Travels to the Côa Valley. Discovering a lost gallery of stone age art

info:eu-repo/semantics/publishedVersio

O que pensam da terapia pessoas que nunca foram ao psicólogo? Um estudo sobre crenças e reciprocidade

Dissertação de Mestrado, Psicologia (Área de Especialização em Psicologia Clínica e da Saúde - Psicologia Clínica Sistémica), Universidade de Lisboa, Faculdade de Psicologia, 2020Segundo a Organização Mundial de Saúde quatro das dez principais causas de incapacidade em todo o mundo são devido a perturbações mentais ou comportamentais. Em Portugal 1/5 dos seus habitantes sofre de uma perturbação psiquiátrica. Com a saúde mental a aparecer como uma necessidade, o presente estudo tem como objetivo identificar crenças, expectativas, fatores de motivação e de retração relativamente à terapia e à relação terapêutica em indivíduos que nunca tiveram contacto com um contexto terapêutico. Foram feitas entrevistas semiestruturadas, aplicadas a 8 participantes (4 do sexo masculino, 4 do sexo feminino), com uma média de idades de 37 anos e posteriormente foi realizada uma análise temática com recurso ao programa NVivo12. Os resultados sugerem que, embora haja um reconhecimento crescente pelo trabalho do psicólogo, existe ainda um grande espaço entre as perceções (aquilo que julgam ser a terapia) e as preferências (aquilo que gostavam que fosse) dos participantes desta investigação, os quais tendem a considerar a terapia como uma opção pouco viável para dar resposta a possíveis necessidades futuras.According to the World Health Organization, four of the top ten main causes of disability worldwide are due to mental or behavioral disorders. In Portugal 1/5 of its population suffer from a psychiatric disorder. With mental health appearing as a necessity, the present study aims to identify beliefs, expectations, motivation and withdrawal factors regarding therapy and the therapeutic relationship in individuals who have never had contact with a therapeutic context. Semi-structured interviews were carried out, applied to 8 participants (4 males, 4 females), with an average age of 37 years, and subsequently a thematic analysis was performed using the NVivo12 program. The results suggest that, although there is a growing recognition for the psychologist's work, there is still a large gap between the perceptions (what they think the therapy is) and their preferences (what they would like it to be), of the participants in this investigation, which they tend to consider therapy as a poorly viable option to meet possible future needs

Opis zatvorene piometre u divljoj svinji (Sus scrofa, Linnaeus 1758.)

Pyometra is a pus accumulation in the uterine lumen. This paper reports an unusual case of pyometra in a female Sus scrofa of Parque Biologico de Gaia (Avintes, Portugal). The animal was of advanced age, and the clinical signs (e.g., anorexia, lethargy) were originally associated with geriatric conditions. The animal presented a large uterus, which likely further contributed to the locomotion difficulties and poor body condition. To the extent of our knowledge, this is the first report of a close pyometra in wild boar (Sus scrofa, Linnaeus, 1758). However, this diagnosis must be taken into account during uterine evaluation and special attention must be given to its inspection in meat animals.Piometra je akumulacija gnoja u lumenu maternice. U ovom radu, autori su opisali neobičan slučaj piometre u ženke divlje svinje (Sus scrofa) iz biološkog parka Parque Biologico de Gaia. (Avintes, Portugal). Životinja je bila već stara, a vidljivi klinički znaci (npr. anoreksija, letargija) izvorno su pripisani gerijatrijskom stanju. Životinja je imala veliku maternicu, koja je vjerojatno doprinijela poteškoćama u kretanju i lošim stanjem organizma. Prema saznanjima autora, ovo je prvi prikaz slučaja o zatvorenoj piometri u divlje svinje (Sus scrofa, Linnaeus, 1758.). Ovu je dijagnozu potrebno uzeti u obzir prilikom procjene maternice i posebnu bi pozornost trebalo posvetiti njezinom ispitivanju u životinja koje se koriste u ishrani ljudi

Identification of organic material in Los Buitres 1 rock art shelter, Badajoz, Spain

