupt the clients’ usual way of construct meaning from life situations (innovative moments), a meso-layer of narrative scripts that integrate these narrative innovations in narrative scripts that consolidate its transformative potential (protonarratives), and, finally, a macro-layer of clients’ life story (self-narrative). Globally, the empirical studies provided support for the conceptual plausibility of this model and to the specific hypothesis that were formulated on its basis. Our observations complement previous research that had underlined the integrative processes either by emphasizing thematic coherence or integration, by emphasizing the role of dynamicity and differentiation of narrative contents and processes. Additionally, they also contribute to expand previous accounts of narrative innovation through insights on the processes that characterize narrative innovation development across psychotherapy. These studies also emphasize the role of quantitative procedures in the study of narrative processes of change as they allow us to accommodate the complexity and dynamic properties of narrative processes.

Narrative Personae and Visual Signs: Reading Leonard’s intimate photo-memoir. a/b: Auto/Biography Studies.

: In this paper, I look at Joanne Leonard’s Being in Pictures and engage in a critical dialogue with an assemblage of visual and textual narratives that comprise her intimate photo memoir. In doing this I draw on Hannah Arendt’s take on narratives as tangible traces of uniqueness and plurality, political traits par excellence in the cultural histories of the human condition. Being aware of my role as a reader/viewer/interpreter of a woman artist’s auto/biographical narratives, I move beyond dilemmas of representation or questions of unveiling “the real Leonard”. The artist is instead configured as a narrative persona, whose narratives respond to three interrelated themes of inquiry, namely the visualization of spatial technologies, vulnerability and the gendering of memory. Key words: gendered memories, narrative persona, spatial technologies, photo memoir, vulnerability

Spiking neural network connectivity and its potential for temporal sensory processing and variable binding

The most biologically-inspired artificial neurons are those of the third generation, and are termed spiking neurons, as individual pulses or spikes are the means by which stimuli are communicated. In essence, a spike is a short-term change in electrical potential and is the basis of communication between biological neurons. Unlike previous generations of artificial neurons, spiking neurons operate in the temporal domain, and exploit time as a resource in their computation. In 1952, Alan Lloyd Hodgkin and Andrew Huxley produced the first model of a spiking neuron; their model describes the complex electro-chemical process that enables spikes to propagate through, and hence be communicated by, spiking neurons. Since this time, improvements in experimental procedures in neurobiology, particularly with in vivo experiments, have provided an increasingly more complex understanding of biological neurons. For example, it is now well-understood that the propagation of spikes between neurons requires neurotransmitter, which is typically of limited supply. When the supply is exhausted neurons become unresponsive. The morphology of neurons, number of receptor sites, amongst many other factors, means that neurons consume the supply of neurotransmitter at different rates. This in turn produces variations over time in the responsiveness of neurons, yielding various computational capabilities. Such improvements in the understanding of the biological neuron have culminated in a wide range of different neuron models, ranging from the computationally efficient to the biologically realistic. These models enable the modeling of neural circuits found in the brain.

Spiking Neural Network Connectivity and its Potential for Temporal Sensory Processing and Variable Binding

