A visibilidade das universidades portuguesas na web : estudo webométrico

Esta dissertação resulta de uma investigação que levou a cabo um estudo webométrico sobre a presença das universidades portuguesas na Web, avaliando a visibilidade das instituições através do cálculo de um indicador webométrico, o Web Impact Factor. A World Wide Web é, na atualidade, um dos principais meios de difusão de Informação. Os Estudos Métricos da Informação visam quantificar e avaliar a produção de Informação, objeto de estudo de disciplinas como a Infometria, a Cienciometria e a Bibliometria. Recentemente, surgiram a Cibermetria e a Webometria como novas disciplinas que estudam a produção e difusão da Informação no contexto do Ciberespaço e da World Wide Web, respetivamente. As universidades, enquanto polos privilegiados de produção e difusão de conhecimento, são o objeto de estudo natural da Webometria e a avaliação da sua presença na World Wide Web contribui para a análise do desempenho destas instituições. Para a realização deste trabalho foi adotada a metodologia proposta por Noruzi, que calcula três categorias de Web Impact Factor: o WIF Total, o WIF Revisto e o Selflink WIF. De modo a calcular estas categorias, foram recolhidos dados quantitativos de inlinks, selflinks, número total de páginas e número de páginas indexadas pelo motor de pesquisa. O motor de pesquisa utilizado foi o Altavista, tendo sido realizadas pesquisas de expressões booleanas durante o primeiro semestre de 2009. Após a recolha, os dados foram tratados estatisticamente e procedeu-se ao cálculo das categorias do WIF. Conclui-se que existe uma maior visibilidade das universidades públicas portuguesas porque obtêm melhores resultados ao nível de duas categorias do Web Impact Factor: o WIF Revisto e o Selflink WIF.

A construção teórica da Diplomática: em busca de uma sistematização de seus marcos teóricos como subsídio aos estudos arquivísticos

Pós-graduação em Ciência da Informação - FFC

Circulation dynamics and its influence on European and Mediterranean January-April climate over the past half millennium: results and insights from instrumental data, documentary evidence and coupled climate models

We use long instrumental temperature series together with available field reconstructions of sea-level pressure (SLP) and three-dimensional climate model simulations to analyze relations between temperature anomalies and atmospheric circulation patterns over much of Europe and the Mediterranean for the late winter/early spring (January–April, JFMA) season. A Canonical Correlation Analysis (CCA) investigates interannual to interdecadal covariability between a new gridded SLP field reconstruction and seven long instrumental temperature series covering the past 250 years. We then present and discuss prominent atmospheric circulation patterns related to anomalous warm and cold JFMA conditions within different European areas spanning the period 1760–2007. Next, using a data assimilation technique, we link gridded SLP data with a climate model (EC-Bilt-Clio) for a better dynamical understanding of the relationship between large scale circulation and European climate. We thus present an alternative approach to reconstruct climate for the pre-instrumental period based on the assimilated model simulations. Furthermore, we present an independent method to extend the dynamic circulation analysis for anomalously cold European JFMA conditions back to the sixteenth century. To this end, we use documentary records that are spatially representative for the long instrumental records and derive, through modern analogs, large-scale SLP, surface temperature and precipitation fields. The skill of the analog method is tested in the virtual world of two three-dimensional climate simulations (ECHO-G and HadCM3). This endeavor offers new possibilities to both constrain climate model into a reconstruction mode (through the assimilation approach) and to better asses documentary data in a quantitative way.

The largest floods in the High Rhine basin since 1268 assessed from documentary and instrumental evidence

The magnitudes of the largest known floods of the River Rhine in Basel since 1268 were assessed using a hydraulic model drawing on a set of pre-instrumental evidence and daily hydrological measurements from 1808. The pre-instrumental evidence, consisting of flood marks and documentary data describing extreme events with the customary reference to specific landmarks, was “calibrated” by comparing it with the instrumental series for the overlapping period between the two categories of evidence (1808–1900). Summer (JJA) floods were particularly frequent in the century between 1651–1750, when precipitation was also high. Severe winter (DJF) floods have not occurred since the late 19th century despite a significant increase in winter precipitation. Six catastrophic events involving a runoff greater than 6000 m 3 s-1 are documented prior to 1700. They were initiated by spells of torrential rainfall of up to 72 h (1480 event) and preceded by long periods of substantial precipitation that saturated the soils, and/or by abundant snowmelt. All except two (1999 and 2007) of the 43 identified severe events (SEs: defined as having runoff > 5000 and < 6000 m 3 s -1) occurred prior to 1877. Not a single SE is documented from 1877 to 1998. The intermediate 121-year-long “flood disaster gap” is unique over the period since 1268. The effect of river regulations (1714 for the River Kander; 1877 for the River Aare) and the building of reservoirs in the 20th century upon peak runoff were investigated using a one-dimensional hydraulic flood-routing model. Results show that anthropogenic effects only partially account for the “flood disaster gap” suggesting that variations in climate should also be taken into account in explaining these features.