This research aimed to characterize the chemical and mineralogical nature of prehistoric painted figures from the Los Buitres 1 rock shelter and to identify organic material from the pigment samples. MicroRaman spectroscopy and ATR-FTIR analysis were made. Four pigment samples were selected: three red and one dark-red granules of pigment. Micro-Raman spectroscopy was applied to determine the mineralogical composition of selected samples while ATR-FTIR was applied in order to identify organic material present in each. Samples 1 and 2 are almost identical and registered montmorillonite being present. Analyses by ATRFTIR points to organic components in sample 3 while sample 4 was identified as burnt umber. A comparison with a nearby shelter with the same organic compounds in the same type of figure causes some alarms to sound due to the possibility that a real pigment recipe has been in use in the same region for the same time spectrum.El objetivo de esta investigación ha sido caracterizar la naturaleza química y mineralógica del pigmento empleado en los motivos esquemáticos prehistóricos de la cueva de Los Buitres 1 (Capilla, Badajoz), y tratar de identificar la presencia de materia orgánica en su composición. Para ello se han realizado análisis de espectroscopia Micro-Raman y ATR-FTIR sobre cuatro muestras de pigmento, tres de pigmento rojo y una más también roja, aunque de tonalidad más oscura. Se aplicó la espectroscopia Micro-Raman para determinar la composición mineralógica de las muestras seleccionadas, mientras que el ATR-FTIR se aplicó para determinar la presencia de materia orgánica presente en cada una de ellas. Destacar que las muestras 1 y 2 son casi idénticas y registraron la presencia de montmorillonite. Por su parte, los análisis por ATR-FTIR señalaron la presencia de componentes orgánicos en la muestra 3, mientras que la muestra 4 se caracterizó como ocre oscuro quemado. La comparación con los pigmentos empleados en el arte rupestre esquemático de un abrigo cercano, en donde han sido identificados los mismos componentes orgánicos en similares tipologías figurativas, invita a considerar la posibilidad de que nos encontremos con una suerte de “receta” para preparar el pigmento que debió estar en uso en este territorio durante un periodo cronológico concreto

A app das Ciências Participativas: das práticas ancestrais à produção de conhecimento

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Negative effects of the COVID-19 pandemic on physical activity and binge eating disorder in Brazilian women: a cross-sectional study

ABSTRACT This study aimed to identify changes in physical activity, sitting time, and binge eating disorder in Brazilian women during the COVID-19 pandemic. A cross-sectional and retrospective study was conducted online on 150 Brazilian women adults. The prevalence of binge eating and physically inactive women increased during the COVID-19 pandemic (p = 0.05). In conclusion, the pandemic affected Brazilian women’s lifestyle and eating behavior

Projeto TURARQ - Turismo Arqueológico para Territórios de Baixa Densidade do Médio Tejo

Apresentação do projeto TurArq, que tem como objetivo principal promover o turismo científico e cultural em territórios de baixa densidade do Médio Tejo português (municípios de Abrantes, Constância, Mação, Tomar e Vila Nova da Barquinha), gerando riqueza e novos empregos, apostando no usufruto presencial do património arqueológico e nos meios de divulgação digital. O projeto pretende contribuir para uma gestão patrimonial integrada na região, a fixação de capital humano, a mobilização de recursos dedicados à sua capacitação e a valorização do património existente. Visa ainda promover o desenvolvimento comunitário, a coesão do território e a sua preservação, numa lógica de sustentabilidade.Os autores agradecem ao projeto “Contratação de Recursos Humanos Altamente Qualificados - Territórios do interior - Entidades Não Empresariais do Sistema I&I” (Centro-04-3559-Fse-000158), financiado pelo Fundo Social Europeu e pelo Instituto Politécnico de Tomar. Trabalho financiado por fundos nacionais através da Fundação para a Ciência e Tecnologia (Fct), no âmbito dos projetos Uid/00073//2020 (Cgeo), Uid/05488/2020 (Techn&Art) e Uid/05567/2020 (Ci2)info:eu-repo/semantics/publishedVersio