The most biologically-inspired artificial neurons are those of the third generation, and are termed spiking neurons, as individual pulses or spikes are the means by which stimuli are communicated. In essence, a spike is a short-term change in electrical potential and is the basis of communication between biological neurons. Unlike previous generations of artificial neurons, spiking neurons operate in the temporal domain, and exploit time as a resource in their computation. In 1952, Alan Lloyd Hodgkin and Andrew Huxley produced the first model of a spiking neuron; their model describes the complex electro-chemical process that enables spikes to propagate through, and hence be communicated by, spiking neurons. Since this time, improvements in experimental procedures in neurobiology, particularly with in vivo experiments, have provided an increasingly more complex understanding of biological neurons. For example, it is now well understood that the propagation of spikes between neurons requires neurotransmitter, which is typically of limited supply. When the supply is exhausted neurons become unresponsive. The morphology of neurons, number of receptor sites, amongst many other factors, means that neurons consume the supply of neurotransmitter at different rates. This in turn produces variations over time in the responsiveness of neurons, yielding various computational capabilities. Such improvements in the understanding of the biological neuron have culminated in a wide range of different neuron models, ranging from the computationally efficient to the biologically realistic. These models enable the modelling of neural circuits found in the brain. In recent years, much of the focus in neuron modelling has moved to the study of the connectivity of spiking neural networks. Spiking neural networks provide a vehicle to understand from a computational perspective, aspects of the brain’s neural circuitry. This understanding can then be used to tackle some of the historically intractable issues with artificial neurons, such as scalability and lack of variable binding. Current knowledge of feed-forward, lateral, and recurrent connectivity of spiking neurons, and the interplay between excitatory and inhibitory neurons is beginning to shed light on these issues, by improved understanding of the temporal processing capabilities and synchronous behaviour of biological neurons. This research topic aims to amalgamate current research aimed at tackling these phenomena.

A critical narrative analysis of shared decision-making in acute, inpatient mental health care

Shared decision-making (SDM) is a high priority in healthcare policy and is complementary to the recovery philosophy in mental health care. This agenda has been operationalised within the Values-Based Practice (VBP) framework, which offers a theoretical and practical model to promote democratic interprofessional approaches to decision-making. However, these are limited by a lack of recognition of the implications of power implicit within the mental health system. This study considers issues of power within the context of decision-making and examines to what extent decisions about patients? care on acute in-patient wards are perceived to be shared. Focus groups were conducted with 46 mental health professionals, service users, and carers. The data were analysed using the framework of critical narrative analysis (CNA). The findings of the study suggested each group constructed different identity positions, which placed them as inside or outside of the decision-making process. This reflected their view of themselves as best placed to influence a decision on behalf of the service user. In conclusion, the discourse of VBP and SDM needs to take account of how differentials of power and the positioning of speakers affect the context in which decisions take place.

From embryonic stem cells to sensory hair cells : a programming approach

Tese de doutoramento, Ciências Biomédicas (Biologia do Desenvolvimento), Universidade de Lisboa, Faculdade de Medicina, 2014

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

Sensory imagery in individuals who are blind and sighted: examining unimodal and multimodal forms

Introduction: Previous research has suggested that visual images are more easily generated, more vivid and more memorable than other sensory modalities. This research examined whether or not imagery is experienced in similar ways by people with and without sight. Specifically, the imabeability of visual, auditory and tactile cue words was compared. The degree to which images were multimodal or unimodal was also examined. Method: Twelve participants totally blind from early infancy and 12 sighted participants generated images in response to 53 sensory and non sensory words, rating imageability and the sensory modality, and describing images. From these 53 items, 4 subgroups of words, which stimulated images that were predominantly visual, tactile, auditory and low-imagery, respectively, were created. Results: T-tests comparing imageability ratings from blind and sighted participants found no differences for auditory and tactile words (both p>.1). Nevertheless, whilst participants without sight found auditory and tactile images equally imageable, sighted participants found images in response to tactile cue words harder to generate than visual cue words (mean difference: -0.51, p=.025). Participants with sight were also more likely to develop multisensory images than were participants without sight (both U≥15.0, N1=12, N2=12, p≤.008). Discussion: For both the blind and sighted, auditory and tactile images were rich and varied and similar language was used. Sighted participants were more likely to generate multimodal images. This was particularly the case for tactile words. Nevertheless, cue words that resulted in multisensory images were not necessarily rated as more imageable. The discussion considers whether or not multimodal imagery represent a method of compensating for impoverished unimodal imagery. Implications for Practitioners: Imagery is important not only as a mnemonic in memory rehabilitation, but also everyday uses for things such as autobiographical memory. This research emphasises both the importance of not only auditory and tactile sensory imagery, but also spatial imagery for people without sight.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.