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د. سماح سعيد باحويرث, د. سماح سعيد باحويرث. "The importance of some Red Sea ports and cities for the Portuguese through the journey of the Portuguese man Duarte Barbosa in 972 A.H./ 1565 A.D." journal of King Abdulaziz University Arts And Humanities 28, no. 15 (2020): 116–36. http://dx.doi.org/10.4197/art.28-15.5.
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The beginning of the 15th century A.D. is regarded as the start of geographical discoveries movement , the actual beginning of the colonial movement of the cities of the Islamic world which was led by Portugal , and then by the papacy. Although the Mamluk State was entering its final throes, it tried to protect the holy places in Makkah Al-Mukarramah and Al-Madinah Al-Munawwarah by preventing the Portuguese ships from entering the Red Sea, but the Portuguese ships were navigating in the Red Sea for their economic interests, and their pursuit of their desired purpose, which was the revenge on Muslims and invading their holy cities. The research will highlight the dangers of the Portuguese invasion during this period on the Red Sea coasts , the purpose of Duarte Barbosa journey in 972 A.H./1565 A.D. , and the report that Duarte Barbosa wrote about some important cities and coasts of the Red Sea for the Portuguese, and the importance of these cities for them. All of these reports were sent to the Royal Library in Lisboa, which was the headquarters of the Maritime and Commercial Empire. This journey text was written in the Portuguese language, and it was lost for a long time until it was obtained by Dr. Sultan Mohammed Al-Qassimi in 1433 A.H./ 2012 A.D. , and it was translated and directed by him in a huge manuscript, which is considered as the oldest manuscript containing much information about the Arabian Peninsula and the Islamic coasts. Moreover, this manuscript represents the beginning of Portuguese colonization over Islamic monarchies. The researcher.
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Panting, G. "Ocean Traders: From the Portuguese Discoveries to the Present Day." History: Reviews of New Books 19, no. 3 (1991): 127. http://dx.doi.org/10.1080/03612759.1991.9949289.
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Silva, Joana, Paula Urze, Maria Jesús Ávila, et al. "Reproduction and Testing of Display Options for the Slide-Based Artwork Slides de Cavalete (1978–1979) by Ângelo de Sousa: An Experimental Study." Heritage 4, no. 1 (2021): 260–77. http://dx.doi.org/10.3390/heritage4010016.
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Slides de cavalete | Easel slides (1978–1979) is a slide-based artwork by the Portuguese artist Ângelo de Sousa (1938–2011), composed of one-hundred colour slides. Each image was produced by capturing different proportions of red, green, and blue (RGB) lights to obtain colour gradations. The artwork was first presented in the exhibition A Fotografia como Arte/A Arte como Fotografia | Photography as Art/Art as Photography in 1979. Associated with this exhibition, documentary evidence was found during the present study providing specific instruction on how to display the artwork (possibly unknown until now). According to that documentation, the artist wanted the work to be projected on a canvas mounted in an easel with a 19th century semblance, using a slide projector. In the last two exhibitions, carried out in 2017, after the artist had passed, the work was displayed as a digital projection, without the previously mentioned sculptural components. It was considered that this deviation from the first presentation could have led to a misunderstanding of the work. Thus, an exhibition of this artwork was prepared in a room at the Library of Faculdade de Ciências e Tecnologia. This was built as an experimental laboratory, having as one of its important objectives to test the variability of the work projected with a slide projector and a digital projector, following the display setup defined by the artist. For four days, the visitors were shown the work displayed under these two distinct scenarios of presentation. The visitors were also asked to fill out a questionnaire, to capture their perception about the variance of the work. The data obtained in the questionnaire and during the exhibition reinforced the decision to expose Slides de cavalete using the original technology. The public preferred the quality and beauty of the image using the slide projector, highlighting as positive aspects more granularity and warmer hue as well as higher depth of the images. Additionally, the production process behind Slides de cavalete was studied, based on documentation discovered in the artist’s archive and on reproductions, to enrich our perception of the work, in particular the complexity of creating the sfumato effects, and to understand the impact of changing the display technology. The results obtained made it possible to identify the main steps of making these slides, and this knowledge was shared with visitors in a workshop, integrated in this experimental laboratory.
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Carvalho, Cristina, and Maria Emília Tagliari Santos. "Babies and Art Museums: welcoming discoveries." Educativa 20, no. 1 (2017): 288. http://dx.doi.org/10.18224/educ.v20i1.5878.
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The offer of educational actions focused on babies in museums causes the need for studies that seek to understand such actions, contributing to the constitution of significant practices. From these activities the article presents a reflection on the relationship between art and early childhood. The text was guided by theorists who value the cultural aspect in children's development, especially by Rinaldi and Vecchi. Institutional documents were used, such as photographic records and articles, as well as observations of some activities. It sought to identify ways that can stimulate the extension of the reception to the public from zero to three years in cultural institutions.
 
 Bebês e Museus de Arte: acolhendo descobertas
 
 A oferta de ações educativas em museus voltadas para bebês provoca a necessidade de estudos que busquem compreender tais ações, contribuindo para a constituição de práticas significativas. A partir dessas atividades, o artigo apresenta uma reflexão sobre a relação entre arte e primeira infância. O texto foi orientado por teóricos que valorizam o aspecto cultural no desenvolvimento infantil, em especial por Rinaldi e Vecchi. Foram utilizados documentos das instituições, como registros fotográficos e artigos, além de observações de algumas atividades. Buscou-se identificar caminhos que podem estimular a extensão do acolhimento ao público de zero a três anos nas instituições culturais.
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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.
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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Mariz, Vera. "From Portugal to England." Journal of the History of Collections 32, no. 1 (2018): 91–102. http://dx.doi.org/10.1093/jhc/fhy057.
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Abstract In 1865 John Charles Robinson travelled to Portugal in the service of the South Kensington Museum and plunged into the art market with the intention of acquiring works for that institution’s collections that were representative of Portuguese artistic production. This article provides a broad and contextualized approach to this connoisseur’s experience on the Portuguese market, framing it within a hitherto undervalued phenomenon: the persistent presence of English agents in this system. An original identification of all the works acquired in Portugal by Robinson and of all those so-far neglected dealers involved in such transactions allows us to assess the real extent and impact of such mission. We shall also show that the acquisitions made were decisive not only for diversifying the museum’s collections but also for art historiography, both being inseparable from the invention of the term Indo-Portuguese.
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Serrano, Jorge Sáiz, and Isabel Barca. "NATIONAL NARRATIVES OF SPANISH AND PORTUGUESE STUDENTS." Cadernos de Pesquisa 49, no. 172 (2019): 78–95. http://dx.doi.org/10.1590/198053145414.
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Abstract This study aims at understanding how the master narratives conveyed by the national accounts given by 14 to 18-year-old Spanish and Portuguese students converge or differ from one another and how they relate to national identity and temporal orientation. Data analysis was carried out in a qualitative approach inspired by Grounded Theory. The results suggest a parallel but conceptually convergent schematic template focused on initial conquests, a golden period of maritime discoveries, and a recent dictatorship overcome by the restoration of democracy. Some particularities of students’ accounts linked to specific historical situations in each country, as well as diversified attitudes of the young people toward “their” nation-states are also discussed.
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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.
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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Barendse, R. J. "History, Law and Orientalism under Portuguese Colonialism in Eighteenth-Century India." Itinerario 26, no. 1 (2002): 33–60. http://dx.doi.org/10.1017/s0165115300004939.
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The common narrative of the Portuguese state in India from the sixteenth to the eighteenth century is, following contemporaries like Manuel Godinho, that of the four ages of man. The development of the Estado da Índia runs from its birth during the discoveries, via its youth, the ‘golden age’ (ranging from roughly 1500 to 1520) through its maturity or, to stick with the age metaphors, its ‘silver age’ from c. 1520 to 1570 to senility, or ‘age of decline’. The decline is a long one though: now generally considered to start in 1570 and covering the following two centuries. And one may well wonder whether ‘decadênria’ is truly the appropriate way to approach such a long period.
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Cole, Amanda. "António Fragoso’s Canções do Sol Poente: A Song Cycle of Saudade from the Renascença Portugesa." journal of Singing 78, no. 1 (2021): 29–45. http://dx.doi.org/10.53830/yvty2845.
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Portuguese art song is an underexplored niche in the song recital repertoire. One factor that makes it difficult for singers to make sense of it is the limited information on Portuguese culture. In this discussion of the music of Fragoso and the texts of António Correia de Oliveira in relation to the cycle Canções do Sol Poente (Songs of the Setting Sun), the author provides cultural and historical information with particular reference to the Portuguese concept of saudade, with discussion on how saudade is intertwined with the movements of nationalism, neoromanticism, and saudadismo of the 1890s that led to the Portuguese revolution in 1911 and the subsequent blossoming of creative arts in the nation.
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Smith, Stefan Halikowski. "Perceptions of Nature in Early Modern Portuguese India." Itinerario 31, no. 2 (2007): 17–49. http://dx.doi.org/10.1017/s0165115300000620.
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Portuguese perceptions of nature in the new worlds they encountered in Southeast Asia from the turn of the sixteenth century were a complex amalgam of inherited frameworks and the forging of a new gaze or vision. Grand claims that the Portuguese discoveries amount to the “construction of space” and the “invention of humanity” have been trumpeted, but are too overblown. From another perspective, Portuguese scholars have recently engaged in a philosophical debate around experiencialismo—the distinction between “scientific experience” and the supposedly pre- or non-scientific “lived” experience of the senses (experiência vivencial), suggesting that the Portuguese Discoveries fall at a critical juncture between these two hermeneutic paradigms. But what did this amount to in concrete terms?I would prefer to turn to other scholars like the Belgian historian Albert Deman, who has stipulated that the perception of Indian nature in the European imaginary, was locked in three unchanging tropes that even first-hand experience could not easily undo. These tropes were exuberance, superabundance and luxury, and go right back to the first encounters between East and West in antiquity, notably Alexander the Great's adventures of the fourth century B.C., which impressed upon Westerners the East's “superior forms of life” and what Pliny, for example, dutifully acknowledged as “the wonder of the victorious expedition of Alexander the Great, when that part of the world was first revealed.” Why wonder, and what does Deman allude to when he writes of “superior forms of life”? The common impression was that everything grew more forcefully, and in greater profusion in the East. There were, for example, two flowerings a year of some plants; the colours and tastes were stronger; the smells were beguiling. What the Portuguese noted as “the fumos da India” merely drew on biblical reference in the Book of Proverbs to the “spicy breezes of the East”. From these basic conceptions had sprung compilations of all the fabulous stories of the East, texts such as those produced by Ktesias the Knidian and Megasthenes whose ideas were passed down through Pliny into the genre of the marvellous, or mirabilia, fanciful speculations and fables developed along the lines of half-truths reported by returning merchants and travellers, and sometimes fictions spread by Arab middlemen keen to retain their long-standing monopoly of purveyance to Christian consumers.
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Pinto dos Santos, Mariana. "On Belatedness. The Shaping of Portuguese Art History in Modern Times." Artium Quaestiones, no. 30 (December 15, 2019): 37–64. http://dx.doi.org/10.14746/aq.2019.30.29.
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Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of “civilisation” and the idea of “art as civilisation.” Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations’ democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the “nature” of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being “primitive” in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia.
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Taçon, Paul S. C., Nicole Boivin, Jamie Hampson, James Blinkhorn, Ravi Korisettar, and Michael Petraglia. "New rock art discoveries in the Kurnool District, Andhra Pradesh, India." Antiquity 84, no. 324 (2010): 335–50. http://dx.doi.org/10.1017/s0003598x00066618.