ARKEOGAZTE ALDIZKARIA n°11 : Animaliak historiaurreko artean

International audienceThe animal selection and/or representation is a marker that clearly demonstrates the relationship between humans and the environment. It also implies an idea of appropriation and separation at the same time between humans and animals based on the awareness and the ability to symbolically represent something (VALERA et al., 2014).Concerning the rock art itself, we see in it “a record of changing environment. Alongside that is a record of how human beings responded to that environmental change” (CHIPPINDALE and NASH, 2004: 9). These changes are present in the selected themes and animals are a main subject to investigate human adaptation and their relationship with the environment and the landscape. When referring to the landscape, we refer to the social construct, well defined by Nash and Chippindale (2002: 6), that “is developed within each and everyone’s minds”. Indeed, it culturally relies on the mechanics of the mind, though it is natural in its physical construction and is certain in its location (CHIPPINDALE and TAÇON, 1998; CHIPPINDALE and NASH, 2004b).Therefore, we use this topic, focusing on the Basin of the Mediterranean Sea and its various catchments that surround it. In this work, we define two main chronological stages within a wider prehistoric past, each characterised by a unique set of zoomorphic figures. This special issue of Revista ArkeoGazte Aldizkaria is the first volume of two. It draws on research of a series of case studies on animal figures in prehistoric rock art. This research covers a range of different locations including Portugal, Spain, France, Italy, Norway, Negev, Gobustan, Egypt and different chronologies, together with the Palaeolithic portable art collection of central Europe. It aims to be a valid support for further studies.The contributing authors provide a synthesis about the animal depictions in rock art sites, address the diversity of rock art sites and animal depictions as well as the variety of approaches that the studies of animal depictions have undergone in the Mediterranean and surrounding areas.The second volume, currently in progress, will complement the missing chronologies and areas of study, finally providing a full picture of the animal figures in prehistoric rock art around the Mediterranean basin and the surrounding regions. This process clearly shows how the environment strongly influenced socio-economic systems and culture.The present issue is organised into two sections: hunting-fishing-gathering societies and agrarian societies; each address their respective local chronological sequences, allowing for the subject matter to be placed into a wider context; for example, animals as hunted prey, totemic animals, animal as part of a group narrative, animals as a palaeoclimatic and social marker and animals as cultural and ritual identity with each context applying both wider and narrower themes of investigation to the study.The volume starts with Mario Reis’s contribution about the Palaeolithic rock art of Portugal. This country, in recent years has assumed a major role in Palaeolithic rock art with its richness in open air sites, opposed to the presence of only one decorated cave. The paper offers a first quantification, by type and chronology, of the animal figures recognised so far in Palaeolithic art sites in Portugal. This paper is naturally followed by “Zoomorphic figures in the open-air Palaeolithic rock art of Spain” by Carlos Vázquez Marcos. Indeed, the technical and morpho-stylistic characteristics of the artistic representations discussed by this author have strong bonds with Palaeolithic parietal and mobile art of Portugal, more specifically with the one of the Côa valley. 