- Universidade de Évora, Departamento de Historia, Faculty Memberadd
- History, Archaeology, Architecture, Art History, Art, Cultural Theory, and 24 moreVisual Studies, Digital Humanities, Architectural History, Heritage Conservation, Heritage Studies, portuguese painting (XX and XXI centuries), João Vieira, Literature, Aesthetics, Cultural Heritage, Modernism, Heidegger, Architectural Conservation, Avant-Garde, History of Art, Material Culture Studies, Culture Studies, Etudes culturelles, Portuguese Architecture, Culture matérielle, Historiography (in Art History), Cultural Heritage Management, Virtual Archaeology, and Memory Studiesedit
- PhD in Art History, Assistant Professor of the University of Évora, Researcher at the Centre for Art History and Artistic Research of the same University.edit
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Research Interests: Humanities and Art
retrato pintado em Portugal e no Brasil nas três primeiras décadas do século XIX, In Antologia de Ensaios. Laboratório Colaborativo: dinâmicas urbanas, património
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O presente texto propõe a análise da obra do artista pernambucano Francisco de Paula Coimbra de Almeida Brennand, destacando as suas principais influências estéticas e priorizando, de entre algumas das suas referências no campo da... more
O presente texto propõe a análise da obra do artista pernambucano Francisco de Paula Coimbra de Almeida Brennand, destacando as suas principais influências estéticas e priorizando, de entre algumas das suas referências no campo da escultura e da pintura. Desde de muito jovem se interessa pela arte e tem a oportunidade de estudar com os principais mestres da Escola de Belas Artes Pernambucana, como Abelardo da Hora, Murillo la Greca, entre outros. No entanto, as suas maiores influências sempre foram os grandes mestres europeus, os artistas: Paul Gauguin, Cezanne, Van Gogh e Pablo Picasso. Sendo assim, a proposição do presente trabalho é analisar a genealogia da criatividade e imaginação que levaram o pintor e ceramista Francisco Brennand a desenvolver um estilo artístico próprio. Visa destacar alguns dos elementos que vinculam a obra de Brennand à estética dos mestres das vanguardas europeias, por meio dos temas que lhe foram recorrentes e das filosofias adotadas no processo de desen...
A tecnologia Second Life® acrescentou-lhe um outro atributo, a imersibilidade, que é fundamental ao projecto Cidade e Espectáculo: uma visão da Lisboa pré-terramoto, na medida em que não se pretende apenas tornar visível e interactivo um... more
A tecnologia Second Life® acrescentou-lhe um outro atributo, a imersibilidade, que é fundamental ao projecto Cidade e Espectáculo: uma visão da Lisboa pré-terramoto, na medida em que não se pretende apenas tornar visível e interactivo um discurso interpretativo da história de Lisboa na primeira metade do século XVIII, ou criar uma mais dinâmica e tecnicamente sofisticada iconografia da cidade, mas utilizar a dimensão do virtual como instrumento metodológico e estrutura da construção e da comunicação desse discurso, maximizando um dos componentes de toda a imagem e representação ocidental, o simulacro, ou seja a capacidade de projectar no mundo uma ausência física, algo de que não existe modelo a imitar, que pertence às ideias e/ou às emoções, que pode substituir “a própria realidade mediante a simulação do real”1. Deste modo, porque o virtual é o possível, o pensamento do possível2, este projecto possibilitará uma aproximação, fundamentada em critérios científicos, a uma realidade física já desaparecida através da criação do seu simulacro virtual, a Lisboa destruída pela catástrofe de 1755, cuja pesquisa tem estado limitada à relativa fragmentação e abstracção do discurso narrativo e ao formato bidimensional de mapas, desenhos e gravuras.info:eu-repo/semantics/publishedVersio
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The digital re-creation of a past city represents more than a mere depiction of its historical awareness; it also represents its imaginability. In retrospect, the imaginability of the city corresponds to the outcome of various perceptions... more
The digital re-creation of a past city represents more than a mere depiction of its historical awareness; it also represents its imaginability. In retrospect, the imaginability of the city corresponds to the outcome of various perceptions that we have acquired of it over time, and which currently confers us with a certain degree of accuracy in its readability. The imaginability of the city is therefore a determining factor in virtually re-creating the latter and subsequently converting it into a memoryscape. This theory can be validated by the specific case study of Lisbon, Portugal, which has during the last few years been the subject of at least four projects that sought to virtually re-create the city’s past. Despite presenting themselves distinctively with different technological applications, the four projects held the same starting point; the great Lisbon earthquake of 1755 (a major disruptive event in its history), and were all focused on presenting the cityscape that was los...
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... Helena Murteira Centro de História de Arte e Investigação Artística Universidade de Évora CHAIA Lisboa, Portugal hmurteira@vodafone.pt Paulo Rodrigues Centro de História de Arte e Investigação Artística Universidade de Évora CHAIA... more
... Helena Murteira Centro de História de Arte e Investigação Artística Universidade de Évora CHAIA Lisboa, Portugal hmurteira@vodafone.pt Paulo Rodrigues Centro de História de Arte e Investigação Artística Universidade de Évora CHAIA Lisboa, Portugal psr@uevora.pt ...
