RAO Vibrações Mecânicas - 4ª edição

Vista. Visual communication journal, 2019

The selfie generation is a term commonly used to describe people born after 1981 because of the supposed proliferation of selfies they take daily. If Selfies indeed define a generation of people, then they require close consideration as an evolution of social interaction. This interdisciplinary study focuses on photography as performance of looking involving social relationships between people. I ask How might selfies suggest a transformation of everyday social relationships? The selfie as active photographic performance is first examined through illustrative ethnographic observation. Then as performative photographic object the selfie is examined as interactive (Kress and Van Leeuwen's, 2006; 2009) visual communication. Finally, the performative spaces of the selfie in process(from initial performance, to object and as it is shared and moves between private and public spaces) is examined as relationships of proxemic perception(Hall, 1966).For the selfie generation the private spaces in social relationships has perhaps evolved not simply because of changes in photographic technology, but also new spaces of socialising where private and public contexts are often blurred and unfixed. Paper is open access here; http://vista.sopcom.pt/edicao/300

2024

Ottemperare alle norme (anche grammaticali) in Italiano digitale - XXX, 2024/3 (luglio-settembre)

2023

Herausgegeben von Gunter Schöbel und der Europäischen Vereinigung zur Förderung der Experimentellen Archäologie.

Objetivo Construir un circuito básico el cual extenderá un actuador lineal de doble efecto horizontal usando una válvula de control direccional. En el cual el estudiante interactúa con los elementos del banco y observara su funcionamiento.

Resumidamente, pode-se conceituar o Direito Processual Civil como um ramo do Direito Público Interno que se estrutura como um sistema de princípios e normas legais regulamentadoras do exercício da função jurisdicional, sendo que esta é função soberana do Estado, pela qual ele tem o dever de administrar a Justiça.

A. Loukaki (ed.), Urban Art and the City. Creating, Destroying, and Reclaiming the Sublime., 2021

From the onset of the so-called “Greek crisis” (a sovereign-debt default in late 2009 and the subsequent, and ongoing, attempts on behalf of successive Greek governments at securing adequate bailout aid from the EU and the IMF), a new breed of biopolitics seems to have been in place. Classical antiquity has always played a crucial part in the forging of modern Greek social and cultural identities; in the framework of the “Greek crisis”, however, classical heritage and its visual output has been used both as an emancipatory tool against the country’s debtors as well as a disciplinary device on behalf of its critics. In this paper, a number of earlier and more recent Athenian graffiti will be discussed, directly or indirectly incorporating themes from Greek art in order to express their makers’ sentiments – as well as the frustrations of their public at large. Contrasting unauthorized examples of Athenian street art with some centrally-sponsored recent examples also employing classicizing imageries, the paper will explore the ways in which classical heritage finds itself entangled with the neoliberal biopolitics at work in Greece since 2009.

The frescoes in the burial chamber of the Pyramid of Cestius constitute the first example of the so-called third style. This is a phase of Roman painting that has been object of a relatively little study, and whose origin and dating are still debated among experts. Through a stylistic analysis of the pictorial cycle of the Pyramid of Cestius and the epigraphic material concerning the monument, the present study has led to an historical review of the traditionally accepted dating. The pictorial decoration of the Pyramid of Cestius is closely related to the final stages of the second style, such as the frescoes in the so-called villa Farnesina, whose date was recently repositioned to the third decade of the first century BC. The latter figure is a further argument in favor of the chronological anticipation of the beginning of the so-called third style. For the latter, as a result of this study, an evolution – as well as a derivation from the trials of the final stages of the precedent style – seem now obvious.

Fraud is one of the major ethical issues in the credit card industry. The main aims are, firstly, to identify the different types of credit card fraud, and, secondly, to review alternative techniques that have been used in fraud detection. The sub-aim is to present, compare and analyze recently published findings in credit card fraud detection. This article defines common terms in credit card fraud and highlights key statistics and figures in this field. Depending on the type of fraud faced by banks or credit card companies, various measures can be adopted and implemented. The proposals made in this paper are likely to have beneficial attributes in terms of cost savings and time efficiency. The significance of the application of the techniques reviewed here is in the minimization of credit card fraud. Yet there are still ethical issues when genuine credit card customers are misclassified as fraudulent.