Identification of aircraft gas-turbines dynamics: comparison of classical and neural techniques

A gas turbine is made up of three basic components: a compressor, a combustion chamber and a turbine. Air is drawn into the engine by the compressor, which compresses it and delivers it to the combustion chamber. There, the air is mixed with the fuel and the mixture ignited, producing a rise of temperature and therefore an expansion of the gases. These are expelled through the engine nozzle, but first pass through the turbine, designed to extract energy to keep the compressor rotating [1]. The work described here uses data recorded from a Rolls Royce Spey MK 202 turbine, whose simplified diagram can be seen in Fig. 1. Both the compressor and the turbine are split into low pressure (LP) and high pressure (HP) stages. The HP turbine drives the HP compressor and the LP turbine drives the LP compressor. They are connected by concentric shafts that rotate at different speeds, denoted as NH and NL.

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.

A coleção de escultura da Faculdade de Belas Artes : a formação do gosto e o ensino do desenho

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

A recepção de escultura clássica na Academia de Belas-Artes de Lisboa

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

The Art of Nursing in a Postmodern Context

Notions of the "postmodern" pervade various fields of study, but have rarely been applied to the practice and theory of nursing. This paper uses some conceptions of the "postmodern" to remedy this. Though there are many contested usages of the term, here "postmodern" will be used broadly in a periodical sense to trace changes in society and culture from the "modernism" of the 18th and 19th centuries to current concerns about "postmodernism". How these changes have been reflected in nursing practice and nursing theory will be explored. The changing use of the term "modern" to describe up-to-date practice will be addressed in the course of this. It is suggested that contextualizing nursing as a social/cultural activity in this way offers perspectives which will help us untangle the conflicting agendas and issues which form the fabric of the social world in which current nursing takes place, enabling us to act more effectively in promoting our own professional agendas.

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."