RCAAP Repository

Neste artigo, trilhando um caminho preliminar sobre uma vasta bibliografia que têm se assomado na última década, pretendo explorar alguns aspectos referentes as pesquisas que abordam aspectos das transformações cotidianas na vida de homens e mulheres dos subúrbios de Maputo, a “música popular” urbana, o surgimento de uma classe de músicos moçambicanos, como Alexandre Langa e Fany Mpfumo, e de ritmos musicais, como o smanje-manje e a marrabenta. O recorte cronológico proposto é justificado no sentido de buscar abarcar uma visão a partir “de baixo”. Nesse sentido, a análise que proponho parte do pressuposto de abordar a bibliografia existente a partir de suas interpretações – ou não – de aspectos socioculturais das perspectivas dos próprios sujeitos sociais no passado. O objetivo é de apresentar um olhar para a vida daqueles que não necessariamente estiveram envolvidos diretamente com as transformações políticas e econômicas pelas quais passou Moçambique durante esse período e que não necessariamente estiveram em acordo com os esforços de rupturas promovidos pelas lideranças dos movimentos que estiveram na dianteira da alternação do poder colonial para o que foi desenvolvido no período pós-colonial. Nesta empreitada, tento seguir alguns dos traços que trilhei ao longo das minhas investigações recentes, que, resumidamente, se concentraram em analisar as maneiras pelas quais formas de dançar e cantar das populações africanas sul-moçambicanas interagiram com o colonialismo português ao longo da primeira metade do século XX (Pereira, 2019a, 2019b). Avançando cronologicamente para o período pós-1945, marcado por intensas transformações, busco analisar os subúrbios da capital moçambicana, os novos ritmos musicais que pululavam nas esquinas, bares, associações, quintais, e outros espaços de interação entre mundos distintos existentes na periferia da capital, as formas de lazer e as ideias sobre o lazer, suas relações com o mundo do trabalho, com o desenrolar das causas nacionalistas e com os projetos pós-coloniais. O texto é composto por três partes. Na primeira apresento algumas questões sobre os contextos históricos e problematizações historiográficas sobre o colonialismo e o póscolonialismo no sul de Moçambique. Em seguida, exploro questões sobre o debate bibliográfico existente ao redor da noção de “cultura popular” para os estudos do passado africano e das pesquisas existentes sobre aspectos artísticos da produção moçambicana, enfocando nos trabalhos existentes sobre o ritmo musical marrabenta. Por último, apresento algumas reflexões e questões que pretendo desenvolver nos próximos anos.

Esta Newsletter (NL) resulta de uma parceria entre o Instituto de Saúde Baseada na Evidência e a Cochrane Portugal, e tem como objectivo disponibilizar informação sobre áreas interessantes para a prática clínica, com base na melhor evidência científica. São incluídos estudos relevantes, criticamente avaliados pela sua validade, importância dos resultados e aplicabilidade prática, resumidos numa óptica de suporte à decisão. É dada prioridade a estudos de causalidade incluindo-se ainda, quando justificado, estudos qualitativos e metodológicos, assim como revisões científicas. O conteúdo da NL é da exclusiva responsabilidade do(s) seu(s) autor(es).

Esta Newsletter (NL) resulta de uma parceria entre o Instituto de Saúde Baseada na Evidência e a Cochrane Portugal, e tem como objectivo disponibilizar informação sobre áreas interessantes para a prática clínica, com base na melhor evidência científica. São incluídos estudos relevantes, criticamente avaliados pela sua validade, importância dos resultados e aplicabilidade prática, resumidos numa óptica de suporte à decisão. É dada prioridade a estudos de causalidade incluindo-se ainda, quando justificado, estudos qualitativos e metodológicos, assim como revisões científicas. O conteúdo da NL é da exclusiva responsabilidade do(s) seu(s) autor(es).

The impact of debris flow is not only limited to the source area but it is also significantly governed by the runout. It is evident in many parts of the world, and it is also a usual phenomenon in the Himalayan environment. Even though a significant body of scientific work was concentrated on landslide susceptibility in this region, studies focused on the debris flow runout assessment are still scarce. Therefore, this study aims to develop a debris flow susceptibility assessment in the Kalimpong region (Himalaya, India) by integrating the initiation and runout areas. Additionally, the changes in exposed elements for different susceptibility zones are analysed between 2006 and 2018. The methodological framework considers two different approaches: the modelling of debris flow initiation based on the logistic regression method and the assessment of the runout using the Flow-R model. Regarding the debris flow initiation, the logistic regression model comprises eleven conditioning factors and shows an area under the receiver operating characteristic curve of 0.88. For the runout assessment, 139 models are simulated for selecting Flow-R parameters. The best combination of the Holmgren exponent of 4, the travel angle of 5° and the velocity of 13 m s− 1 produced the model with a true positive rate of 86.6% for the whole area. The final debris flow susceptibility model is generated by integrating the initiation and the runout areas. Lastly, a substantial change of buildings (+18%), roads (+27%) and agricultural land (−12%) can be found within the debris flow susceptible areas between 2006 and 2018.

