A toolbox for hyperspectral image analysis

This paper introduces a new toolbox for hyperspectral imagery, developed under the MATLAB environment. This toolbox provides easy access to different supervised and unsupervised classification methods. This new application is also versatile and fully dynamic since the user can embody their own methods, that can be reused and shared. This toolbox, while extends the potentiality of MATLAB environment, it also provides a user-friendly platform to assess the results of different methodologies. In this paper it is also presented, under the new application, a study of several different supervised and unsupervised classification methods on real hyperspectral data.

Transparent oxide thin-film transistors: production, characterization and integration

In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Nanotechnologies and Nanosciences by Universidade Nova de Lisboa Faculdade de Ciências e Tecnologia

Cinema e política na Primeira República

O arranque da produção cinematográfica em Portugal é contemporâneo da I República. Os filmes deste período sugerem uma representação pastoral do país, organizada em torno da adaptação de obras do cânone literário oitocentista português. A cidade e a contemporaneidade raramente são abordadas e a situação política do país jamais é referida. A única excepção foi Os Olhos da Alma (Roger Lion, 1923), produzido pela escritora Virgínia de Castro e Almeida. Esta comunicação começará por apresentar algumas hipóteses para perceber o divórcio entre o cinema e o regime. De seguida, as representações do povo, da política e dos políticos republicanos veiculadas por Os Olhos da Alma serão objecto de uma análise detalhada que revelará a manifestação precoce dos principais estereótipos negativos associados, até hoje, à I República.

The most Portuguese village in Portugal: tradition in the age of its technical reproducibility

Ethnographic film is often associated with many European countries’ past as colonial powers and the way these countries used film to depict African, American and Asian territories and populations they once ruled. However, ethnographic film also has a European tradition of its own, closely interlaced with the history of ethnography and anthropology as autonomous sciences and with the desire of scholars to represent local, regional and national cultural identities. This paper presents a Portuguese attempt of this sort dating from 1938, when the authoritarian regime organized a national contest to determine which would be Portugal’s most “authentic” village – something other European countries also did. As part of this metonymic contribution to the construction of Portugal’s national identity as an agrarian utopia, a short documentary was shot, sponsored by the same official propaganda office that had organized the contest. In this film, the viewer’s gaze is made to coincide with the one of the national jury visiting the final selection of 12 villages and to whose benefit local scholars had organized all sorts of colourful peasant traditions hoping to cause the strongest impression. The film makes a strong case for the importance of ethnographic film as a relevant instance not only of the iteration of existing European national cultures, but also of the construction of so many of Europe’s national identities and traditions. Suffice to say that even today the village of “Monsanto”, which won the 1938 contest, is still referred to as “Portugal’s most Portuguese village”.

A autópsia digital do cinema: Um mapa pessoal dos encontros do cinema com o computador

Trabalho de Projecto apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação, Comunicação e Artes

O cinema nativo americano contemporâneo : expressão da identidade postindian

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação