Chromatic Aberration

Chromatic Aberration is a film installation which explores the early technologies of colour filmmaking drawn from the archives of George Eastman House, Rochester, New York. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Chromatic Aberration turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one's eyelids. Early 1920s colour film footage - mainly tests shots featuring members of George Eastman's family as well as Hollywood stars of the time - is shot in such a way so as to reveal the inherent chromatic fringing, distortion and misalignment. Using specialist equipment at the BFI National Archive, London, the footage is reworked through the use of extreme close-up and magnification, honing in on the eyes. The installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. Exhibitions: Solo exhibition as film installation at Tyneside Cinema (Newcastle, Oct-Nov 2014); Solo exhibition at George Eastman Museum (Rochester, New York, Jan-April 2015), including a second work on display. Film festivals nominations for competitions: Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival (Peru). Nominations: Filmadrid festival (Spain); Curtas Vila do Conde film festival (Portugal); Festival du Nouveau Cinema (Canada); Jihlava International Documentary Film Festival (Czech Republic ); International Film Festival Bratislava (Slovenia). Additional screenings at International Rotterdam Film Festival (Netherlands); European Media Art Festival (Germany); BFI London Film Festival (UK); Mini-retrospective screening at DIM CINEMA, The Cinematheque (Vancouver May 2015). Reviews and interviews in Artforum, The Wire Magazine, After Image, Studio International. Public lectures: with Prof. Sarah Street at Tyneside Cinema (Nov 2014); Royal Academy visiting public lecture (Nov 2014); ‘The Laughter of Things’ symposium, International Film Festival Rotterdam and Piet Zwart Institute (Jan 2015); George Eastman Museum and Rochester University (April 2015). Acquired by the George Eastman Museum for their collection.

The Trembling Line

The Trembling Line is a film and multi-channel sound installation exploring the visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme high-speed slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a newly devised multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton. The multi-channel speaker array is devised as an intimate sound spatialisation system in which each element of sound can be pried apart and reconfigured, to create a dynamically disorienting sonic experience. It becomes the inside of a musical instrument, an acoustic envelope or cage of sorts, through which viewers are invited to experience the film and generate cross-sensory connections and counterpoints between the sound and the visuals. Funded by a Leverhulme Artist-in-Residence Award and John Hansard Gallery, with support from ISVR and the Music Department, University of Southampton. The project provided a rare opportunity to work creatively with new cutting edge developments in sound distribution devised by ISVR, devising a new speaker array, a multi- channel surround listening sphere which spatialises the auditory experience. The sphere is currently used by ISVR for outreach and teaching purposes, and has enables future collaborations between music staff and students at Southampton University and staff and ISVR. Exhibitions: Solo exhibition at John Hansard Gallery, Southampton (Dec 2015-Jan 2016), across 5 rooms, including a retrospective of five previous film-works and a new series of photographic stills. Public lectures: two within the gallery. Reviews and interviews: Art Monthly, Studio International, The Quietus, The Wire Magazine.

Between the Bullet and the Hole

Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.