Em 1801, o matemático alemão Carl Friedrich Gauss publica Disquisitiones Arithmeticae, uma das primeiras obras da área da Teoria dos Números, com o objetivo de reunir os resultados desta disciplina e expandir o seu âmbito. Na secção entitulada Duae methodi, numeros compositos a primis dignoscendi, illorumque factores inuestigandi 1, artigos 329 – 334, Gauss concebeu um teste de primalidade baseado na teoria desenvolvida nos capítulos precedentes, nomeadamente os resíduos quadráticos e as formas quadráticas binárias. Na presente dissertação, apresentam-se estes métodos de Gauss acompanhados dos resultados necessários para os entender plenamente. Como nota final, mostram-se exemplos da sua aplicação e uma implementação física deste método sugerida por Gauss, usando um dispositivo baseado no que é comummente designado ‘pauzinhos de gelado’.

Por razões socioculturais, educativas, mas também de sobrevivência económico-financeira e de imposição da “marca”, a internacionalização é um dos desafios maiores para os museus do século XXI. Uma das vias preferenciais para a divulgação dos acervos além-fronteiras consiste na cedência temporária de bens museológicos para fins expositivos, que em Portugal só assume verdadeira expressão em contexto democrático.

Guia prático e manual de boas práticas para a realização de inventário em museus de Arte

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Em 7 de agosto de 1956, entrou em vigor a Convenção para a proteção dos bens culturais em caso de conflito armado (Convenção de Haia). Neste contexto, Portugal equacionou pela primeira vez a necessidade de assegurar a salvaguarda do património artístico da Nação. Cinquenta anos mais tarde, após o furto das joias da Coroa, em Haia, seriam decretados os “tesouros nacionais”, mas o Plano Nacional de Emergência continua a ser uma miragem.

Since a long time, hygiene has been part of everyday life of human beings. Although this concept only has consolidated in a recent period, humankind has been worried, more or less consciously, with the care of its body, during the development of civilization. The changes occurred in the area of personal hygiene suffered a long journey, regarding to the amendment of hygienic habits and the evolution of architectural spaces used for this purpose. Today, hygiene and body care are increasingly linked to an individual and technical space in our homes - the bathroom - as well as the equipments that fill in it. During a long period of time, rudimentary body care were linked to elementary spaces, even primitive, with no connection to equipment or any objects. Only later, with the changing times, the humankind felt the need to create and introduce new artifacts, with greater or lesser complexity, to suppress their basic needs in order to improve his lifestyle and well-being. With the privatization and progressive specification of the divisions of the house, a sense of intimacy, emerged increasingly, and a whole range of innovative materials has invaded our daily lives. Now, we have a technical space in our houses, as the objects and equipment that allow us to have rituals of personal hygiene. Thus, the main propose of this dissertation is to approach the evolution of the bathroom, while technical space of our homes, and portray the course of the existence of sanitary equipment in the world and especially in Portugal, as well as the characteristics that they have been to present throughout its existence to the present days