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The authors have surveyed the little known paintings of the Kurnool area in central south India, bringing to light the varied work of artists active from the Palaeolithic to the present day. By classifying the images and observing their local superposition and global parallels, they present us with an evolving trend – from the realistic drawings of large deer by hunter-gatherers, through the symbolic humans of the Iron Age to the hand-prints of more recent pilgrims and garish life-size modern ‘scarecrows’. Here are the foundations for one of the world's longest sequences of rock art.
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Flores, Jorge. "Book Review: Portuguese Encounters with Sri Lanka and the Maldives: Translated Texts from the Age of the Discoveries." International Journal of Maritime History 22, no. 1 (2010): 329–30. http://dx.doi.org/10.1177/084387141002200124.
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Bureaud, Annick. "What’s Art Got to Do with It? Reflecting on Bioart and Ethics from the Experience of the Trust Me, I’m an Artist Project." Leonardo 51, no. 1 (2018): 85–86. http://dx.doi.org/10.1162/leon_a_01480.
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Bioart and biomedical art are blossoming fields, with a whole new generation of artists, the DIYbio movement enabling more people to get involved, and discoveries in bioscience bringing in new challenges. Supported by the Creative Europe program of the European Commission Trust Me, I’m an Artist is a project initiated by artist Anna Dumitriu and ethicist Bobbie Farsides to provide a platform for discussing bioart and ethics, sharing knowledge and building capacity. This article reflects upon the author’s journey through the different art projects and how foregrounding ethics challenged her usual art critic approach.
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Löwner, Gudrun. "Christian Art in India: Early Christianity from the Arrival of the Portuguese Until Today." International Bulletin of Mission Research 40, no. 2 (2016): 164–77. http://dx.doi.org/10.1177/2396939316641674.
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Reis, Mónica Esteves. "Artistic and Cultural Values in the Churches of Diu: Reflections on Architecture, Iconography, and Artistic Processes." Asian Review of World Histories 8, no. 2 (2020): 255–72. http://dx.doi.org/10.1163/22879811-12340078.
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Abstract As examples of the interpretative capacity, ingenuity, and art of local carvers, Indo-Portuguese altarpieces show how religious-cultural differences could be re-enacted to create new and very particular forms that enriched Indo-Portuguese artistic production. The Northern Province played an important role in the economy of Portuguese India from the sixteenth century until at least the eighteenth century. Although Diu was geographically distant from Goa, the capital of the State of India, and from Bassein, the nearest artistic production center, the artistic panorama in Diu’s churches nevertheless developed to a remarkable extent, and its many hybrid depictions bear witness to artistic-cultural exchanges. Ornamental figurative elements and architectural elements of Portuguese origin were refashioned using the language of local art and its symbols of devotion. In the carvings executed by local artisans, the symbols of local religions were transposed into the Christian decorative grammar with the aim of explaining, through images, the gospel of a new religion to devotees of a religion rooted in centuries of history, resulting in artistic-cultural hybridity.
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Rocha, Yuri T., Andrea Presotto, and Felisberto Cavalheiro. "The representation of Caesalpinia echinata (Brazilwood) in Sixteenth-and-Seventeenth-Century Maps." Anais da Academia Brasileira de Ciências 79, no. 4 (2007): 751–65. http://dx.doi.org/10.1590/s0001-37652007000400014.
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Brazilwood was the first product found in Terra de Santa Cruz, and the first explored by Portuguese colonization of Brazil. This study aims at the Occidental Cartography and the historical files represented by Portugal's interest on mapping the marketed product found in Brazil. There presentation of Brazilwood in maps was possible due to scientific advancements, new land discoveries, and technological improvement during the 15th century, which all have taken cartography to a whole new period, stressing Portuguese hegemony in Asia and in the New World. The goal of this research was to identify and analyze maps from 16th and 17th centuries that represented the geographical distribution of Brazilwood, and its trade. Brazilwood was represented in many maps by illumination and detailed by different cartographers. The maps and other evidence for this research were found in historical files held in both Brazil and Portugal.
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Asylbekuly, S., Zh Ashirov, and Sh Kuttybaev. "HISTORICAL AND SOCIAL FOUNDATIONS OF MODERNISM." BULLETIN Series of Philological Sciences 74, no. 4 (2020): 217–21. http://dx.doi.org/10.51889/2020-4.1728-7804.45.
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The article discusses theoretical issues and prerequisites of the modernist trend, which influenced the development of literature and art. The main factor influencing the emergence of literary modernism is global change in the historical and social life of human development. Features of European culture and art are considered in the context of literature and art space. The relationship between historical and social factors and factors causing new discoveries in literature and art is revealed. The world of the late 19th century and the beginning of the 20th century was full of new discoveries. Looking at this stage of human development from today's height, we will see that in the twentieth century it underwent multifaceted and radical changes. It began in the European literature of novelty, and also in the Kazakh literature. New and valuable domestic works appeared and the" Golden Fund "of Kazakh literature was replenished with valuable works of Kazakh writers.
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Carrilho, Fernando, Susana Custódio, Mourad Bezzeghoud, et al. "The Portuguese National Seismic Network—Products and Services." Seismological Research Letters 92, no. 3 (2021): 1541–70. http://dx.doi.org/10.1785/0220200407.
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Abstract Portugal, located in the southwest region of the Eurasian plate, has been affected by several destructive earthquakes throughout its history, the most well-known being the 1755 Great Lisbon earthquake. The seismicity of the territory, both in the mainland and in the Azores and Madeira islands, has prompted the continuous development of seismic monitoring, from the first known macroseismic inquiry, following the 1755 Great Lisbon earthquake, to the current state-of-the-art seismic network. Once scattered in separate efforts, at present, most seismic stations in Portugal relay its data to a common data center, at Instituto Português do Mar e da Atmosfera, where data are automatically processed for the downstream generation of both manually revised and automatically generated products and services. In this article, we summarize the evolution of the permanent seismic network, its current status, the products and services that are publicly available, a recent effort of rapid deployment of a dense network following a mainshock, and state-of-the-art ocean-bottom seismometer developments.