Research Interests: Computer Science, Art History, Portuguese, International Trade, Politics, and 15 moreArchitectural History, Second Life, Heritage Visualization, Earthquake, Cyber Archaeology, Earthquakes, Arquitetura e Urbanismo, Baroque, Cyberarchaeology, Eartquake, Cidade de Lisboa, Architeture, Lisboa urbanismo arquitectura, Lisbon, and Cultural Dimension
Research Interests: Art, Painting, Decorative Arts, Plutarch, Cinema, and 5 morePintura, Iconografia, Pintura De Historia, Plutarco, and movie theater
On 1 November 1755 Lisbon suffered a major earthquake of catastrophic consequences. On its ruins, a reticular, regular plan gave shape to a new city. The study of pre-earthquake Lisbon has always been hindered by the scarcity of reliable... more
On 1 November 1755 Lisbon suffered a major earthquake of catastrophic consequences. On its ruins, a reticular, regular plan gave shape to a new city. The study of pre-earthquake Lisbon has always been hindered by the scarcity of reliable documentary sources and their fragmentary character. The project City and Spectacle: a vision of pre-earthquake Lisbon enabled the processing and examining of all the relevant data about the old city in a comprehensive and all-inclusive manner, through the use of virtual worlds technology. By means of a multi-sensory simulation of the lost city, taking into consideration its urban, architectural, social and cultural aspects, the scientific community is now able to produce knowledge on the subject and share it in an interactive and immersive environment in real time. Therefore, the scope of the research was not only widened but also transformed in terms of its methodological and epistemological paradigm.
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This paper reviews the development of Costa do Sol, as planned by architect urbanist Alfred-Donat Agache, for Lisbon Region in Portugal. The Plano Expansão Região Oeste de Lisboa (1934-1936) prepared by Agache and requested by Portuguese... more
This paper reviews the development of Costa do Sol, as planned by architect urbanist Alfred-Donat Agache, for Lisbon Region in Portugal. The Plano Expansão Região Oeste de Lisboa (1934-1936) prepared by Agache and requested by Portuguese Minister of Public Works, Duarte Pacheco will be analyzed. This paper aims also to identify the principles and the theoretical foundations that have determined Agache urban vision for Lisbon City and its Territory. Finally, this paper aims to demonstrate that Alfred-Donat Agache methodological ...
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A partir da citação da obra O Culto da Arte em Portugal de Ramalho Ortigão (1836-1915), publicado em 1896, que antecede o início do texto A Nossa Casa de Raul Lino (1879-1974), publicado em 1918, procede-se a uma análise comparativa dos... more
A partir da citação da obra O Culto da Arte em Portugal de Ramalho Ortigão (1836-1915), publicado em 1896, que antecede o início do texto A Nossa Casa de Raul Lino (1879-1974), publicado em 1918, procede-se a uma análise comparativa dos dois textos com a finalidade de demonstrar que A Nossa Casa pretende formular a definição dos valores que devem pautar o desenvolvimento de uma arquitectura simultaneamente moderna e identitária, como forma de combater o perigo da desnacionalização da arquitectura portuguesa. Vai fazê-lo a partir da enunciação da problemática feita por Ramalho Ortigão em O Culto da Arte em Portugal e do exemplo da tipologia da casa de habitação. Deste modo, propõe-se uma leitura e interpretação do texto de Raul Lino num enquadramento temporal mais amplo, isto é na sequência directa do diagnóstico das artes em Portugal realizado por Ramalho Ortigão ainda no século XIX, e na interrogação que esta obra coloca sobre a possibilidade da modernidade criar uma arte que refle...
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A prática do restauro monumental em Évora no século XIX é demonstrativa como esta foi uma atividade de complexa pluralidade metodológica, cujos objetivos ultrapassaram frequentemente a simples conservação da estrutura e dos elementos... more
A prática do restauro monumental em Évora no século XIX é demonstrativa como esta foi uma atividade de complexa pluralidade metodológica, cujos objetivos ultrapassaram frequentemente a simples conservação da estrutura e dos elementos arquitetónicos ou a recuperação de um pretenso estilo artístico puro e original. Implicaram também uma intervenção mais profunda e abrangente, de adaptação do espaço dos monumentos a novas funcionalidades, em consonância com as necessidades funcionais do presente, ou incluindo a modernização e o arranjo estético das áreas urbanas em que estavam inseridos. Assim sucedeu com o templo romano e a regularização e arborização da área em redor, com o restauro da Igreja de São Francisco e a remodelação da Galeria das Damas, ou com o Aqueduto da Água da Prata. Em todos estes exemplos, o restauro arquitetónico foi parte integrante do processo de renovação urbana de algumas zonas da cidade a partir da Regeneração
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The influence of positivist philosophy on Portuguese intellectuals became evident from the 1870s. In a very symptomatic way, this influence exerted itself on the dearest values of romantic culture: nationalism. Indeed, it is in texts by... more
The influence of positivist philosophy on Portuguese intellectuals became evident from the 1870s. In a very symptomatic way, this influence exerted itself on the dearest values of romantic culture: nationalism. Indeed, it is in texts by authors for whom the positivist doctrine is most discernible that we find nationalist romantic idealism (based on a deitistic or metaphysical transcendence) is progressively replaced by a patriotic spirit rebuilt accord ing to the parameters of positive science. In other words, it was based on a reading of History that now privileged the impermeable certainty of facts assessed by a methodology taken from natural science. It was believed that on the basis of a positive historiography, nationalism could achieve its main aim since romanticism: the regeneration of the nation – a belief deriving from the primordial objective of the positivist interpretation of social phenomena, the regeneration of societies. Within this context, and as had already been th...
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Em Lisboa, no século XIX, durante a campanha de restauro do Convento da Madre de Deus, edifício fundado no século XVI, no capitel de uma das colunas de um dos claustros, foi esculpido um comboio a vapor, a entrar num túnel. Pretendemos... more
Em Lisboa, no século XIX, durante a campanha de restauro do Convento da Madre de Deus, edifício fundado no século XVI, no capitel de uma das colunas de um dos claustros, foi esculpido um comboio a vapor, a entrar num túnel. Pretendemos demonstrar que não se tratou de um equívoco, mas da figuração de um detalhe explicitamente moderno que funcionasse como dispositivo temporal que distinguisse as alterações introduzidas pelo restauro das pré-existências, em linha com o restauro filológico de Camillo Boito, mesmo quando as primeiras recriavam o estilo arquitetónico original do edifício, em conformidade com os princípios do restauro estilístico de Eugène-Emmanuel Viollet-le-Duc. Num restauro ainda dominado pela doutrina de Viollet-le-Duc, representará um primeiro impacte da receção das ideias de Boito em Portugal.
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This transdisciplinary research is framed by the fields of heritage and socially engaged Art and Design. This work stems from a set of projects developed and supported by the Aga Khan Foundation Portugal, alongside two Portuguese public... more
This transdisciplinary research is framed by the fields of heritage and socially engaged Art and Design. This work stems from a set of projects developed and supported by the Aga Khan Foundation Portugal, alongside two Portuguese public universities, namely the University of Évora and the Faculty of Architecture of the University of Lisbon. These two projects, Mais Sul and Catapulta, have as their main objective the migrant populations support in the metropolitan area of Lisbon, specifically in Oeiras and Sintra Municipalities, through the identification and mapping of techniques, arts, and crafts developed by migrants from their cultural heritage, which are rarely known and valued. Another objective is to enhance arts and crafts as a way to improve livelihoods, and through that we foster the creation of design workshops, contributing to the sociocultural participation of people but also to build social cohesion and local economic growth. The article introduces the grassroots methodology for mapping, the relational and dialogical process, including the data collection process and tools resulting from the case studies.
A corrosion product rarely reported in the literature has been found on the copper support of three miniature paintings of the 17th and 18th centuries. This product, which has been identified as dicoppertrihydroxyformate (Cu2(OH)3HCOO),... more
A corrosion product rarely reported in the literature has been found on the copper support of three miniature paintings of the 17th and 18th centuries. This product, which has been identified as dicoppertrihydroxyformate (Cu2(OH)3HCOO), is an unusual basic copper formate found on copper artifacts. The identification and characterization of dicoppertrihydroxyformate was carried out directly over the corroded surface of the objects, using a nondestructive approach, which combines the integrated use of various microanalytical techniques. Using this approach, it was possible to obtain a set of new reference data about the natural form of Cu2(OH)3HCOO, that will enable its unambiguous identification in other similar objects. In this work, the probable causes that may have contributed to its formation are also discussed.
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Ebook que reúne artigos de diversos especialistas de Portugal, Brasil, Espanha, Itália, França e México, no âmbito das diversas práticas artísticas em/com comunidades. Apresenta-se diversidade de perspectivas conceptuais, projectos... more
Ebook que reúne artigos de diversos especialistas de Portugal, Brasil, Espanha, Itália, França e México, no âmbito das diversas práticas artísticas em/com comunidades.
Apresenta-se diversidade de perspectivas conceptuais, projectos práticos, reflexões de índole metodológica e trabalhos académicos em curso.
Apresenta-se diversidade de perspectivas conceptuais, projectos práticos, reflexões de índole metodológica e trabalhos académicos em curso.
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Lisbon was ruined by a major earthquake on November 1, 1755. Not only the seismic shocks, the tsunami and the fire that followed massively destroyed its urban and architectural tissue, but also its written and iconographic memory was... more
Lisbon was ruined by a major earthquake on November 1, 1755. Not only the seismic shocks, the tsunami and the fire that followed massively destroyed its urban and architectural tissue, but also its written and iconographic memory was seriously curtailed. There is a significant historiography on pre-earthquake Lisbon, particularly dating from the last three decades. However, it was vital to convert this knowledge into a global outlook of the lost city. Virtual archaeology provided the necessary tools, both from a technical and methodological perspective. City and Spectacle: a vision of pre-earthquake was thus devised as a virtual recreation/simulation of all the Lisbon area destroyed by the 1755 earthquake on which the new city was built. Developed at the Centre for Art History and Artistic Research (CHAIA), of the University of Évora, this project aims to recreate the physical, social and cultural dimensions of Lisbon at the eve of the earthquake through the use of Second Life®/OpenSimulator technology. The documentary sources available, either primary or secondary, are being tested in an interactive and immersive model and in a collaborative environment in real time, giving to the project an innovative laboratorial dimension. Also, the fact that users are able to interact with the model and others users in real time is transforming the data itself and, as a result, the object of study. The Lisbon that is being recreating/simulating is not just a working hypothesis presented as a glimpse into the collective memory, but also a creation of the contemporaneous fruition of this memory.
ERRATUM: in the sub-chapter "Historical Research on Pre-Earthquake Lisbon" (p.153), where it reads " 385 square miles" it should read "1.5 square Kilometres".
ERRATUM: in the sub-chapter "Historical Research on Pre-Earthquake Lisbon" (p.153), where it reads " 385 square miles" it should read "1.5 square Kilometres".
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In the extensive universe of urban iconography between the seventeenth century and the eighteenth century, Lisbon stands out as a paradigmatic example of the Portuguese reality. This paper aims to analyze the different representations of... more
In the extensive universe of urban iconography between the seventeenth century and the eighteenth century, Lisbon stands out as a paradigmatic example of the Portuguese reality. This paper aims to analyze the different representations of Lisbon during this long period by establishing the relationship between the imagined city (Myth) and the projected city (Reason).
The image of Lisbon from the late medieval period to the second half of the eighteenth century develops from depictions, still very much subject to drafting, to the more realistic representations in which is established a clear visual connection between the most emblematic buildings.
In the sixteenth century, the images of Lisbon convey a narrative that unfolds from the hill-top Castle to the Cathedral, in the city centre maze, and the Royal Palace on the riverbank. The Castle symbolizes the foundational moment of the Christian city, the Cathedral embodies the power of the Church and the Royal Palace represents the Crown’s dominion over the sea and its navigation. Throughout the seventeenth century and early eighteenth century, the Royal Palace plays the main role in the depictions of Lisbon, becoming the main visual and symbolic element of the city.
The 1755 earthquake generated a vast number of images of Lisbon during the disaster, in its majority of a fantasist nature. Depictions centred on the “poetics of the ruins” followed these, emphasizing the catastrophe’s dramatic appeal. Some are of crucial importance for the study of pre-earthquake Lisbon as they depict with some accuracy the ruined buildings. The assertive character of the rebuilding enterprise carried out soon after the catastrophe is patent on the many plans and building elevations designed by the Portuguese military engineering for the new Lisbon. The rational character of these plans led to a new idealization of Lisbon, plain in the prints, paintings and illustrations that portray an imagined rebuilt city, as with the Travels in Portugal (1795) by James Murphy. From this moment, the regularity of the new Lisbon and the monumentality of the Commerce Square (Praça do Comércio) was emphasized, namely with the laydown of the equestrian statue of king D. José I (1714 - 77), conveying the idea of a reformed order after the chaos under the authority of the monarch.
The image of Lisbon from the late medieval period to the second half of the eighteenth century develops from depictions, still very much subject to drafting, to the more realistic representations in which is established a clear visual connection between the most emblematic buildings.
In the sixteenth century, the images of Lisbon convey a narrative that unfolds from the hill-top Castle to the Cathedral, in the city centre maze, and the Royal Palace on the riverbank. The Castle symbolizes the foundational moment of the Christian city, the Cathedral embodies the power of the Church and the Royal Palace represents the Crown’s dominion over the sea and its navigation. Throughout the seventeenth century and early eighteenth century, the Royal Palace plays the main role in the depictions of Lisbon, becoming the main visual and symbolic element of the city.
The 1755 earthquake generated a vast number of images of Lisbon during the disaster, in its majority of a fantasist nature. Depictions centred on the “poetics of the ruins” followed these, emphasizing the catastrophe’s dramatic appeal. Some are of crucial importance for the study of pre-earthquake Lisbon as they depict with some accuracy the ruined buildings. The assertive character of the rebuilding enterprise carried out soon after the catastrophe is patent on the many plans and building elevations designed by the Portuguese military engineering for the new Lisbon. The rational character of these plans led to a new idealization of Lisbon, plain in the prints, paintings and illustrations that portray an imagined rebuilt city, as with the Travels in Portugal (1795) by James Murphy. From this moment, the regularity of the new Lisbon and the monumentality of the Commerce Square (Praça do Comércio) was emphasized, namely with the laydown of the equestrian statue of king D. José I (1714 - 77), conveying the idea of a reformed order after the chaos under the authority of the monarch.
Research Interests: History, Art History, Heritage Studies, Eighteenth Century History, Architectural History, and 12 moreDigital Heritage, Virtual Worlds, Virtual Reality, Cities, Lisbon (Portugal), Cidade de Lisboa, Lisboa urbanismo arquitectura, History of Architecture and Town Planning, Lisbon Earthquake, Pombaline Architecture, Earthquake 1755, and Architecture and Town Planning
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"João Vieira. No princípio era o verbo", exposição organizada pela Câmara Municipal do Montijo em Julho de 2008 (catálogo).
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Internacional Conference 9 and 10 November 2017, Lisbon Sociedade de Geografia de Lisboa, Auditório Adriano Moreira Considering that digital technology is increasingly advancing and at the centre of daily life; taking into account... more
Internacional Conference 9 and 10 November 2017, Lisbon
Sociedade de Geografia de Lisboa, Auditório Adriano Moreira
Considering that digital technology is increasingly advancing and at the centre of daily life; taking into account that the former is adopting a prominent role in the study, preservation and divulging of Cultural Heritage to a wide-ranging audience; given the multitude of innovations that arise in digital technology almost daily; noting the limited application of digital heritage resources in Portugal, in contrast to what takes place outside our borders, in particular in Spain, we invite Iberian specialists to examine and discuss the relationship between these two seemingly different and distant universes, i. e. cultural heritage and digital technology. What is Digital Heritage, how to shape it, where to apply it, its purpose, whom it serves and who decides, that is what we will discuss during the working sessions of this International Conference.
TOPICS
• Digital Heritage: theoretical context and historiographic perspectives.
• The impact of the digital on archaeology and history: research policies and professional practices.
• Digital Heritage: potentialities and challenges in the areas of education and tourism.
• The place of the museum and the archive in the digital era: digital repositories, museum installations, virtual recreations/representations (3D, augmented reality, mixed reality);
• Digital heritage and the knowledge city.
Sociedade de Geografia de Lisboa, Auditório Adriano Moreira
Considering that digital technology is increasingly advancing and at the centre of daily life; taking into account that the former is adopting a prominent role in the study, preservation and divulging of Cultural Heritage to a wide-ranging audience; given the multitude of innovations that arise in digital technology almost daily; noting the limited application of digital heritage resources in Portugal, in contrast to what takes place outside our borders, in particular in Spain, we invite Iberian specialists to examine and discuss the relationship between these two seemingly different and distant universes, i. e. cultural heritage and digital technology. What is Digital Heritage, how to shape it, where to apply it, its purpose, whom it serves and who decides, that is what we will discuss during the working sessions of this International Conference.
TOPICS
• Digital Heritage: theoretical context and historiographic perspectives.
• The impact of the digital on archaeology and history: research policies and professional practices.
• Digital Heritage: potentialities and challenges in the areas of education and tourism.
• The place of the museum and the archive in the digital era: digital repositories, museum installations, virtual recreations/representations (3D, augmented reality, mixed reality);
• Digital heritage and the knowledge city.
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This project aims to recreate the memory of Lisbon destroyed by the 1755 earthquake using Second Life® technology. The project started with the recreation of the palace complex (the Royal Palace, the Patriarchal and the Opera House) given... more
This project aims to recreate the memory of Lisbon destroyed by the 1755 earthquake using Second Life® technology. The project started with the recreation of the palace complex (the Royal Palace, the Patriarchal and the Opera House) given its political and architectural significance in the context of pre‐earthquake Lisbon. The royal palace was built in the early 16th century and became the most iconic element of the city until its destruction in 1755. It is featured in most panoramic representations of Lisbon in the early modern period. These depictions allow us to recreate with a high degree of accuracy the exteriors of the Palace and its urban context, particularly the eastern façade extending alongside the Terreiro do Paço. However, the same cannot be said of the northern and western blocks and the inner courts. For the latter, we are more dependent on the documentary and literary sources, as well as on the rebuilding plans drawn after the earthquake. For the interiors, the documentary sources are even scarcer. There is only a detailed description of the Royal Palace in the early 18th century, which reached us via a transcript published in a book in the first half of the 19th century. The use of Second Life® technology and its open source version OpenSimulator allow us to overcome the scarcity of sources without compromising a rigorous scientific research. These technologies enable us to test the available documentary sources in a 3D interactive and immersive model. Replacing the classic 3D modelling tools, they favour the coordination of researchers in the verification of historical hypothesis, allowing the update of the object of study in real time. They also provide to a broader public the immersion in a lost urban reality in a context of social interaction, thus promoting the didactic and leisure dimensions of the project.
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This paper reviews the development of Costa do Sol, as planned by architect urbanist Alfred-Donat Agache, for Lisbon Region in Portugal. The Plano Expansão Região Oeste de Lisboa (1934-1936) prepared by Agache and requested by Portuguese... more
This paper reviews the development of Costa do Sol, as planned by architect urbanist Alfred-Donat Agache, for Lisbon Region in Portugal. The Plano Expansão Região Oeste de Lisboa (1934-1936) prepared by Agache and requested by Portuguese Minister of Public Works, Duarte Pacheco will be analyzed. This paper aims also to identify the principles and the theoretical foundations that have determined Agache urban vision for Lisbon City and its Territory. Finally, this paper aims to demonstrate that Alfred-Donat Agache methodological framework has applied Frederick Le Play socio-economic scientific approach. Such approach has informed the construction of a ‘civic’ urbanism that will be identified and analyzed. Two main goals seem to have guided Agache work at Costa do Sol: (i) the fully urban analysis of the city, throughout its social, economic, geographic and urban conditions (past and present) and (ii) the need to expose such analysis to the city’s inhabitants. Finally, this paper demonstrates Costa do Sol proposal to testify a comprehensive understanding of three distinct scales: (i) the territory; (ii) the city; (iii) but also the urban form. The acknowledgment of Agache ‘civic’ urban vision requests a public divulgation to allow the building of Good Practice Lessons for contemporary urban planning theory and practice.
