Relatório de atividade profissional

Dissertação de mestrado em Ciências – Formação Contínua de Professores (área de especialização em Biologia e Geologia)

An epidemiological study determining blood pressure in a Portuguese cohort: the Guimaraes/Vizela study

Surveying the evolution of blood pressure (BP) levels and hypertension (HTN) prevalence is important. A stringent strategy was utilized in a population cohort study. The BP was measured at two visits at least 3 months apart, and the results were analyzed using the following two methods: the Surveillance method (three BP measurements were performed in one visit, and the results were compared with those published previously for the identical method) and the Clinical method (three measurements per visit for two visits, and the concordant results in both visits were used to determine the BP classification). A total of 2542 subjects completed the evaluation. Using the Clinical method, an average systolic/diastolic BP value of 129.8/76.8?mm?Hg was obtained, and the prevalence of HTN was 31.6%. Of the hypertensive patients, 74.3% were aware of his/her condition; 69.1% were treated and 40.8% of those treated had adequate BP control. A total of 24.7% of subjects changed his/her BP classification between visits, and 13.7% misreported HTN. Using the Surveillance method, we determined that the average global SBP has been maintained, with HTN prevalence increasing in this region, drifting from reported trends nationally and worldwide. There has been improvement in the proportion of treated and controlled subjects; however, the Surveillance method overestimated the HTN prevalence and underestimated the proportion of treated and controlled subjects. The BP levels were higher than observed worldwide in high-cardiovascular (CV) risk countries as well as higher than the minimum risk exposure level for developing CV disease.

A integração do Building Information Modeling (BIM) num projeto de reabilitação

Dissertação de mestrado integrado em Engenharia Civil

O Espelho do Índio: A estética da afetividade no autorretrato da criança indígena na Fotopintura

Tese de Doutoramento em Estudos da Criança - Especialidade Comunicação Visual e Expressão Plástica

Arquivo Histórico de Chaves

Relatório de estágio de mestrado em História

La carte postale et la représentation des espaces public et intime

La carte postale est un kaléidoscope de vues, d’ornements et de couleurs, qui consacre un tout petit espace au message. C’est à la photographie et aux procédés de reproduction photomécaniques que revient le mérite d’avoir industrialisé la production de la carte postale. Et ce sont les clichés de villes, avec leurs monuments et leurs paysages, qui confèrent à la carte postale son statut de moyen de communication de masse et qui lui concèdent une affinité avec l’industrie du tourisme. La carte postale s’est ainsi emparée de l’ambition photographique de reproduire le monde, s’alliant aux « besoins de l’exploration, des expéditions et des relevés topographiques » du médium photographique à ses débuts. Ayant comme point de départ la carte postale, notre objectif est de montrer les conséquences culturelles de la révolution optique, commencée au milieu du XIXe siècle, avec l’invention de l’appareil photo, et consumée dans la seconde moitié du XXe siècle, avec l’apparition de l’ordinateur. En effet, depuis l’apparition de l’appareil photographique et des cartes postales jusqu’au flux de pixels de Google Images et aux images satellite de Google Earth, un entrelacement de territoire, puissance et technique a été mis en oeuvre, la terre devenant, en conséquence, de plus en plus auscultée par les appareils de vision, ce qui impacte sur la perception de l’espace. Nous espérons pouvoir montrer avec cette étude que la lettre traditionnelle est à l’email ce que la carte postale est au post que l’on publie dans un blog ou dans des réseaux comme Facebook et Twitter. À notre sens, les cartes postales correspondent à l’ouverture maximale du système postal moderne, qui d’universel devient dépendant et partie intégrante des réseaux télématiques d’envoi. Par elles sont annoncés, en effet, la vitesse de transmission de l’information, la brièveté de la parole et l’hégémonie de la dimension imagétique du message, et pour finir, l’embarras provoqué par la fusion de l’espace public avec l’espace privé.

As Leprolinas "Souza-Araujo" e a sua rápida acção terapêutica nos males perfurantes plantares lepróticos

The A. remembers the history of his lepra-culture and the method he uses to prepare with it the antigen called Leprolin Souza-Araujo, giving photographic illustrations upon the subject. The A. says that the results published about the general action of his Leprolin in leprosy must be revised or rectificated. But he says that the rapid action of his antigen upon perforant ulcers in lepers is consecrated by a large experience. He cured, in relatively short time, perforant ulcers in five lepers. Dr. CASSIANO, from Baurú leper Colony (S. Paulo) treated 21 such cases. The median time of treatment was 23 days and the median dosage of Leprolin injected in each patient was 7.7 cm3. All lesions were cured. After 18 months observation three cases relapsed and 18 (or 85.7%) remained cured. Dr. CALDEIRA, Director of padre DAMIEN Leper Colony (Ubá, Minas Gerais) treated regularly with Leprolin 50 cases of severe perforant ulcers and obtained cure in 46 (or 92%). ina special meeting held in Minas Gerais nineteen leprologists examined the cases of Dr. CALDEIRA and considered the results he have obtained as "magnifico", in the sense as "unic". This experiment is being continued in various brazilian leper colonies and the Author offers, graciously, his antigen to be tried also in foreing countries.

Blade

Combined media on photographic paper. 56" x 76¼" Private Collection

4 Studies, Night Light (Part 2)

Combined media on photographic paper. 80" x 55"

4 Studies, Night Light (Part 1)

Combined media on photographic paper. 80" x 55"

4 Studies, Night Light (Part 3)

Combined media on photographic paper. 80" x 55"

4 Studies, Night Light (Part 4)

Combined media on photographic paper. 80" x 55"

Grey Ghost II

Combined media on photographic paper. 81½” x 54"

Mythological Information

Combined media on photographic paper. 65" x 56" Private Collection

Recluse

Combined media on photographic paper. 54⅜” x 71⅜” Center for Creative Photography, Tuscan