Biodiversity open map (BiodOM) - SIGWeb colaborativos e Software Geoespacial Livre e Aberto numa abordagem da neogeografia aplicada ao conhecimento da biodiversidade

Trabalho de Projeto apresentado como requisito parcial para obtenção do grau de Mestre em Ciência e Sistemas de Informação Geográfica

Calibration, selection and mosaicing of SMART-1 AMIE images

Dissertação para obtenção do Grau de Mestre em Engenharia Electrotécnica e de Computadores

Digestão anaeróbia de resíduos agroalimentares: reutilização das frações líquidas e sólidas (state-of-art)

Dissertação para obtenção do Grau de Mestre em Energia e Bioenergia

Using GIS to map the spatial and temporal occurrence of cholera epidemic in Camaroon

Dissertation submitted in partial fulfillment of the requirements for the Degree of Master of Science in Geospatial Technologies

Arte em Construção: Análise Documental Sobre o Projecto “DNA – District of New Art”, Lisboa

Trabalho de Projecto realizado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação – Cinema e Televisão

Map-it – Mapeamento tridimensional de interiores

A perceção tridimensional é uma área em crescente desenvolvimento. Não existindo uma tecnologia ideal capaz de percecionar todo o tipo de cenários, têm surgido estudos sobre a aplicabilidade de diferentes tecnologias de forma a obter modelos que melhor se aproximem da realidade. Propõe-se nesta dissertação o desenvolvimento de um sistema de baixo-custo de percepção tridimensional que seja portátil e acessível na sua aplicabilidade, de forma a ter a capacidade de percecionar tridimensionalmente espaços interiores com pouca iluminação, tais como as divisões de um edifício ou os canais de uma mina subterrânea. Utilizou-se a triangulação entre uma câmara digital, os pontos de uma linha laser e um emissor laser para a obtenção dos dados tridimensionais do cenário. Para isso, recorreu-se a metodologias de processamento digital de imagens para a construção dos modelos dos cenários. Para se obter a validação desta dissertação, realizaram-se testes do protótipo de forma a determinar as suas capacidades percecionais. Em primeiro lugar realizou-se uma bateria de testes de calibração onde, repetidamente, se estudaram isoladamente pontos do cenário para verificar a precisão do sensor. Após esta calibração, estudou-se a capacidade de transformação de uma linha laser projetada num conjunto de coordenadas. Finalmente testou-se a capacidade de perceção tridimensional por rotação do sensor, de forma a realizar a transformação de múltiplas projeções de linhas laser num conjunto de coordenadas em torno do sensor. Verificou-se: no teste de calibração, a obtenção de distâncias com erro médio relativo inferior a 1%; no teste da linha laser, a capacidade de perceção de profundidade de múltiplos pontos ao longo da mesma; no teste de rotação, a aquisição de múltiplos conjuntos de linhas de profundidade no cenário, por rotação do sensor. Os resultados dos testes de validação permitiram concluir a viabilidade de utilizar a triangulação na aquisição de conjuntos de coordenadas de espaços interiores.

Untitled: Figurations of memory

The next pages will describe my experience and results of making connections between cognitive sciences and art; the transformations of my memories being the object of study and motivation for this process of self-discovery. The human body reacts according to innumerable neural functions and external stimuli. Neurons respond to the evocation of experienced events, building virtual images, map-like constellations sometimes fulfilled by imagination, desires or knowledge promoting in this way their constant reshaping. This document offers an insight into my recollections as matter. As matter these recollections take on different states and I hope to give you a better sense of my personal voice using my experience with glass to explore this transformation and accompanying my journey with lectures and scientific readings about the mind functions.

The Portuguese contemporary art as an investment

In this paper we investigate what drives the prices of Portuguese contemporary art at auction and explore the potential of art as an asset. Based on a hedonic prices model we construct an Art Price Index as a proxy for the Portuguese contemporary art market over the period of 1994 to 2014. A performance analysis suggests that art underperforms the S&P500 but overperforms the Portuguese stock market and American Government bonds. However, It does it at the cost of higher risk. Results also show that art as low correlation with financial markets, evidencing some potential in risk mitigation when added to traditional equity portfolios.

Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).

Fate map of zebrafish left-right organizer

The organizer is a ciliated signalling transient organ, responsible for the patterning of embryo tissues during embryonic development. In higher vertebrates, such as mouse and chick, this organizer (the node and the Hensen’s node, respectively) performs dorsalventral and anteriorposterior axis definition, as well as left-right patterning of the internal organs. In lower vertebrates, such as frog and zebrafish, there is a separate specialized organ for left-right purposes called the Gastrocoel Roof Plate (GRP) and Kupffer’s Vesicle (KV), respectively. It is known that mouse and chick organizer cells give rise to structures like floor plate, notochord, hypochord and somites. Frog GRP originates all these but floor plate. In zebrafish, at 13-14 somite stage (ss) the KV finished its left-right patterning but what happens to this organizer’ cells is still poorly studied. This research attempts to understand the fate and behaviour of the KV cells. We followed the fate of KV cells by live imaging and by tight time-courses with fixed larvae. We assessed in detail their proliferative and death profile, as well as cilia length progression from 9-10 ss until 29-30 ss. We conclude that the KV cells mostly follow the evolutionarily conserved fates described for other organizers. These cells mainly incorporate the notochord and hypochord; few cells incorporate the floor plate and the somites. As a novelty, it is also hypothesized that the hypural cell fate may be among the KV cell fates.

Global trends in modern and contemporary islamic art

Disponível para consulta índice e introdução.

Lisbon Street Art & Urban Creativity. 2014 International Conference

Disponível para consulta - índice e introdução.

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions are sometimes – if at all – explicitly communicated to a larger public. Studies into the practices of contemporary art conservation however show that practices behind the scenes play an important role in the perpetuation of these artworks. What happens behind the scenes in terms of conservation has, in several ways, important effects on the ongoing life of these artworks in a museum context. Conservation practices, I argue, should therefore become a necessary part of museum studies and history of art. How can the working practices of conservators become more visible and transparent to a diversity of audiences, including researchers? And what does this mean in terms of research methodology?

Recensão: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?

Recensão de: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?, Londres e Nova Iorque: Routledge, 2010

Design and implementation of an assurance map at Sonae retail business

The present Working Project aims at studying the topic of assurance mapping in a specific organizational context of a Portuguese retail company. For this purpose, an assurance map framework was designed to support the decision making process of stakeholders, through the delivery of comfort concerning risks, operations and control. In the end, the framework was successfully implemented for the process sourcing of goods in two business units of the company. Although, further implementation of the framework proved not to be feasible during the project’s timespan, it is expected to occur in the near future.