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Flores, Jorge, and Giuseppe Marcocci. "Killing Images: Iconoclasm and the Art of Political Insult in Sixteenth and Seventeenth Century Portuguese India." Itinerario 42, no. 3 (2018): 461–89. http://dx.doi.org/10.1017/s0165115318000621.
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The article builds on a succession of visually disturbing events that occurred in Goa—the capital city of Portuguese India—during the sixteenth and seventeenth centuries. From the early years of the Portuguese conquest (1510), Goa went through a redefinition of its urban space, which implied the appropriation and re-semantization of buildings and other key sites of the old Muslim city. This process included the spread of images and symbols related to several Portuguese viceroys, soon-to-be targets of acts of political insult and even political iconoclasm performed by their Portuguese opponents in a context of growing factionalism. We speak namely of episodes of protest against places of memory associated to different clans, encompassing statues (both official and bogus), textual inscriptions, and viceroys’ portraits. These were European phenomena to a large extent, but coloured by significant local and native elements. The article engages with a grid of questions that places real statues, satirical effigies, and erased faces (and the diverse reactions they have aroused) in dialogue with current debates on popular politics; high and low vis-à-vis the colonial social fabric; the uses of public space; verbal, written, and visual insult; political languages; and disputed authority in an imperial setting.
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Astrakhan, Natalia. "Metaphor in M. Proust’s Artistic World: From the Being of Art to the Art of Being." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 146–62. http://dx.doi.org/10.31861/pytlit2020.101.146.
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The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.
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Macek, Pearson M. "IV. The Discoveries of the Westminster Retable." Archaeologia 109 (1991): 101–11. http://dx.doi.org/10.1017/s0261340900014041.
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The Westminster Retable is the most important thirteenth-century panel painting to survive from northern Europe and, quite arguably, from all of western Europe (pl. XXVIa). An oak panel measuring approximately 0.95m high by 3.33m wide, it is divided vertically into five compartments. In the centre is the figure of Christ, standing, blessing and holding in his left hand an orb or globe upon which is painted a delicate miniature landscape (pl. XXVIb). He is flanked by the Virgin Mary and St John the Evangelist who both hold palm fronds. Iconographically this grouping is unique in medieval art. Each figure stands in an architectural niche of high Gothic design. To either side of the central group are four medallions arranged in the Islamic star-and-cross pattern. Each of these eight-pointed star medallions contained a narrative scene, of which three on the left survive: the Raising of the Daughter of Jairus, the Healing of the Blind Man and the Feeding of the Five Thousand (pl. XXVIc). Such miracle scenes from the adult life of Christ were but rarely depicted in the Middle Ages. At either end of the panel are niches for standing figures of saints; only St Peter on the left survives, although ghostly vestiges of his counterpart, presumably St Paul, on the right remain visible.
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Kubiak, Anthony. "Cave mentem: Disease and the Performance of Mind." TDR/The Drama Review 59, no. 2 (2015): 114–28. http://dx.doi.org/10.1162/dram_a_00453.
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What do the delineations of consciousness owe to disease? Might we see, in the earliest examples of performative art, traces of dis-ease giving rise to performance and art itself? And what do we make of recent discoveries that certain modes of disease can influence our states of mind, our beliefs, consciousness itself? Does our development as human beings—from distant past to present day—owe far more to disease than we might imagine?
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Arimura, Rie. "Nanban Art and its Globality: A Case Study of the New Spanish Mural The Great Martyrdom of Japan in 1597." Historia y sociedad, no. 36 (January 1, 2019): 21–56. http://dx.doi.org/10.15446/hys.n36.73460.
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Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.
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Rich, B. Ruby. "Toronto 2019: From Budapest to the Zeitgeist." Film Quarterly 73, no. 2 (2019): 93–99. http://dx.doi.org/10.1525/fq.2019.73.2.93.
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FQ Editor B. Ruby Rich reviews the offerings at the 2019 Toronto Film Festival, the first under the new leadership of Cameron Bailey and Joana Vicente. Avoiding Hollywood's tentpole films and Oscar buzz, Rich instead hunts down films presenting subtle studies of human behavior, in most cases with the help of subtitles. From the latest efforts from established art-house favorites Pedro Almodovar, Oliver Assayas, and Elia Suleiman, to discoveries such as the Romanian documentary Colectiv (Alexander Nanau, 2019) and the Brazilian director Karim Aïnouz's A Vida Invisível (The Invisible Life of Eurídice Gusmão, 2019), Rich finds ample reassurance of film's emotive power and ability to provide a moral compass in challenging times.
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Keenan, Jeremy. "The theft of Saharan rock-art." Antiquity 74, no. 284 (2000): 287–88. http://dx.doi.org/10.1017/s0003598x00059287.
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'The Greatest Museum of Prehistoric Art in the whole World'. Such was the description Henri Lhote gave to the rock paintings of the Tassili-n- Ajjer , the massif (a designated World Heritage Site) that lies to the northeast of Ahaggar in the Algerian Central Sahara. His expedition spent 16 months in the Tassili in 1956-7 making 'discovery after discovery' and copying 'hundreds upon hundreds of painted walls'. Lhote's work is now recognized for its denigration of almost all and sundry. He likened the local people, the Tuareg, who made many of his 'discoveries', to wolves and living by the laws of the jungle. Significantly, he made no reference in his 'discovery claims' to Yolande Tschudi, the Swiss ethnologist, whose work preceded his own. Worse still, he undertook what might be regarded today as the systematic vandalism of the sites, not only by liberally washing the paintings to restore their colour, but by collecting and removing copious quantities of material artefacts from the area.
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Demchenko, Alexander I. "Ancient World. (Depth of Times). Discoveries and Revelations." ICONI, no. 1 (2020): 6–23. http://dx.doi.org/10.33779/2658-4824.2020.1.006-023.
