"I was a maoist intelectual". Uma leitura crítica em torno dos conceitos "industria cultural" e "popular music" segundo adorno

Reflectir sobre noções como liberdade individual, democracia, o papel dos meios de comunicação e dos produtos culturais, é uma das principais tarefas das ciências sociais e humanas, reflexão particularmente pertinente nestes primeiros anos do séc. XXI marcados pela popularização de dispositivos tecnológicos destinados à circulação de informação em rede e pela virtualização de mecanismos de distribuição de bens de consumo cultural. Adomo constitui hoje uma das fontes mais importantes surgidas nos últimos 50 anos para esta reflexão. Marcado pelo advento do Nacional Socialismo e a perseguição de todos os "degenerados da condição ariana" (judeus, comunistas e homossexuais), Adomo produziu ao longo de quatro décadas, uma reflexão que marcou indelevelmente muitos autores que, escrevendo sobre a contemporaneidade, a adoptaram ou a ela se opuseram. A pergunta que coloco, e que serve de ponto de partida para este artigo, é proposta por Jameson: é hoje possível ler Adomo e Horkheimer junto à piscina? (1990: 248), ou posto de outra forma, que lugar ocupa a obra de Adomo como ferramenta para perspectivar o mundo actual.

Lime mortars with brick dust and grounded particles for ancient masonry: development and evaluation

HMC08 - 1st Historical Mortars Conference: Characterization, Diagnosis, Conservation, Repair and Compatibilit, LNEC, Lisbon, 24-26 September 2008

Lime mortars with rice husk ash for ancient masonry

HMC08 - 1st Historical Mortars Conference: Characterization, Diagnosis, Conservation, Repair and Compatibility, LNEC, Lisbon, 24-26 September 2008

Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture

Although Josquin is by far the best-represented foreign composer in Gonçalo de Baena's Arte novamente inventada pera aprender a tanger (Lisbon, 1540), his music is undeniably under-represented both in the extant sixteenth-century Portuguese manuscripts containing Franco-Flemish polyphony and in volumes imported from the Netherlands such as Coimbra MM 2 and VienNB 1783. Josquin’s reputation made him, along with Ockeghem, a symbol in Portuguese humanistic culture, but up to at least the late 1530s his name seems to have been much better known than his music. Nevertheless, possible allusions to specific works by Josquin can be found in early- and mid-sixteenth-century Portuguese polyphony. By the 1520s, the general technical and stylistic characteristics of his and the following generation of northerners had begun to permeate locally produced polyphony. This eventually replaced the late-fifteenth- and early-sixteenth-century pan-consonant and homorythmic style associated with the Aragonese and the so-called Spanish court repertory.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Res Antiquitatis. Journal of Ancient History

FCT

Res Antiquitatis. Journal of Ancient History 1

FCT

The effect of music marketing: A consumer perspective

The purpose of this thesis is to get a consumer perspective regarding event marketing in music festivals. Event marketing is a tool used by marketers that evolved out of philanthropy and commercial sponsorship. Brands are more and more using music or other entertainment moments to create a strong relationship with their clients, and the target group at these events, the millennial generation. Brands use sponsoring and therefore event marketing for several reasons as: increase brand awareness; create brand image; re-position the brand/product in the minds of consumers; increase profit over a short period; and, achieve larger market share. Nonetheless, we wonder how is this tool seen by consumers? To understand this, a preliminary research with nine interviews was conducted to obtain basic ideas about event marketing. Afterwards the main research was developed, also using interviews, to get deeper insights. With this thesis, it is possible to conclude that some brands are able to create brand awareness on attendees through brand sponsorship. Moreover, entertainment activities in festivals are well seen by consumers, they like it and are able to describe it well, even though it is more about the activity itself than the brand promoting it. Furthermore, it was possible to understand that experiential marketing in a festival might have a positive effect on consumers as it might create a link between the event and the brand. Finally, we recommend some actions, for brands to develop in future music festivals.

Ancient materials and techniques to improve the earthen building durability

A substantial part of the world building heritage has been performed by earthen building. The durability of this existing heritage and mainly of the new buildings built with earth is particularly conditioned by the erosion caused by water action, especially in countries with high levels of rainfall. This research aims to contribute to the increase of knowledge about the ancient building techniques that provide enhanced durability. It is possible to analyse the ancestral practices used to protect the earth material from the water action in order to understand how the old earthen buildings were preserved over the centuries, resisting to harsh weather conditions. Among these techniques are: the incorporation of biopolymers (such as oils or fats from animal or vegetable origin); the addition of some minerals; and the earth stabilization with lime. However, this knowledge seems to be forgotten, probably due to the prejudice related to earthen constructions, which several times are associated with a poor building. This research also focuses on the study of new methods of earth stabilization with lime and biopolymers, adapting the ancient knowledge to improve the durability related to the water action. Therefore, alternative solutions can be obtained to improve the performance of earthen buildings, mainly the resistance of the material in the presence of water, reducing its permeability to water. In addition, with the proposed solutions it is possible to obtain good levels of water vapour permeability, one of the major advantages of the construction with earth.

MixAR mobile prototype: visualizing virtually reconstructed ancient structures in situ

Archeology and related areas have a special interest on cultural heritage sites since they provide valuable information about past civilizations. However, the ancient buildings present in these sites are commonly found in an advanced state of degradation which difficult the professional/expert analysis. Virtual reconstructions of such buildings aim to provide a digital insight of how these historical places could have been in ancient times. Moreover, the visualization of such models has been explored by some Augmented Reality (AR) systems capable of providing support to experts. Their compelling and appealing environments have also been applied to promote the social and cultural participation of general public. The existing AR solutions regarding this thematic rarely explore the potential of realism, due to the following lacks: the exploration of mixed environments is usually only supported for indoors or outdoors, not both in the same system; the adaptation of the illumination conditions to the reconstructed structures is rarely addressed causing a decrease of credibility. MixAR [1] is a system concerned with those challenges, aiming to provide the visualization of virtual buildings augmented upon real ruins, allowing soft transitions among its interiors and exteriors and using relighting techniques for a faithful interior illumination, while the user freely moves in a given cultural heritage site, carrying a mobile unit. Regarding the focus of this paper, we intend to report the current state of MixAR mobile unit prototype, which allows visualizing virtual buildings – properly aligned with real-world structures – based on user's location, during outdoor navigation. In order to evaluate the prototype performance, a set of tests were made using virtual models with different complexities.