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Esta é uma memória gráfica baseada em memórias da minha avó Eileen Constance Booth (Neé Peet), e o seu lugar na minha vida durante toda a minha infância até à sua morte. A personagem de Eileen serve-me como um dispositivo para explorar a minha própria trajectória de vida e para olhar objectivamente para as importantes influências que me moldaram, incluindo família, religião, feminismo, sexualidade, criatividade e trauma. Paralelamente, escrevi uma tese que explora o trabalho em maior detalhe e analisa a história das memórias gráficas, e alguns artistas na forma como influenciaram o meu trabalho. Esta tese é escrita em apoio ao meu projecto “Eileen, que incluo em anexo. Este trabalho pretende dar mais contexto à forma como abordei a investigação e desenvolvimento do trabalho Eileen. O projecto, intitulado “Eileen” toma a forma de um livro a cores medindo cerca de 28 x 21cm, contendo 72 páginas. Contém uma narrativa original escrita e desenhada por mim e, traça aproximadamente a minha relação com a minha avó Eileen Constance Booth (Neé Peet), utilizando flashbacks tanto das minhas memórias como dos episódios da vida de Eileen, e flashbacks para os dias de hoje em que conduzo a minha pesquisa sobre a sua vida e a vida dos meus antepassados paternos através de conversas com o meu pai, Tim. Ao contar a história de Eileen, estou a contar uma história sobre as estreitas relações filiais na minha família, explorando e procurando razões para a existência de certos traços na minha família. Em última análise, estou a contar a minha própria história. Os livros de banda desenhada autobiográfica são uma forma dos autores darem sentido ao seu próprio passado. Eileen é para mim uma tentativa de examinar os meus interesses e crenças e compreender de onde elas vêm. Tal como detalhado na banda desenhada, passei uma grande parte do meu tempo como criança na companhia de Eileen, crescendo na sua proximidade. Muitos dos seus valores e interesses foram-me transmitidos, e a sua casa era para mim um “lugar seguro”. A principal razão pela qual passei tanto tempo com ela foi o facto de os meus pais se terem divorciado quando eu tinha cerca de sete anos de idade e nenhum deles se encontrava realmente disponível para cuidar de mim.

This artistic research project addresses some of the possibilities and ways of representing the animal figure in painting using aspects and mechanisms of fantasy – one of the recurrent human faculties of artistic creation - through the study of my artistic work and the works of artists who also reflect on the same. The investigation begins with the analysis of the mimetic representation of the animal figure, with an approach to the works of the painters Frans Snyders, Henri Rousseau and Franz Marc. Then, the presence of the animal figure in the elaboration of forms or in the fusion of the bodies of creatures (such as hybrids, monsters or fantastic creatures) is identified through the analysis of the first panel of the pictorial triptych The Garden of Earthly Delights, by Hieronymus Bosch, and the animated film Princess Mononoke by Hayao Miyazaki. Then, it is intended to define what fantasy is - with the help of the book Fantasia by Bruno Munari - and highlight its qualities as a human faculty of creation, using some of the works of the artists under study and, above all, my artistic work presented in this research project. This artistic work consists of a series of paintings with prominent volumes, composed with thick mass and enamel paint on canvas, in production since 2019. Finally, a counterpoint is established between the concept of fable and my artistic work, from the cinematographic screen to the pictorial screen, in which the similarities and dissimilarities are highlighted. Since the animal figure and fantasy are the basic themes of this research project, as well as of my practical work, a framework and reflection on themes such as anthropomorphism and animal ethics, and their pertinence in the current context, is presupposed.

Deixa-te ficar na minha casa, aims to transport the sounds of an intimate space to an immersive installation. The house, my house, is the object of study and which I worked on to develop this research and the collection of sound that defines the shape this space. This process results in an installation that proposes to describe a narrative (the memories of this place) and its architectural spatiality (characteristics of this place) through sound design. During the creation of this project, I developed a theoretical research that I present in Chapter 1. The authors and their artworks establish a line of reasoning and discovery of themes that underpin this project, that addressed the issues that arise as the project is designed and requiring more detail due to the plurality of themes it raises. The first part of this research starts from the sound in cinema and from the way sound defines spatiality, through the urban and spatial sound effects and how it influences our relationship with the surrounding environment (sound ambience), how does the reading of these stimuli have a sensory effect in us and in our perception of space. The second part gets closer to the context of this work project and relates the body's sensory perception in space with the consciousness and listening process through this experience of the body in space. Finally, I present a reflection on the relationship between spectator and the work of art where I present a perspective on the position of the viewer towards the artwork, and how people become an actor/actress and co-creator of the artwork itself. The installation Deixa-te ficar na minha casa is a sound experience, where the spectator, from the perspective of a blind eye, enters into a space whose architecture is modelled through sound vibration.