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The object of the proposed cycle of essays is that with a maximal compactness of presentment it presents a cumulative overview of the chief phenomena of world artistic culture, spanned in whole, both from the perspective of an overall historical process and in relation to the various arts (literature, the visual arts, architecture, music, theater and cinema). At the same time, it avoids the customary rubrication according to national schools and division into separate arts forms with the specifi cation of genre inherent to each one of them, which is in accord with the positive tendencies of globalization and provides an integral vision of artistic phenomena. A phased examination of the following periods of art history is foreseen: the Ancient World, Antiquity, the Middle Ages, the Renaissance, the Baroque period, the Enlightenment, Romanticism, the 1st Modern style, the 2nd Modern style, the 3rd Modern style, the Postmodern style, and as an afterword — “The Golden Age of Russian Artistic Culture.”
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Kool, E. C., S. D. Ryder, E. Kankare, et al. "First Results from Project SUNBIRD: Supernovæ UNmasked By Infra-Red Detection." Proceedings of the International Astronomical Union 14, S339 (2017): 322. http://dx.doi.org/10.1017/s1743921318002880.
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AbstractMeasurements of current rates of core-collapse supernovæ (CCSNe) suffer from significant uncertainties, probably due to the large fraction of CCSNe that explode in crowded regions which have bright background emission and significant dust extinction. Conventional optical (seeing-limited) SN surveys generally fail to detect them, but including them is crucial to the accurate determination of CCSN rates. Project SUNBIRD aims to tighten the present constraints on the fraction of CCSNe that are missed by conventional SN surveys. We are monitoring more than 25 dusty luminous infrared galaxies that are actively star-forming, for evidence of dust-obscured CCSNe, in an effort to characterise the population of CCSNes exploding in those nuclear regions of dusty LIRGs. We observe in the near-infrared, which is less affected by dust extinction compared to the optical; we are using Gemini South and Keck, and we make use of state-of-the-art laser guide-star adaptive optics instruments to achieve a spatial resolution <0’.1, which is sufficient to resolve close to the galactic nucleus.During the project’s first year we discovered three CCSNe and one candidate one, with nuclear offsets as small as 200 pc, as cited in the poster. Aggregating the new discoveries with the CCSNe found in previous programmes employing AO, we compared the distribution of nuclear offsets of AO CCSN discoveries with all other documented CCSNe discovered in LIRGs. The poster showed that our method is singularly effective at uncovering CCSNe in the nuclear regions of LIRGs, and that while optical surveys dominate SNe discoveries far from a galaxy’s centre, near infra-red AO observations are needed to probe the regions within 1 kpc of the nucleus.
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Varela Fernandes, Carla. "Between Silences: The Coronation of Portuguese Medieval Kings (12th–14th Centuries)." Arts 9, no. 4 (2020): 109. http://dx.doi.org/10.3390/arts9040109.
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The coronations of Portugal’s first dynasty constitute a complex topic. Approaching the theme requires understanding that an omission of words in written documentation can both affirm and deny possibilities. Likewise, visual documentation, such as illuminations, sculptures and other figurative arts, is scarce, raising a significant number of questions and thus is not trustworthy as a historical source. For this reason, the study of Portuguese coronations is filled with questions and silences. Art does not testify to these ceremonies, but shows that Portuguese kings valued regalia pertaining to both religious and secular ceremonies affirming their power, and that those insignias were different from those used by French or English kings in the same time period. In this study, I will use art, particularly funerary sculpture, but also objects with iconographic value, to demonstrate how these reflect elements of thought and the emotional pulsar of the various European societies that produced them.
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Dos Santos, Luan Victor Brandão, Daniel Pereira Monteiro, Alexandre Somavilla, José Rodrigues Almeida Neto, and Paulo Roberto Ramalho Silva. "Social Wasps (Hymenoptera: Vespidae: Polistinae) from Northeastern Brazil: State of the Art." Sociobiology 67, no. 4 (2020): 481. http://dx.doi.org/10.13102/sociobiology.v67i4.5466.
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For many years, research about social wasps in the Northeast was neglected due to its climatic and vegetative characteristics, insufficient incentive for training researchers to study these animals and perpetuation of low diversity of these groups in arid environments proposed by Ducke. This study carried out a bibliographic survey of research about social wasps in a 40 years period from January/1979 to December/2019, to determine the overall reality of biodiversity and richness knowledge for social wasps species. One hundred and twenty-four (124) social wasp species have been registered in the Northeast Region, distributed among 20 genera. Epiponini stands out with 84 species, followed by Mischocyttarini (24) and Polistini (16). Sergipe is the only state with no studies and records of species thus far. Such results show the importance of continuing taxonomic studies of these insects to expand their geographic distribution and to determine areas for environmental preservation in the Northeastern biomes, i.e., the Caatinga sensu lato, Cerrado and Amazon rainforest and their transition zones, as they have been insufficiently studied and present high potential for new discoveries. We suggest Alagoas, Ceará, Pernambuco and, especially Sergipe as priority areas since there is a lacking data in these states. Finally, we recommend continuing research on species reports in states like Bahia, using the map created herein to choose future study areas.
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He, Huaiwen. "Limitations on Patenting Inventions Based on Marine Genetic Resources of Areas beyond National Jurisdiction." International Journal of Marine and Coastal Law 29, no. 3 (2014): 521–45. http://dx.doi.org/10.1163/15718085-12341325.
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This article discusses limitations on patenting inventions based on marine genetic resources of areas beyond national jurisdiction. First, it considers that patent protection for these inventions is compatible with losc. Next, it propounds that to further equitable access to new knowledge of the genetic resources, patentability requirements should be shaped to reward human creativity in applying discoveries only. Accordingly, discoveries of naturally occurring dna sequences and the like from the genetic resources should be deemed as a “familiar part of prior art” and that other inventive concepts should be required to meet the patent eligibility requirement. Finally, it contends that it is not justified to require patentees to share any benefits derived from the utilization of inventions based on the genetic resources of the Area.