University of Évora (Portugal), July 4, 5 and 6 of 2018
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Call of Papers: Museums, Discourse and Power
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Reflecte-se sobre como a conservação patrimonial pode também ser uma intervenção ou acção criativa desenvolvida a partir de uma permanência cultural, desde que esta seja a forma mais eficaz de manter ou restaurar a memória de uma... more
Reflecte-se sobre como a conservação patrimonial pode também ser uma intervenção ou acção criativa desenvolvida a partir de uma permanência cultural, desde que esta seja a forma mais eficaz de manter ou restaurar a memória de uma realidade do passado no presente e de demonstrar o seu significado.
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A partir da citação da obra O Culto da Arte em Portugal de Ramalho Ortigão (1836-1915), publicado em 1896, que antecede o início do texto A Nossa Casa de Raul Lino (1879-1974), publicado em 1918, procede-se a uma análise comparativa dos... more
A partir da citação da obra O Culto da Arte em Portugal de Ramalho Ortigão (1836-1915), publicado em 1896, que antecede o início do texto A Nossa Casa de Raul Lino (1879-1974), publicado em 1918, procede-se a uma análise comparativa dos dois textos com a finalidade de demonstrar que A Nossa Casa pretende formular a definição dos valores que devem pautar o desenvolvimento de uma arquitectura simultaneamente moderna
e identitária, como forma de combater o perigo da desnacionalização da arquitectura portuguesa. Vai fazê-lo a partir da enunciação da problemática feita por Ramalho Ortigão em O Culto da Arte em Portugal e do exemplo da tipologia da casa de habitação. Deste modo, propõe-se uma leitura e interpretação do texto de Raul Lino num enquadramento temporal mais amplo, isto na sequência directa do diagnóstico das artes em Portugal realizado por Ramalho Ortigão ainda no século XIX, e na interrogação que esta obra coloca sobre a possibilidade da modernidade criar uma arte que refletisse o carácter do seu tempo como as artes do passado reflectiam as circunstâncias das épocas que as tinham produzido.
e identitária, como forma de combater o perigo da desnacionalização da arquitectura portuguesa. Vai fazê-lo a partir da enunciação da problemática feita por Ramalho Ortigão em O Culto da Arte em Portugal e do exemplo da tipologia da casa de habitação. Deste modo, propõe-se uma leitura e interpretação do texto de Raul Lino num enquadramento temporal mais amplo, isto na sequência directa do diagnóstico das artes em Portugal realizado por Ramalho Ortigão ainda no século XIX, e na interrogação que esta obra coloca sobre a possibilidade da modernidade criar uma arte que refletisse o carácter do seu tempo como as artes do passado reflectiam as circunstâncias das épocas que as tinham produzido.
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Resumo – A partir da tese dos dois corpos do rei de Ernst H. Kantorowicz, que separa o corpo político, simbólico e imortal do monarca do seu corpo natural e mortal, os autores analisam a função icónica das representações de Alexandre da... more
Resumo – A partir da tese dos dois corpos do rei de Ernst H. Kantorowicz, que separa o corpo político, simbólico e imortal do monarca do seu corpo natural e mortal, os autores analisam a função icónica das representações de Alexandre da Macedónia nas artes visuais entre os séculos XVI e XVIII. Demonstram como no período considerado, a figura de Alexandre personificou as qualidades atribuídas pela literatura política, desde o final da Idade Média, ao rei ideal. A identificação de Alexandre com a figura do rei ideal levou a que os episódios da sua vida, tal como foram narrados por Plutarco nas Vidas Paralelas e por outros autores da Antiguidade, tenham sido temas recorrentes na pintura e na tape‐ çaria, representados com uma clara intenção propagandística de afirmação do poder real.
Abstract – Based on Ernst H. Kantorowicz’s thesis of the King’s two bodies, witch separates the monarch politic, symbolic and immortal body of the natural and mortal, the authors discuss the iconic role of Alexander of Macedonia representations in the Visual Arts between the 16th and 18th centuries. They demonstrate how, in the con‐ sidered time frame, the figure of Alexander embodied the qualities attributed by the political literature to the ideal King since the Late Middle Ages. The identification of Alexander with the figure of the ideal King led to a recurrent presence of the episodes of his life, as recounted by Plutarch in the Parallel Lives and by other ancient authors, in painting and tapestry, in which they were represented with a clear propagandistic intent of affirmation of the royal power.
Abstract – Based on Ernst H. Kantorowicz’s thesis of the King’s two bodies, witch separates the monarch politic, symbolic and immortal body of the natural and mortal, the authors discuss the iconic role of Alexander of Macedonia representations in the Visual Arts between the 16th and 18th centuries. They demonstrate how, in the con‐ sidered time frame, the figure of Alexander embodied the qualities attributed by the political literature to the ideal King since the Late Middle Ages. The identification of Alexander with the figure of the ideal King led to a recurrent presence of the episodes of his life, as recounted by Plutarch in the Parallel Lives and by other ancient authors, in painting and tapestry, in which they were represented with a clear propagandistic intent of affirmation of the royal power.