This master’s research aims to shed light on Third Culture Kids’ loss of identity phenomenon and all the implications that lead to the psychological angst of this new generation. This issue will manifest the study of the TCK3, a group of people who share a cultural mix experience and that evolve towards the disappearance of a rooted culture. They all share the idea that home is not a factual place and that we are all not bound to belong somewhere, therefore making them alienated from society, their birthplace, or a specific culture. For a deeper understanding, an analysis will be made of the most complete work on this particular theme, the book ‘Third Culture Kids: Growing Up Among Worlds’ by David C. Pollock and Ruth E. Van Reken. This work presents the vision of the TCK, global nomadic people who have lived and experienced different cultures and end up feeling like belonging partly to each culture. Relationships, belonging, self-esteem, acceptance, reunions, farewells, change, all these themes are part of the reality of the TCK. It portrays the beauty as well as the lifelong challenge of being able to embrace all these experiences that reflect who they are. We will also accompany the process of making the illustrated book, which is named ‘Pés Sem Terra’ (Feet Without Land) that integrates this investigation. Written and illustrated by this dissertation’s author, the graphical work depicts the reality of the children, youth, and adults who do not know their “home.” The process referring to all the phases of the realization of this project will be included in this research, from the initial idea, script and storyboard conception, and style definition. Moreover, some theoretical questions will be brought up, as we examine what questions and problems arose when setting the main idea and story for this book. We will then proceed to the final question of this illustrated work through a more philosophical reflection regarding the definition of a person’ identity and culture.

(Re)Construction of Memory: Reports of Resilience focuses on the importance of memory in preserving and building the identity of a society; the way it promotes reflective awareness of the past, of lived experience, of what we live and what makes us who we are. In this process, an image, as a record of an event, by itself, never completely corresponds to the past, either in documentary terms or by the subjectivity that we project on it. Likewise, remembering is not reliving experiences, since the memory that we construct is not an exact copy of what we lived, but rather the result of a selective process. Based on these assumptions, the project seeks to revive memory by gathering and contextualizing records of two major earthquakes in Mexico City, September 19, 1985, and 2017, respectively the same day, 32 years later. Taking this history, and temporal coincidence, as illustrative of the importance of memory, photographs of the Archives of the Nation were compiled, among other sources, which serve as a link between stories of those involved in both events, thus rescuing memories from their similarities. In this way (Re)Construction of Memory seeks to raise awareness of how material loss and death can be an agent for hope, for a new beginning, and thus a way of creating resilience for the future

Most described bacteriophages end their replication cycle by lysing their hosts. This characteristic has attracted researchers all over the world aiming to develop new alternatives to fight bacterial infectious diseases. All double stranded DNA phages achieve lysis by synthesizing two essential proteins: an endolysin, a protein with peptidoglycan hydrolase activity, and a holin, a small membrane protein that disrupts the cytoplasmic membrane and allows the access of the endolysin to its target or its activation. Holins have been described as essential to determine the optimum timing of lysis, so that the phage release is productive for phage survival. In addition to the endolysin and holin genes, new genes have been identified in the lysis cassette of bacteriophages that infect Gram-negative bacteria. These genes, exemplified by the λ Rz and Rz1 encoded proteins that compromise the stability of the outer membrane, eliminating the last barrier to the release of the progeny virions. No homologues of Rz/Rz1 genes have been identified in mycobacteriophage genomes. The lytic cassette of mycobacteriophage Ms6, a phage that infects Mycobacterium smegmatis cells, comprises, in addition to an endolysin and a holin, three accessory lysis proteins encoded by genes gp1, gp3 (lysB) and gp5. Despite being classified as Gram-positive bacteria, mycobacteria have a complex cell wall. This cell wall consists of peptidoglycan covalently linked to arabinogalactan, which is in turn esterified to a variety of long chain (C60–C90), α-branched, β-hydroxy fatty acids (mycolic acids). The present work describes the characterization of the protein encoded by the mycobacteriophage Ms6 gene lysB and its role in mycobacteria lysis. A BLAST search within the sequences of protein databases revealed similarities to other putative proteins encoded by mycobacteriophages. After His6-LysB protein production in E. coli, it was possible to test its activity in several lipolytic enzymes substrates. Bioinformatics analysis revealed the presence of a conserved motif (GYSQG), characteristic of enzymes with lipolytic activity. The results show that LysB is indeed a lipolytic enzyme showing higher affinity towards substrates of longer chain length (C16 and C18). It is demonstrated that the natural substrates of LysB are mycobacterial lipids containing mycolic acids and that that its main target is mycolyl-arabinogalactan peptidoglycan complex, as it was shown to release mycolic acids from mAGP. Additionally, LysB is also able to hydrolyze the trehalose 6,6’-dimycolate (TDM) from both fast and slow growing mycobacteria species. Construction of a mycobacteriophage Ms6 ΔlysB demonstrated that the gene product of lysB is nonessential for phage viability, but is involved in the lysis mechanism. Given the complexity of the mycobacterial cell envelope, it is easy to understand why mycobacteriophages have evolved new lysis strategies by acquiring them through their evolution.