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Arkhipov, S. V. "Interpretation of Grammatical Category of Gender by Fernão de Oliveira." Bulletin of Kemerovo State University 22, no. 2 (2020): 481–88. http://dx.doi.org/10.21603/2078-8975-2020-22-2-481-488.
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The present research featured the definition of grammatical gender category as it was coined by Fernão’s de Oliveira (1507–1581), a prominent Portuguese linguist that wrote the first Grammar of the Portuguese Language (1536), where he outlaid the main principles of gender classification. The research was based on F. de Oliveira’s works, namely The Grammar of the Portuguese Language, The Art of Sea Warfare, The Voyage of Fernão de Magalhães, and The Book of Shipbuilding. The linguistic data were selected from the above-mentioned works based on linguistic criteria by the method of continuous sampling. The article also describes various gender definition methods, e.g. morphonology, morphology, anaphora, syntax, secondary morphologization, words of one flexion, and vocalic inflexion (alternation of open and closed, pure and nasal vowels). The analysis of Oliveira’s speculations on grammatical gender revealed that the Portuguese grammarian failed to cover the issues of Singularia / Pluralia tantum, grammatical doublets, toponyms, epicenes, possessive pronouns, and participles.
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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.
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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies.
 This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.
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De Gioia, Roberta, Gaia Citterio, Elena Abati, et al. "Animal Models of CMT2A: State-of-art and Therapeutic Implications." Molecular Neurobiology 57, no. 12 (2020): 5121–29. http://dx.doi.org/10.1007/s12035-020-02081-3.
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Abstract Charcot–Marie–Tooth disease type 2A (CMT2A), arising from mitofusin 2 (MFN2) gene mutations, is the most common inherited axonal neuropathy affecting motor and sensory neurons. The cellular and molecular mechanisms by which MFN2 mutations determine neuronal degeneration are largely unclear. No effective treatment exists for CMT2A, which has a high degree of genetic/phenotypic heterogeneity. The identification of mutations in MFN2 has allowed the generation of diverse transgenic animal models, but to date, their ability to recapitulate the CMT2A phenotype is limited, precluding elucidation of its pathogenesis and discovery of therapeutic strategies. This review will critically present recent progress in in vivo CMT2A disease modeling, discoveries, drawbacks and limitations, current challenges, and key reflections to advance the field towards developing effective therapies for these patients.
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Cavaliere, Fabio, Enrico Prati, Luca Poti, Imran Muhammad, and Tommaso Catuogno. "Secure Quantum Communication Technologies and Systems: From Labs to Markets." Quantum Reports 2, no. 1 (2020): 80–106. http://dx.doi.org/10.3390/quantum2010007.
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We provide a broad overview of current quantum communication by analyzing the recent discoveries on the topic and by identifying the potential bottlenecks requiring further investigation. The analysis follows an industrial perspective, first identifying the state or the art in terms of protocols, systems, and devices for quantum communication. Next, we classify the applicative fields where short- and medium-term impact is expected by emphasizing the potential and challenges of different approaches. The direction and the methodology with which the scientific community is proceeding are discussed. Finally, with reference to the European guidelines within the Quantum Flagship initiative, we suggest a roadmap to match the effort community-wise, with the objective of maximizing the impact that quantum communication may have on our society.
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Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, no. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.
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At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its quantity and its ‘quality’ (i.e. its realism and its wide range of techniques), but that situation may well alter in the next decade or two as new discoveries are made elsewhere and new dating methods are refined and extended.Ironically, the first clue to Pleistocene art outside Europe was found as long ago as 1870, only a few years after Edouard Lartet's and Henry Christy's discoveries in southern France were authenticated. Unfortunately, the object in question was badly published, and dis-appeared from 1895 until its rediscovery in 1956, and consequently very few works on Pleistocene art mention it. This mineralized sacrum of an extinct fossil camelid was found at Tequixquiac in the northern part of the central basin of Mexico. The bone is carved and engraved (two nostrils have been cut into the end) so as to represent the head of a pig-like or dog-like animal (pl. 18a). The circumstances of its discovery are unclear, but it is thought to be from a late Pleistocene bone bed, and to be at least 11,000 or 12,000 years old (Aveleyra 1965; Messmacher 1981,94). At present it is on exhibit in Mexico's National Museum of Anthropology.
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Biemans, Jos A. A. M., and Translation Anna E. C. Simoni. "The seventeenth-century Antwerp book collector Peeter Oris: new discoveries and new questions." Quaerendo 18, no. 4 (1988): 243–77. http://dx.doi.org/10.1163/157006988x00015.
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AbstractThe Antwerp art dealer Peeter Oris (c. 1582-c. 1647) owned at least eight medieval manuscripts and nine or ten printed books, including five, possibly seven incunabula. They were probably all Dutch books-with perhaps one exception. The fact that these manuscripts and printed books come from Oris's collection is almost always to be seen in ownership and other annotations in his own hand. One
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Kool, Erik C., Stuart D. Ryder, Erkki Kankare, and Seppo Mattila. "First results from Project SUNBIRD: Supernovae UNmasked By Infra-Red Detection." Proceedings of the International Astronomical Union 12, S329 (2016): 416. http://dx.doi.org/10.1017/s1743921317002824.
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AbstractA substantial number of core-collapse supernovae (CCSNe) are expected to be hosted by starbursting luminous infrared galaxies (LIRGs). However, so far very few CCSNe have been discovered in LIRGs, most likely as a result of dust extinction and lack of contrast in their typically luminous and complex nuclear regions. We present the first results of Project SUNBIRD (Supernovae UNmasked By InfraRed Detection), where we aim to uncover dust-obscured nuclear supernovae by monitoring over 30 LIRGs, using near-infrared state-of-the-art Laser Guide Star Adaptive Optics (LGSAO) imaging on the Gemini South and Keck telescopes. Such discoveries are vital for determining the fraction of supernovae which will be missed as a result of dust obscuration by current and future optical surveys.