Formação contínua de professores: integração das TIC no ensino da matemática

A utilização das Tecnologias no ensino/aprendizagem da Matemática é amplamente recomendada, em Portugal (ME, 2007), tal como em inúmeros países. No entanto, a sua utilização requer, por parte do professor, conhecimento adequado. A maioria dos professores que atualmente lecionam Matemática não tiveram formação inicial adequada a esta utilização. Desta forma, recai sobre a formação contínua de professores a responsabilidade e o desafio de criar as condições para que esta utilização se torne uma realidade. No presente estudo, procuro conhecer e identificar as ações de formação frequentadas por professores do 1.º, 2.º e 3.º ciclos do ensino básico que lecionam a disciplina de Matemática. Procuro ainda conhecer a forma como estas ações contribuem para a utilização das tecnologias no ensino/aprendizagem da Matemática. O estudo seguiu uma metodologia mista que combinou a aplicação de um questionário a 43 professores de cinco agrupamentos e a realização de entrevistas a quatro professores. Para a análise dos questionários recorri ao SPSS e para as entrevistas à análise de conteúdo. Os professores afirmaram que a razão principal para a frequência das ações foi a vontade de adquirir conhecimentos no sentido de promoverem a utilização das tecnologias na aula de Matemática e reconhecem ter melhorado as suas competências nesse domínio. O Word, o Excel, o Geogebra e o Quadro Interativo surgiram como os principais focos de interesse para a frequência de ações de formação, seguindo-se outras aprendizagens com vista à elaboração de materiais pedagógicos, por exemplo: slides, ficheiros, entre outros. A existência de recursos tecnológicos nas Escolas parece ser um fator importante para a procura de ações de formação ou sessões de esclarecimento neste âmbito. Por fim, os professores mostram o desejo de continuar a frequentar formação nesta área, defendem também a atribuição de horas aos Coordenadores TIC nas Escolas para a manutenção do material tecnológico. Os professores envolvidos neste estudo mostraram uma atitude muito positiva face às potencialidades das novas tecnologias e à sua utilização nas aulas de Matemática.

A influência das Luzes na sociedade portuguesa : problemas de motivação e avaliação da aprendizagem

Relatório da Prática de Ensino Supervisionada, Ensino de História e Geografia no 3.º Ciclo do Ensino Básico e Ensino Secundário, Universidade de Lisboa, 2013

Os jovens e a escola : percursos e significados

Trabalho de projeto de mestrado, Ciências da Educação (Formação de Adultos), Universidade de Lisboa, Instituto de Educação, 2013

Landslide susceptibility evaluation and validation at a regional scale

Tese de doutoramento, Geografia (Geografia Física), Universidade de Lisboa, Instituto de Geografia e Ordenamento do Território, 2014

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN’s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ‘CNN Interactive just got more interactive’ aimed to investigate the balance between information and ‘info-tainment’ on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ‘CNN interactive’ contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive’ continues Craighead and Thomson’s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ‘CNN Interactive’ was commissioned by Tate Britain for the exhibition ‘Art and Money Online’. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ‘Digital Art’ by Christiane Paul, 2003; ‘Internet Art: The Online Clash of Culture and Commerce’ by Julian Stallabrass. (2002); ‘Thomson & Craighead’ by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Tourist photographers and the promotion of travel: the Polytechnic Touring Association, 1888–1939

The Polytechnic Touring Association (PTA) was a London-based, originally philanthropic turned commercial travel firm whose historical origins coincided with the arrival of the Kodak camera in 1888 – thus, of popular (tourist) photography. This article examines the PTA’s changing relationship with tourist photographers, and how this influenced the company’s understanding of what role photography could play in promoting the tours, in the late nineteenth and early twenty century. This inquiry is advanced on the basis of the observation that, during this time, the PTA’s passage from viewing tourists as citizens to educate, to customers to please, paralleled the move from using photography-based images to mixed media. Such a development was certainly a response to unprecedented market demands; this article argues that it should also be considered in relation to the widening of photographic perceptions engendered by the democratization of the medium, to which the PTA responded, first as educator, then as service provider. In doing so, the article raises several questions about the shifting relationship between “high”, or established, and “low”, or emerging, forms of culture, as mass photography and the mass marketing of tourism developed.

Detailed phenotypic and genotypic characterization of bietti crystalline dystrophy