Research Interests:
The doctoral program HERITAS -Heritage Studies of the University of Évora and the Faculty of Fine Arts of the University of Lisbon, under the framework of the 2014 Fundação para a Ciência e Tecnologia (FCT) Doctoral... more
The doctoral program HERITAS -Heritage Studies of the University of Évora and the Faculty of Fine Arts of the University of Lisbon, under the framework of the 2014
Fundação para a Ciência e Tecnologia (FCT) Doctoral Programmes Grants opens a call for applications to 9 research grants. The doctoral program HERITAS – Heritage Studies is based on a network of four doctoral programmes, constituted by the doctoral programmes of Architecture
(University of Évora), Fine Arts, with specializations in Museology, Conservation and Restoration and Art Sciences (Faculty of Fine Arts), History (University of Évora) and History of Art (University of Évora).
Fundação para a Ciência e Tecnologia (FCT) Doctoral Programmes Grants opens a call for applications to 9 research grants. The doctoral program HERITAS – Heritage Studies is based on a network of four doctoral programmes, constituted by the doctoral programmes of Architecture
(University of Évora), Fine Arts, with specializations in Museology, Conservation and Restoration and Art Sciences (Faculty of Fine Arts), History (University of Évora) and History of Art (University of Évora).
Research Interests:
Integrado nas comemorações dos 200 anos da Universidade Federal do Rio de Janeiro, tem como objetivo afirmar a História como ferramenta operacional da contemporaneidade, e criar uma consciência do passado ativo da Cidade assumida como... more
Integrado nas comemorações dos 200 anos da Universidade Federal do Rio de Janeiro, tem como objetivo afirmar a História como ferramenta operacional da contemporaneidade, e criar uma consciência do passado ativo da Cidade assumida como chão e palco da construção das identidades culturais, através das seguintes vertentes:
a. A História da Arte assumida como plataforma transversal às
diferentes culturas visuais,
b. A Arquitetura assumida como imagem de marca da cidade,
c. O Paisagismo assumido como compromisso ético com o território,
d. O Património assumido como a ação do passado no presente, com potencial econômico, e vetor estruturante do futuro da cidade.
Para concretizá-lo foram convidados especialistas de Universidades Brasileiras e Portuguesas, responsáveis pelas sessões do curso, contribuindo com Leituras Cruzadas da Arte e da Cidade através das visões e das abordagens da História da Arte, da Arquitetura, do Paisagismo e do Património: http://www.paisagenshibridas.com.br/leitura_crz.html
a. A História da Arte assumida como plataforma transversal às
diferentes culturas visuais,
b. A Arquitetura assumida como imagem de marca da cidade,
c. O Paisagismo assumido como compromisso ético com o território,
d. O Património assumido como a ação do passado no presente, com potencial econômico, e vetor estruturante do futuro da cidade.
Para concretizá-lo foram convidados especialistas de Universidades Brasileiras e Portuguesas, responsáveis pelas sessões do curso, contribuindo com Leituras Cruzadas da Arte e da Cidade através das visões e das abordagens da História da Arte, da Arquitetura, do Paisagismo e do Património: http://www.paisagenshibridas.com.br/leitura_crz.html
Research Interests:
https://ler.letras.up.pt/site/default.aspx?qry=id024id1674&sum=sim Cities in the digital age: exploring past, present and future The city is by definition a living entity. It translates itself into a collectiveness of individuals who... more
https://ler.letras.up.pt/site/default.aspx?qry=id024id1674&sum=sim
Cities in the digital age: exploring past, present and future
The city is by definition a living entity. It translates itself into a collectiveness of individuals who share and act on a material, social and cultural setting. Its history is one of dreams, achievements and loss. As such, it also bears a history of identity. To know the history of cities is to understand our own place in contemporaneity.
The past is always seen through the eyes of the present and can only be understood as such.
Time erases or changes memory through development and disaster. Cities can simply disappear because they lost their status in society, suffered severe catastrophes or transformed themselves so radically that their history is no longer materially traceable. They can also exemplary absorb the built and cultural heritage through rehabilitation and re-use. Archaeologists, historians, art historians, geographers, anthropologists and sociologists try to decipher and interpret a diverse but comparable amount of data in order to translate remote realities into a contemporaneous discourse. The more interconnected the research is the more efficient it becomes.
Digital technology is playing a major role in the study of the city and the preservation of its built and cultural heritage. It allows the collecting, processing and testing of an extensive amount of data in a swift and proficient manner. It also fosters an integrative perspective of the study of the city as it favours interdisciplinary research teams to work collaboratively, often in real time. Digital technology applied to the study of cities and their cultural heritage not only widens the scope of the research, but also allows its dissemination in an interactive fashion to an extensive and diverse audience.
Through the intersection of digital technology with historical practice it is possible to convey a perspective of the past as a sensorial-perceptive reality. The resulting knowledge furthers the understanding of the present-day city and the planning of the city of the future. Cities in the digital realm are, therefore, presented in their historical continuum, in their comprehensive and complex reality and are opened to interaction in a contemporary social context.