Au service du marechal?:French documentary under German occupation

Following the fall of France in June 1940 and the installation of the Vichy Regime, government set about establishing its own New Order. A reprogramming of national consciousness was attempted through an emphasis on a return to traditional values which was disseminated in various fora. Despite publications on divers aspects of Vichy's propaganda machine, work on film production of the period has merely touched on mainstream documentary without further analysis. Such a lacuna appears inexplicable in light of the production of 550 or so documentaries between 1940 and 1944, especially in view of a 1948 comment by the film writer Roger Régent that documentary in many ways provided a focal point for the regime's wishes for "moralisation collective". This thesis sets out the first steps of a new evaluation of the role of documentary during the Occupation. After an overview of the changes to the industry and the ideological framework of the Révolution nationale, the thesis discusses theories of propaganda together with direct examples of Vichy propaganda documentary. The 'control' thus established is then applied to an examination of the 'Arts, Sciences, Voyages' series of documentary screenings (1941-43) and the Premier congrès du film documentaire (1943), tracing thematic and ideological consonances and evaluating the use of documentary film of the Occupation in the Service of the Marshal.

MAKING THE GROUP CATALOGUE OF PERIODICALS UNIT INFORMATION DOCUMENT OF THE FACULTY OF SOCIAL SCIENCES NATIONAL UNIVERSITY

We present the results of the final graduation practice called "Creating the Serials Union Catalogue of Documentary Information Units of the Faculty of Social Sciences at the National University" which consisted of creating a computerized catalog for periodicals by GENISIS program. Unit of documentary information: Faculty of Social Sciences National University: CIDCSO (Documentary Information Centre of Social Sciences), FBEH (Bibliographical School of History), MA (International Relations Specialist Library "Luis and Felipe Molina ") and CINPE (Library of the National Centre for Economic Policy on Sustainable Development).

Construction of the Cognitive Dimension of the Scientific Literacy in the Students through the Costa Rican Biological Sciences Olympics

This research recognizes the cognitive contributions to the students participating in the Third Costa Rican Biological Sciences Olympics that will define the advancement and strengthening in the construction of its conceptual dimension in the scientific literacy.  This paper is based, mainly, on qualitative approach techniques (ethnographic design:  case study); however, some data are interpreted through quantitative methodologies (descriptive design with an explanatory and exploratory touch) for the analysis of a sample of 54 high school students, finalists in the category A of the Olympics, through the use of tools such as a documentary study and a survey, in July 2009.  The information generated was analyzed using elements of inferential and descriptive statistics, figures and histograms.  It was proved that there is a better cognitive management in the topics assessed, an increase in the students’ academic performance as the tests are applied, a commitment for the academic update supported by the development of several tasks for previous preparation, curriculum contributions unprecedented based on our sample, a consent to optimize student’s knowledge about Biology, which will allow the application of scientific notions to diversify and renew the knowledge, according to what is established in the principles of scientific literacy.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

BioPatML : pattern sharing for the genomic sciences

Computational biology increasingly demands the sharing of sophisticated data and annotations between research groups. Web 2.0 style sharing and publication requires that biological systems be described in well-defined, yet flexible and extensible formats which enhance exchange and re-use. In contrast to many of the standards for exchange in the genomic sciences, descriptions of biological sequences show a great diversity in format and function, impeding the definition and exchange of sequence patterns. In this presentation, we introduce BioPatML, an XML-based pattern description language that supports a wide range of patterns and allows the construction of complex, hierarchically structured patterns and pattern libraries. BioPatML unifies the diversity of current pattern description languages and fills a gap in the set of XML-based description languages for biological systems. We discuss the structure and elements of the language, and demonstrate its advantages on a series of applications, showing lightweight integration between the BioPatML parser and search engine, and the SilverGene genome browser. We conclude by describing our site to enable large scale pattern sharing, and our efforts to seed this repository.

A learning community approach to doctoral education in the social sciences

The paper reports on the findings of a community learning approach to doctoral education involving scholarly writing groups (SWGs) which was developed and implemented in the context of a higher degree research programme within the social sciences in an Australian university. The research evaluated the impact of the teaching intervention on students' perceptions of the community learning experience, their knowledge of scholarly writing and their attitudes towards writing. The findings are suggestive of the advantages of community approaches to learning in higher degree research education as a supplement to independent supervision. The SWGs were associated with improvements in both participants' knowledge of scholarly writing and their attitudes towards writing. However, a variety of characteristics of doctoral education are potential impediments to the creation of ongoing and regular interactions in learning communities such as SWGs. The paper concludes that a flexible approach to the recognition and enhancement of community approaches to learning is required to acknowledge the complex and diverse context of contemporary doctoral education.

Crossing boundaries: Implications of advances in basic sciences for the management of addiction.

This set of papers in this issue of "Addictive Behaviors" was presented at the 2004 'Addictions' conference, which, for the first time, was held in the Southern Hemisphere, on the Sunshine Coast of Queensland, Australia. The theme of the conference, Crossing Boundaries: Implications of Advances in Basic Sciences for the Management of Addiction, speaks for itself. The papers derive from a wide range of empirical paradigms and cover issues with relevance to the development of addiction, to the maintenance of problematic use, and to assessment, treatment, and relapse. Research from Europe and the United States is represented, as well as work from Australia. An international perspective is strongly emphasized from the initial paper by Obot, Poznyak, and Moneiro, (see record 2004-19599-015) which describes the WHO Report on the Neuroscience of Psychoactive Substance Use and Dependence, and summarises some of the report's implications for policy and practice. Hall, Carter, and Morley (see record 2004-19599-014) close the issue with a paper on the wide-ranging ethical implications of advances in neuroscience research, including issues arising from the identification of high risk for addiction, the potential for coercive pharmacotherapy, use of medications to enhance function, and risks to privacy.

Orchids : intersex and identity in documentary

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.