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Ibekwe, Eunice U. "Music as Art and Science: An Evaluation." UJAH: Unizik Journal of Arts and Humanities 21, no. 1 (2020): 159–79. http://dx.doi.org/10.4314/ujah.v21i1.7.
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Music is presented in this discourse as a coin with two sides –thus as an Art also as a science. Looking at music as an Art draws one’s attention to the artistic features and characteristics of music such as styles and skills of performances as in dancing, singing, playing instrument and its position in other related areas with similar attributes. On the other hand, seeing music from the perspective of a science, the study of acoustics, sound productions, mathematical relationships and intervallic applications are evident. Art involves creative thinking and inspiration to achieve an expected goal or a set objective. Science on its own employs knowledge interaction and inquiries to produce new scientific discoveries. Music co-habits these two complex entities in a seemingly integrative association. This paper therefore is a critical examination and evaluation of musical potency that qualifies it as an art as well as science. The argument is anchored on qualitative evaluation of materials drawn from related literatures and sources. It finally draws the conclusion that since music fits in properly, and performs creditably as an art, as well as maintains great affinity with science, it should be treated as a bicameral discipline.
 Keywords: Art, Science, Relationship, Music, Imagination, Inspiration
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Santos, Yvette, and Alice Cunha. "The participation of Portuguese students in ERASMUS: From its European conception to its implementation in universities." Revista Estudos do Século XX, no. 18 (March 12, 2018): 97–113. http://dx.doi.org/10.14195/1647-8622_18_5.
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The ERASMUS Programme, established in June 1987, is considered one of the most popular European education programmes as it favours the academic mobility of thousands of students. Given the importance of ERASMUS in building a Europe of knowledge, this article aims to analyse the importance of ERASMUS toPortugal since its implementation. The state of the art on the subject is not exhaustive. Although much research on student mobility with a focus on ERASMUS at the European level has been undertaken – albeit difficult to summarise given the diversity of studies – Portuguese literature has not kept pace since existing studies are mainly Masters dissertations of a qualitative nature, supported by interviews with former ERASMUS students and covering the recent years of the Programme. Bearing this in mind, this article, in addition to identifying the main stages that led to the establishment of the Programme and highlighting thecontours of its implementation in Portugal, seeks to analyse the participatory trends of Portuguese students attending the first university cycle (the so-called outgoings) from 1987 to 2014, the year ERASMUS+ started.
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Jølle, Harald Dag. "Da Nansen lanserte Nord i Tåkeheimen <\i>." Nordlit 16, no. 1 (2012): 89. http://dx.doi.org/10.7557/13.2304.
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In 1911 Nansen published his major work In Northern Mists. Arctic Exploration in Early Times. The book deals with the exploration of the northern areas of the earth in earlier times, from antiquity before Pytheas to the Portuguese discoveries of the 16th Century. Working with the book, Nansen realized that many of the well-known and established sources could not be interpreted as literally as many of the historians ofhis time did. In the fall of 1910 he gave numerous lectures where he questioned the trustworthiness of the sagas as historical documents. Nansen faced considerable opposition which led to an extensive debate with among others Yngvar Nielsen and Finnur Jónsson. Later, Nansen's source criticism has proven to be far more in accordance with modern historical science than his opponents were.
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Meira, Alex Tiburtino, Beatriz Gioppo Betini, Francisco Cardoso, et al. "First stages towards the establishment of Brazilian neurology faculties." Arquivos de Neuro-Psiquiatria 77, no. 12 (2019): 888–95. http://dx.doi.org/10.1590/0004-282x20190147.
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ABSTRACT The establishment of modern medicine in Brazil was marked by the arrival of the Portuguese Court in 1808, when the Bahia and Rio de Janeiro Faculties of Medicine were founded. The French School of Medicine exerted a strong influence on Brazilian medicine and on the main pioneers of Brazilian neurology. The elite of “Parisian neurology” trained students and doctors from around the world, and were mentors to the pioneers of Brazilian neurology in the early 20th century. In this article, the authors review the origins of neurology faculties in Brazilian medicine and the main pioneers of Brazilian neurology. Neurology is certainly a continuously changing field and has always adapted to new advances and discoveries, and it is an honor for the authors to pay homage to their pioneers.
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Saraiva, Elisa, and Maria Manuel Azevedo. "Primary School Project Fostering Environmental Education through Art." Modern Applied Science 14, no. 7 (2020): 101. http://dx.doi.org/10.5539/mas.v14n7p101.
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Promoting Education through the integration of Environmental Science and Art is a creative and innovative way to stimulate young people to learn Science and Art with pleasure. This study is based on the outcomes of an Educational Project implemented by Portuguese students from the D. Maria II School, V.N. Famalic&atilde;o, Portugal. The project consisted in the implementation of several activities, exploring concepts related to 1) Science; 2) Art; and 3) Solidarity. The effectiveness of the project was assessed through student&rsquo;s engagement, quality of interactions and resulting products. According students&rsquo; opinions, the experience of taking part in this project was exciting and help them to raise their understanding and interest about environmental issues. This study highlights the importance of taking advantage of art activities to teach and learn about environmental science.
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Adams, Patricia. "Mediating Corporeality: Re-Interpretations at the Art/Science Interface." Somatechnics 2, no. 2 (2012): 284–304. http://dx.doi.org/10.3366/soma.2012.0062.