7 sites mainly dated between Solutrean and Magdalenian periods and between the second half of the Tardiglaciar and the Early Holocene are described here.Keeping the focus on the Pleistocene art, we move westwards to central Europe, where, despite the presence of few and still debated parietal art evidence, there is a rich record of portable art since the Aurignacian, with the ivory figures of the Swabian Jura. In her contribution, Ewa Dutkiewicz, provides a discussion about representations of animals, taking into account the different raw materials, themes and comparing the faunal material of some of the sites where the portable art has been found, with animals used for daily survival.The second section includes two contributions about the Holocene rock art of Italy and France. In the last years, both Renata Grifoni Cremonesi and Anna Maria Tosatti have been dedicating their research to the study of the post-Palaeolithic rock art of the Apennine. Within their contribution, authors offer a systematic documentation and discussion of the known data about the animal figures in the Holocene art of Italy, excluding Valcamonica, which will have a dedicated space in the next issue. The list of the sites has strikingly increased in last years and has further confirmed the maintenance of place value through the time, with resignifications in historical times and connections with other areas. One of this, which is mentioned along the text and played a key role is the Mt. Bego in France. So, it comes Claudia Defrasne’s paper about the zoomorphic figures in the post-palaeolithic rock art of France, including the famous site at the border with Italy, the Mt. Bego. Despite providing a quantificationof the animal figures, author approaches the relationship between human and non-human animals.Looking into the catchments surrounding the Mediterranean Sea, the contribution by Heidrun Stebergløkken takes into account two sites in central Norway to demonstrate how complex and dynamic the creation of rock art can be, suffering a potential resignification that reflects changes of the narratives, by adding or transforming images on the rocks. Jumping on the southern bank of the Mediterranean, Pawel Polkowski introduces the rock art of Egypt. This country, mostly known for its monumental archaeology, preserves a consistent prehistoric heritage too, including rock art as well. The author briefly offers an overview and characterisation of the main periods of rock art production, from the late Palaeolithic one of Qurta, to the Naqada period with the first agricultural societies. Within the palaeoenvironmental frame, the topic of animal is then discussed. Moving east to the Mediterranean Sea we have the Negev rock art, described in the paper by Davida Eisenberg-Degen, Lior Schwimer, Liora Kolska Horwitz and Ifat Shapira. Their contribution focuses on camel subject from four surveyed areas in the Negev to demonstrate how stylistic changes over time maybe related to transformations in the economic exploitation of this animal and possibly to the introduction of a different camel breed associated with population movement into the region. The ninth and last paper is the one about an impressive open air rock art site at the gates of Asia, Gobustan in Azerbaijan. Sevinc Shirinli and Rǝhman Abdullayev review the previous literature about this open air rock art site including generalised, chronological, interpretative and stylistic approaches, focusing on the animal topic.The editors are grateful to the authors for providing such wide-ranging and stimulating contributionsand to the many anonymous reviewers who gave up their time to assist with the volume’s production