OBJECTIVE: To provide a detailed phenotype/genotype characterization of Bietti crystalline dystrophy (BCD). DESIGN: Observational case series. PARTICIPANTS: Twenty patients from 17 families recruited from a multiethnic British population. METHODS: Patients underwent color fundus photography, near-infrared (NIR) imaging, fundus autofluorescence (FAF) imaging, spectral domain optical coherence tomography (SD-OCT), and electroretinogram (ERG) assessment. The gene CYP4V2 was sequenced. MAIN OUTCOME MEASURES: Clinical, imaging, electrophysiologic, and molecular genetics findings. RESULTS: Patients ranged in age from 19 to 72 years (median, 40 years), with a visual acuity of 6/5 to perception of light (median, 6/12). There was wide intrafamilial and interfamilial variability in clinical severity. The FAF imaging showed well-defined areas of retinal pigment epithelium (RPE) loss that corresponded on SD-OCT to well-demarcated areas of outer retinal atrophy. Retinal crystals were not evident on FAF imaging and were best visualized with NIR imaging. Spectral domain OCT showed them to be principally located on or in the RPE/Bruch's membrane complex. Disappearance of the crystals, revealed by serial recording, was associated with severe disruption and thinning of the RPE/Bruch's membrane complex. Cases with extensive RPE degeneration (N = 5) had ERGs consistent with generalized rod and cone dysfunction, but those with more focal RPE atrophy showed amplitude reduction without delay (N = 3), consistent with restricted loss of function, or that was normal (N = 2). Likely disease-causing variants were identified in 34 chromosomes from 17 families. Seven were novel, including p.Met66Arg, found in all 11 patients from 8 families of South Asian descent. This mutation appears to be associated with earlier onset (median age, 30 years) compared with other substitutions (median age, 41 years). Deletions of exon 7 were associated with more severe disease. CONCLUSIONS: The phenotype is highly variable. Several novel variants are reported, including a highly prevalent substitution in patients of South Asian descent that is associated with earlier-onset disease. Autofluorescence showed sharply demarcated areas of RPE loss that coincided with abrupt edges of outer retinal atrophy on SD-OCT; crystals were generally situated on or in the RPE/Bruch's complex but could disappear over time with associated RPE disruption. These results support a role for the RPE in disease pathogenesis.

I0010 - Fita Betacam

Dimensão: 9,5x15,5 cm (fita) / 11x17 cm (caixa)

Re-evaluation of a reported increased micronucleus frequency in lymphocytes of workers occupationally exposed to formaldehyde

A replicate evaluation of increased micronucleus (MN) frequencies in peripheral lymphocytes of workers occupationally exposed to formaldehyde (FA) was undertaken to verify the observed effect and to determine scoring variability. May–Grünwald–Giemsa-stained slides were obtained from a previously performed cytokinesis-block micronucleus test (CBMNT) with 56 workers in anatomy and pathology laboratories and 85 controls. The first evaluation by one scorer (scorer 1) had led to a highly significant difference between workers and controls (3.96 vs 0.81 MN per 1000 cells). The slides were coded before re-evaluation and the code was broken after the complete re-evaluation of the study. A total of 1000 binucleated cells (BNC) were analysed per subject and the frequency of MN (in ‰) was determined. Slides were distributed equally and randomly between two scorers, so that the scorers had no knowledge of the exposure status. Scorer 2 (32 exposed, 36 controls) measured increased MN frequencies in exposed workers (9.88 vs 6.81). Statistical analysis with the two-sample Wilcoxon test indicated that this difference was not significant (p = 0.17). Scorer 3 (20 exposed, 46 controls) obtained a similar result, but slightly higher values for the comparison of exposed and controls (19.0 vs 12.89; p = 0.089). Combining the results of the two scorers (13.38 vs 10.22), a significant difference between exposed and controls (p = 0.028) was obtained when the stratified Wilcoxon test with the scorers as strata was applied. Interestingly, the re-evaluation of the slides led to clearly higher MN frequencies for exposed and controls compared with the first evaluation. Bland–Altman plots indicated that the agreement between the measurements of the different scorers was very poor, as shown by mean differences of 5.9 between scorer 1 and scorer 2 and 13.0 between scorer 1 and scorer 3. Calculation of the intra-class correlation coefficient (ICC) revealed that all scorer comparisons in this study were far from acceptable for the reliability of this assay. Possible implications for the use of the CBMNT in human biomonitoring studies are discussed.

World press photo 2012: a construção discursiva da Primavera Árabe

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Jornalismo.