Colaboração na formação inicial e abordagem didática da ortografia

Considerando que, na sociedade atual, o conhecimento flui incessantemente, renovando-se a cada momento, o cidadão do séc. XXI confronta-se com novos desafios que exigem o desenvolvimento de novas competências. Os recursos da web social – como os fóruns de discussão online –, gratuitos e fáceis de utilizar, permitem que os indivíduos acedam à informação, construam conhecimento, partilhem interesses e desenvolvam múltiplas competências em colaboração. Face a esta realidade, as instituições de Ensino Superior têm vindo a reconhecer que os estudantes já não se sentem confortáveis com abordagens de ensino tradicionais, em que impera a transmissão de informação, preferindo envolver-se em experiências de aprendizagem em que possam interagir com a tecnologia, pelas potencialidades que já lhe reconhecem. Procurando ir ao encontro das exigências da sociedade e do mundo do trabalho atuais, o Processo de Bolonha veio renovar os cursos de Ensino Superior, centrando-os no estudante e no desenvolvimento da autonomia e da colaboração, entre outras competências. Esta tendência vai ao encontro da reconhecida valorização da colaboração com vista à melhoria do desempenho de um grupo profissional. Também no contexto educacional se reconhece o seu contributo para o desenvolvimento profissional do professor e a operacionalização de um ensino por competências. Compete à formação de professores lançar as bases deste movimento.A formação inicial de professores do 1º Ciclo do Ensino Básico tem, entre outras preocupações, a de levar o futuro professor a refletir sobre princípios didáticos que informem a conceção, implementação e avaliação de estratégias e atividades que contribuam para o desenvolvimento de competências nos alunos. Entre as competências a desenvolver nas crianças a frequentar este nível de escolaridade, no que concerne à aprendizagem da língua materna, figura a competência ortográfica, indispensável a uma boa comunicação escrita. Quanto mais cedo for automatizada, mais possibilidades o aluno terá de se ocupar prioritariamente de outros aspetos mais complexos e exigentes do processo de escrita. Tendo em vista estas preocupações, desenvolvemos um estudo, com futuros professores do 1º Ciclo do Ensino Básico a frequentar um mestrado profissionalizante da Universidade de Aveiro, cujos objetivos de investigação eram os seguintes: i) descrever as suas representações sobre colaboração; ii) compreender a influência dessas representações na adoção de práticas colaborativas num fórum de discussão online; iii) compreender o contributo da colaboração adotada num fórum de discussão online para a construção de conhecimento didático sobre a abordagem da ortografia; iv) compreender o contributo desse conhecimento para a conceção de instrumentos didáticos sobre a abordagem da ortografia. Numa primeira fase, o estudo desenvolveu-se com dois grupos de alunos, que nele participaram em dois anos letivos distintos (2009/2010 e 2010/2011), no contexto da unidade curricular de Didática da Língua Portuguesa (inserida no plano de estudos do 1º semestre do 1º ano do Mestrado em Educação Pré- Escolar e Ensino no 1º Ciclo do Ensino Básico da Universidade de Aveiro). Numa segunda fase (entre o 2º semestre do ano letivo de 2011/2012 e 1º semestre do ano letivo de 2012/2013), recolheu-se o resultado de uma intervenção didática desenvolvida por uma professora estagiária (participante na primeira fase do estudo), no âmbito da Prática Pedagógica Supervisionada, apoiada pelo Seminário de Investigação Educacional. Tratando-se de um estudo de caso, a investigação envolveu a recolha de dados através de inquérito por questionário disponibilizado online, uma reflexão individual apresentada por escrito, posts e documentos publicados num fórum de discussão online e instrumentos didáticos (planificação de aulas e relatório de estágio) elaborados pelos estudantes. Procedeu-se a uma análise de conteúdo fundamentada nos quadros teóricos e no estudo empírico.Os resultados vêm aprofundar a discussão em torno da utilização de ferramentas da web social no Ensino Superior, nomeadamente na formação inicial de professores, para desenvolver a colaboração, visando a construção de conhecimento didático, particularmente sobre a abordagem da ortografia. Por um lado, apontam para a influência de representações sobre colaboração na adoção dessa modalidade de trabalho num fórum de discussão online. Por outro, revelam a influência dessa modalidade no conhecimento didático coconstruído e apontam para uma valorização do mesmo por parte dos participantes no estudo, no momento de conceber, implementar e avaliar instrumentos didáticos. Daqui emergiram algumas sugestões pedagógico-didáticas com vista à promoção de práticas inovadoras no Ensino Superior, com recurso a ferramentas da web social, centradas na aprendizagem dos estudantes e no desenvolvimento da colaboração, particularmente na formação inicial de professores.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Communicating culture: strategic communication management of the contemporary art museums in the XXIth century, in Portugal: case studies: Museu Nacional de Arte Contemporânea: Lisboa; Museu de Arte Contemporânea de Serralves, no Porto; Museu de Arte Contemporânea de Elvas