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Contemporary scientific discoveries are rapidly modifying established concepts of embodiment and corporeality. For example, developing techniques in adult stem cell research can actively remodel the human body; whilst neuroscientists are shedding increasing light on the functioning of our brains. My research at the art/science nexus draws upon recent media theories to investigate the ways twenty-first century constructs of ‘humanness’ and the ‘self’ are affected by both historical and contemporary scientific research and developments in digital imaging technologies. In this article, examples from my artworks: “machina carnis” and “HOST” illustrate how my use of innovative digital technologies and collaborative methodologies has enabled me to immerse myself in the scientific experience at first hand. I demonstrate how my reinterpretations of what is commonly termed ‘hard’ scientific research data does not seek to emulate ‘objective’ readings of the experimental digital image data but rather recontextualises it in the context of my artworks. These artworks acknowledge the personal and visceral content in the scientific data and enable viewer/participants to reflect upon the issues raised from an emotive and individual perspective.
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Pinto, Bruno, Filipe Barata, Constantino Soares, and Carla Viveiros. "Fleet Transition from Combustion to Electric Vehicles: A Case Study in a Portuguese Business Campus." Energies 13, no. 5 (2020): 1267. http://dx.doi.org/10.3390/en13051267.
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This paper aims to contribute to the urgent reflection as a society about environmental protection, in the ultimate challenge that is the sustainable use of energy resources. Since Portugal is at an early stage of market development internally, governmental and local stimulation policies play a central role and are a key element in the successful diffusion of Electric Mobility. The study will focus on the transition of a company car fleet, which currently consists of combustion vehicles, to electric vehicles. With this change it becomes necessary to understand how the electrical installation will be affected due to the installation of charging stations, allowing the company to have some autonomy from the public grid. The various changes resulting from the installation consumption profile will be studied and compared. The state of the art, the level of maturity and where the development of electric mobility in Portugal is heading will also be appreciated.
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Maddaluno, Raffaella. "Between Earth and Sky: Art and Architecture in Dialogue in the Work of Rui Chafes and Camilo Rebelo." ATHENS JOURNAL OF ARCHITECTURE 7, no. 4 (2021): 483–98. http://dx.doi.org/10.30958/aja.7-4-4.
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In a former hotel, bought and remodeled by a seed Portuguese producer, in Switzerland, in one of the underground spaces, an architect and a sculptor, also Portuguese, worked together to give life to an egg-shaped space. A space born from the need to give hospitality to a sculpture, Semente by Rui Chafes, has become a pretext for the reflection on numerous themes; the creative and process interaction between art and architecture, the symbolic force of a form like the egg, the possibility of creating a place inside the space and out of time. This collaboration opens the doors to a second chance of project, the client is the same, the place is Portuguese: Grandola, in Alentejo. This time the theme is housing, a concept that brings with it a series of reflections on the relationship between the identity of the person who designs the space and who will then live in it. The collaboration of the two protagonists is measured on this occasion not only with elements experimented in the previous project (the matter, the material, the form), but also with the landscape (its heights, its extensions), with nature (the colors, the smells, the temperature), with the time that will pass and that will put all this to the test. The present text aims to analyze the artistic path of both architect and sculptor, starting from the story of these two occasions in which art and architecture reach a moment of harmonious tangency in the silence and universality of forms. This analysis will reflect on their creative modes, possibly trying to recognize similarities, tangencies or deep divergences. It will also be an opportunity to continue to reflect on the timeless question of the interconnection between art and architecture.
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Cappi, Alberto. "The Cosmology of Edgar Allan Poe." Proceedings of the International Astronomical Union 5, S260 (2009): 315–20. http://dx.doi.org/10.1017/s1743921311002468.
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AbstractEureka is a “prose poem” published in 1848, where Edgar Allan Poe presents his original cosmology. While starting from metaphysical assumptions, Poe develops an evolving Newtonian model of the Universe which has many and non casual analogies with modern cosmology. Poe was well informed about astronomical and physical discoveries, and he was influenced by both contemporary science and ancient ideas. For these reasons, Eureka is a unique synthesis of metaphysics, art and science.
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Diogo, Paulo Alexandre, Pedro Beça, Sofia Simões, Filipa Amorim, and Babar Mujtaba. "Seasonal Forecast Climate Data and Hydropower Production in the Douro Basin, in Portugal." Environmental Sciences Proceedings 2, no. 1 (2020): 71. http://dx.doi.org/10.3390/environsciproc2020002071.
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The project CLIM2POWER aims at developing a climate service including state-of-the art seasonal climate forecasts in the planning of the operation of the power systems. This work presents part of the project, addressing the forecasting of the hydropower generation in a case study area, the Portuguese part of the transboundary Douro River basin. Rainfall-runoff modelling was performed on a daily scale using three ensemble members of seasonal climate data (six months) for Portuguese territory crossed with three daily inflow scenarios from Spanish territory defined according to historical observed data. The obtained results reflect the fact that seasonal climate forecast present a wide variation of scenarios and also the fact that hydropower production in Portuguese territory is highly dependent on transboundary inflows. On the other hand, the implemented approach successfully produced consistent runoff and hydropower production results although improvements on the identification of the most probable scenarios are yet required.
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Machado, Pedro. "Challenges to Portuguese tourism – Restelo old man or Cristiano Ronaldo?" Worldwide Hospitality and Tourism Themes 10, no. 6 (2018): 698–704. http://dx.doi.org/10.1108/whatt-07-2018-0046.
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Purpose This paper aims to consider the state of the art of the tourism sector in Portugal, identifying the main problems and some challenges and solutions for the future. Design/methodology/approach The main political decisions related to tourism were analyzed and related to the sector´s future performance. Findings Portugal has been elected the best leading destination of the world, but it is important to outline the strategies needed to retain the quality of life of Portuguese residents and to keep and improve the experience of the tourist. This could be achieved by promoting “Portugal as a whole” (“Portugal por Inteiro”), applying policies of cohesion – policies that promote the development of the entire country, from the interior to the coastline, from the north to the south and the islands. Originality/value This paper presents the perspective of the Center of Portugal Tourism Entity (Turismo Centro de Portugal) and how this tourist destination contributes to the national strategies outlined for the coming years.