Joaquim Rodrigo:a contínua reinvenção da pintura

Tese de doutoramento, História (História da Arte), Universidade de Lisboa, Faculdade de Letras, 2014

Essa terra que tomo de conta : parentesco e territorialidade na Zona da Mata de Pernambuco

Tese de doutoramento, Antropologia (Antropologia do Parentesco e do Género), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

Griots cosmopolitas : mobilidade e performance de artistas mandingas entre Lisboa e Guiné-Bissau

Tese de doutoramento, Antropologia (Antropologia da Etnicidade e do Político), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

O desenvolvimento do pensamento algébrico de alunos do 4º ano de escolaridade : uma experiência de ensino

Tese de doutoramento, Educação (Didática da Matemática), Universidade de Lisboa, Instituto de Educação, 2014

A Academia Real das Ciências de Lisboa (1779-1834) : ciências e hibridismo numa periferia europeia

Tese de doutoramento, História e Filosofia das Ciências, Universidade de Lisboa, Faculdade de Ciências, 2015

"O cruzamento de metodologias no ensino e aprendizagem do Desenho"

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

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).

Blended learning na formação contínua em educação sexual : um estudo com educadores de infância e professores do 1º CEB

Tese de doutoramento, Educação (Tecnologias de Informação e Comunicação na Educação), Universidade de Lisboa, Instituto de Educação, 2015

Pope as media star: a long career full of reinvention

On the whole, a man who is elected as Pope is well on in years. Some, despite this, have managed to reign for a long time, Leo XIII for instance who came to the throne when he was already seventy in 1878, reigned for twenty five years. Wojtyla was elected when he was only fifty eight, in 1978. In the last century or so, the papacy has become visible worldwide through the mass media. On his accession, Wojtyla was presented as a man's man, a sportsman - according to Professor Eamon Duffy of Cambridge University - as a Bishop with balls. Like other media stars who have stayed the test of time, e.g. Madonna, David Bowie, it seems that he has been able to reinvent his media image to some extent; from the active sportsman to the benevolent grandfather to the ailing figure we see today. He has taken on the aspect of a media star, a world traveller, a spiritual leader, a politician, a mediator and a peace leader. He has been described as the most-photographed person on the planet. This paper will attempt to trace these changes and to ascertain, using Vatican and media sources to discover how much of this continual change is driven by the personality of John Paul himself and how much is a deliberate policy on the part of the Vatican.

e-poltergeist

E-poltergeist takes over the user’s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ‘de-personalisation’ of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

Sentimento e reflexão : crítica da identidade nos «Fichte-studien» de Novalis

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos de Literatura e de Cultura de Expressão Alemão), Universidade de Lisboa, Faculdade de Letras, 2016

Cuidados paliativos ao doente em fim de vida num serviço de urgência básico

Tese de mestrado, Cuidados Paliativos, Faculdade de Medicina, Universidade de Lisboa, 2015

Questões sociocientíficas e o pensamento complexo : tecituras para o ensino de ciências

Tese (doutorado)—Universidade de Brasília, Faculdade de Educação, Programa de Pós-Graduação em Educação, 2016.

Embodying Self-Determination: Re-placing Food Sovereignty through Everyday Geographies of Indigenous Resurgence

Thesis (Ph.D.)--University of Washington, 2015

Modular Form as a Curatorial Practice

This article discusses a curatorial approach to authorship as a model for thinking about what I describe as an iterative modular poem, a poetic text composed of appropriated segments. As a response to contemporary proliferation of literary and artistic works created by iterative means, i.e. through acts of appropriation, remixing and remediation, the article is an attempt at putting forward ‘the curatorial’ as an emerging paradigm of writing for the twenty-first century. The article approaches established paradigms of authorship, creativity and originality as inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for thinking about instances of iterative creative writing. The argument focuses on Robert Fitterman’s Holocaust Museum (2011) as an example of an iterative modular poem and a text emblematic of such curatorial approach to authorship.