Throughout the year and half of research developed during the times of crisis or economic crisis in Portugal due to the austerity measures, this thesis focuses on the cultural communication and museology in the area of cultural management in Portugal. With an ever growing number of research being developed over the world, this study is unique as it studies managerial diversity and organisational structures of Contemporary Art Museums that exist in Portugal but more importantly how they communicate their organizations within and beyond the Museum walls such as online or other technological media. As the communication management of the museums is one of aspects of culture in which cultural management intends to intervene. The research study that I proposed to analyse has at the forefront the intention to understand how the Contemporary Art Museums in Portugal manage their communication and respective organizations, whether they be a Public-Private/Foundation, State or Council run organizations but also understand if a strategic plan is designed and implemented in times of crisis, to withstand disruptive economic scenarios projected on a daily basis. The following Museums were selected due to the fact of being Contemporary Art Museums but also their respective diverse territorial distribution, one in the city capital of Portugal, Lisbon: MNAC – Museu Nacional de Arte Contemporânea, a stately run organisation; the second, in the north of Portugal: MACS – Museu de Arte Contemporânea de Serralves, a public/private organisation under the Foundation organics and the third Museum in interior central region of Portugal, Alentejo: MACE – Museu de Arte Contemporânea de Elvas, managed by the Elvas City Council.

Escultura, arqueologia e museus transfigurações e mediações contemporâneas

Tese de doutoramento, Belas-Artes (Escultura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Libraries and Canon-Formation: the Case of English in the Collections of the Library of the Faculty of Humanities, Lisbon University

Abstract: The project for researching the role played by libraries in canon-formation (namely through their policies regarding the creation, organization, preservation, and utilization of the collections) will be presented and discussed. We selected the Library of the Faculty of Humanities, Lisbon University, a modern academic library, created in 1859, by royal decree of D. Pedro V, following his canonical choice. Actually, the two contemporary rulers of new Britannia— Prince Albert, his cousin, and Queen Victoria—held this king in high consideration for his outstanding contribution to Portuguese modernisation. Representing various fields of study, the collections were decisive to canon-formation in the Faculty of Humanities. Thus, we have been trying to answer the following questions: who has been creating, organizing, preserving, and utilizing the collections, from the mid-nineteenth century onwards? When, where and how? Presently, we are studying the collections in English, namely the works belonging or referring to the long nineteenth century. Richard Garnett’s “The International Library of Famous Literature” (London, 1899) is our first case-study. The anthology determined the Western literary, cultural and visual canon at the turning of the century, as evidenced by comparing it to the Portuguese and Spanish editions, published at the beginning of the twentieth century.

Animism in Rainforest and Tundra: Personhood, Animals, Plants and Things in Contemporary Amazonia and Siberia (Book Review)

Animism is a form of traditional spiritual belief that receives welcome treatment here. The observations of Victorian ethnologist travellers on the local peoples they regarded as primitive was analysed by Sir Edward (E. B.) Tylor, in Primitive Culture (1871) which established the working definition of animism followed by later generations of scholars. This came from the observation that non-scientific people did not always draw sharp distinctions between human persons and other entities such as animals, trees and even rocks but imbued these with soul. The latin anima, ‘soul, spirit’ provided the title of what was assumed to be a primitive religion, animism. The study being reviewed recognizes apparent connections within deep history between Siberia and the Amazon, and uses contemporary social anthropology to clarify assumptions about animism. This book on animism in two shamanic cultures explores personhood and the relations in pre-scientific human thought between humans and non-humans, in contexts where non-humans can be regarded as social persons (p.2).

The Development of Environmental Assessment Tools to Support the Creation of Dementia Friendly Care Environments: Innovative Practice

The need for more dementia friendly design in hospitals and other care settings is now widely acknowledged. Working with 26 NHS Trusts in England as part of a Department of Health commissioned programme, The King’s Fund developed a set of overarching design principles and an environmental assessment tool for hospital wards in 2012. Following requests from other sectors, additional tools were developed for hospitals, care homes, health centres and housing with care. The tools have proven to be effective in both disseminating the principles of dementia friendly design and in enabling the case to be made for improvements that have a positive effect on patient outcomes and staff morale. This paper reports on the development,use and review of the environmental assessment tools, including further work that is now being taken forward by The Association for Dementia Studies, University of Worcester.

Replicating the Networking, Mentoring and Venture Creation Benefits of Entrepreneurship Centres on a Shoestring: A Student-centred Approach to Entrepreneurship Education and Venture Creation

As support for both university-level entrepreneurial education and the use of experiential learning methods to foster student entrepreneurs increases, so too have the number of university-established or affiliated entrepreneurship centers. The activity at the center of this study aimed to combine experiential learning methods with assets associated with entrepreneurship centers, including venture creation, networking, and mentoring. Students were invited to participate in a competition wherein they were guided through the business creation process and pitched their ideas to investor judges who chose the winner and provided capital start-up funding and consulting. This research puts forth that university faculty at institutions without entrepreneurship centers can organize experiences to provide the benefits of entrepreneurship centers. The study used interviews to find that many of the benefits of entrepreneurship centers were able to be replicated using this method. The project is outlined, outcomes are analyzed, and the results and lessons learned are discussed.

The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951

Concert program for The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951