This text was the motto for the conference Lost and Transformed Cities: a digital perspective, which took place in Lisbon from the 17th to the 18th of November 2016.
This event was successful in gathering researchers with different backgrounds, most of them young authors and professionals, working on the city as heritage/history, communication, planning and education in the context of the interplay with digital technology and its relentless advancement.
A selection of these contributions is presented in this book. This selection allows a threefold outlook on the city and a methodological challenge, i.e. the study of the historic city as the subject of analysis of multiple digital perspectives; the viewing and exploring of the city and its memory as a virtual museum and the impact of the digital on the creation of a contemporary urban identity. These perspectives encompass big cities and small towns; they spread from the South Mediterranean to Central Europe and from Europe to other parts of the world. This book aims for diversity in the proposed fields of research, methodologies, case studies and geography, seeking those lost and transformed cities through a digital perspective.
Cities in the digital age: exploring past, present and future
The city is by definition a living entity. It translates itself into a collectiveness of individuals who share and act on a material, social and cultural setting. Its history is one of dreams, achievements and loss. As such, it also bears a history of identity. To know the history of cities is to understand our own place in contemporaneity.
The past is always seen through the eyes of the present and can only be understood as such.
Time erases or changes memory through development and disaster. Cities can simply disappear because they lost their status in society, suffered severe catastrophes or transformed themselves so radically that their history is no longer materially traceable. They can also exemplary absorb the built and cultural heritage through rehabilitation and re-use. Archaeologists, historians, art historians, geographers, anthropologists and sociologists try to decipher and interpret a diverse but comparable amount of data in order to translate remote realities into a contemporaneous discourse. The more interconnected the research is the more efficient it becomes.
Digital technology is playing a major role in the study of the city and the preservation of its built and cultural heritage. It allows the collecting, processing and testing of an extensive amount of data in a swift and proficient manner. It also fosters an integrative perspective of the study of the city as it favours interdisciplinary research teams to work collaboratively, often in real time. Digital technology applied to the study of cities and their cultural heritage not only widens the scope of the research, but also allows its dissemination in an interactive fashion to an extensive and diverse audience.
Through the intersection of digital technology with historical practice it is possible to convey a perspective of the past as a sensorial-perceptive reality. The resulting knowledge furthers the understanding of the present-day city and the planning of the city of the future. Cities in the digital realm are, therefore, presented in their historical continuum, in their comprehensive and complex reality and are opened to interaction in a contemporary social context.
This text was the motto for the conference Lost and Transformed Cities: a digital perspective, which took place in Lisbon from the 17th to the 18th of November 2016.
This event was successful in gathering researchers with different backgrounds, most of them young authors and professionals, working on the city as heritage/history, communication, planning and education in the context of the interplay with digital technology and its relentless advancement.
A selection of these contributions is presented in this book. This selection allows a threefold outlook on the city and a methodological challenge, i.e. the study of the historic city as the subject of analysis of multiple digital perspectives; the viewing and exploring of the city and its memory as a virtual museum and the impact of the digital on the creation of a contemporary urban identity. These perspectives encompass big cities and small towns; they spread from the South Mediterranean to Central Europe and from Europe to other parts of the world. This book aims for diversity in the proposed fields of research, methodologies, case studies and geography, seeking those lost and transformed cities through a digital perspective.
Research Interests: Art History, Architecture, Digital heritage in architecture, Digital cities, Virtual Archaeology, and 6 moreDigital preservation (Cultural Heritage), Digital Cultural Heritage, Museum and Heritage Studies, Cyberarchaeology, History of Architecture and Town Planning, and Digitalisation of Cultural Heritage
Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the city by offering modes of recollection and... more
Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the city by offering modes of recollection and perspectives that capture both multi-sensory and multi-layered aspects of urban context. As such, they offer new empirically grounded research on the experiences of the inhabitants, both past and present, whether individually or as a collective. With a focus on the city as a space that is performed by a host of actants reaching across time through both materiality and memory, the authors critically address modes through which visual, audible , and multi-sensory representations can challenge, diversify or uproot conventions of urban representation. Four projects. Four takes on making representations of a city.
Research Interests:
Desde a sua génese, a revista MIDAS tem privilegiado um olhar sobre a museologia enquanto campo de cruzamentos interdisciplinares, que se vai construindo e beneficiando dos métodos e abordagens de várias disciplinas. É este o caminho que... more
Desde a sua génese, a revista MIDAS tem privilegiado um olhar sobre a museologia enquanto campo de cruzamentos interdisciplinares, que se vai construindo e beneficiando dos métodos e abordagens de várias disciplinas. É este o caminho que temos trilhado e que fica igualmente patente neste novo número, o décimo. Pensado como número aberto (“Varia”), e sendo o resultado das propostas recebidas e do crivo da revisão por pares, este novo número apresenta diferentes enfoques e contributos – da história da ciência, à antropologia, à história e arquitetura de museus, e é igualmente diverso nas geografias que cobre: de Portugal, passando pela Argentina e pelo Brasil.