REVISTA ARKEOGAZTE / ARKEOGAZTE ALDIZKARIA N. 11. Animals in prehistoric art; Los animales en el arte prehistórico; Animaliak historiaurreko artean

International audienceThe animal selection and/or representation is a marker that clearly demonstrates the relationship between humans and the environment. It also implies an idea of appropriation and separation at the same time between humans and animals based on the awareness and the ability to symbolically represent something (VALERA et al., 2014).Concerning the rock art itself, we see in it “a record of changing environment. Alongside that is a record of how human beings responded to that environmental change” (CHIPPINDALE and NASH, 2004: 9). These changes are present in the selected themes and animals are a main subject to investigate human adaptation and their relationship with the environment and the landscape. When referring to the landscape, we refer to the social construct, well defined by Nash and Chippindale (2002: 6), that “is developed within each and everyone’s minds”. Indeed, it culturally relies on the mechanics of the mind, though it is natural in its physical construction and is certain in its location (CHIPPINDALE and TAÇON, 1998; CHIPPINDALE and NASH, 2004b).Therefore, we use this topic, focusing on the Basin of the Mediterranean Sea and its various catchments that surround it. In this work, we define two main chronological stages within a wider prehistoric past, each characterised by a unique set of zoomorphic figures. This special issue of Revista ArkeoGazte Aldizkaria is the first volume of two. It draws on research of a series of case studies on animal figures in prehistoric rock art. This research covers a range of different locations including Portugal, Spain, France, Italy, Norway, Negev, Gobustan, Egypt and different chronologies, together with the Palaeolithic portable art collection of central Europe. It aims to be a valid support for further studies.The contributing authors provide a synthesis about the animal depictions in rock art sites, address the diversity of rock art sites and animal depictions as well as the variety of approaches that the studies of animal depictions have undergone in the Mediterranean and surrounding areas.The second volume, currently in progress, will complement the missing chronologies and areas of study, finally providing a full picture of the animal figures in prehistoric rock art around the Mediterranean basin and the surrounding regions. This process clearly shows how the environment strongly influenced socio-economic systems and culture.The present issue is organised into two sections: hunting-fishing-gathering societies and agrarian societies; each address their respective local chronological sequences, allowing for the subject matter to be placed into a wider context; for example, animals as hunted prey, totemic animals, animal as part of a group narrative, animals as a palaeoclimatic and social marker and animals as cultural and ritual identity with each context applying both wider and narrower themes of investigation to the study.The volume starts with Mario Reis’s contribution about the Palaeolithic rock art of Portugal. This country, in recent years has assumed a major role in Palaeolithic rock art with its richness in open air sites, opposed to the presence of only one decorated cave. The paper offers a first quantification, by type and chronology, of the animal figures recognised so far in Palaeolithic art sites in Portugal. This paper is naturally followed by “Zoomorphic figures in the open-air Palaeolithic rock art of Spain” by Carlos Vázquez Marcos. Indeed, the technical and morpho-stylistic characteristics of the artistic representations discussed by this author have strong bonds with Palaeolithic parietal and mobile art of Portugal, more specifically with the one of the Côa valley. 7 sites mainly dated between Solutrean and Magdalenian periods and between the second half of the Tardiglaciar and the Early Holocene are described here.Keeping the focus on the Pleistocene art, we move westwards to central Europe, where, despite the presence of few and still debated parietal art evidence, there is a rich record of portable art since the Aurignacian, with the ivory figures of the Swabian Jura. In her contribution, Ewa Dutkiewicz, provides a discussion about representations of animals, taking into account the different raw materials, themes and comparing the faunal material of some of the sites where the portable art has been found, with animals used for daily survival.The second section includes two contributions about the Holocene rock art of Italy and France. In the last years, both Renata Grifoni Cremonesi and Anna Maria Tosatti have been dedicating their research to the study of the post-Palaeolithic rock art of the Apennine. Within their contribution, authors offer a systematic documentation and discussion of the known data about the animal figures in the Holocene art of Italy, excluding Valcamonica, which will have a dedicated space in the next issue. The list of the sites has strikingly increased in last years and has further confirmed the maintenance of place value through the time, with resignifications in historical times and connections with other areas. One of this, which is mentioned along the text and played a key role is the Mt. Bego in France. So, it comes Claudia Defrasne’s paper about the zoomorphic figures in the post-palaeolithic rock art of France, including the famous site at the border with Italy, the Mt. Bego. Despite providing a quantificationof the animal figures, author approaches the relationship between human and non-human animals.Looking into the catchments surrounding the Mediterranean Sea, the contribution by Heidrun Stebergløkken takes into account two sites in central Norway to demonstrate how complex and dynamic the creation of rock art can be, suffering a potential resignification that reflects changes of the narratives, by adding or transforming images on the rocks. Jumping on the southern bank of the Mediterranean, Pawel Polkowski introduces the rock art of Egypt. This country, mostly known for its monumental archaeology, preserves a consistent prehistoric heritage too, including rock art as well. The author briefly offers an overview and characterisation of the main periods of rock art production, from the late Palaeolithic one of Qurta, to the Naqada period with the first agricultural societies. Within the palaeoenvironmental frame, the topic of animal is then discussed. Moving east to the Mediterranean Sea we have the Negev rock art, described in the paper by Davida Eisenberg-Degen, Lior Schwimer, Liora Kolska Horwitz and Ifat Shapira. Their contribution focuses on camel subject from four surveyed areas in the Negev to demonstrate how stylistic changes over time maybe related to transformations in the economic exploitation of this animal and possibly to the introduction of a different camel breed associated with population movement into the region. The ninth and last paper is the one about an impressive open air rock art site at the gates of Asia, Gobustan in Azerbaijan. Sevinc Shirinli and Rǝhman Abdullayev review the previous literature about this open air rock art site including generalised, chronological, interpretative and stylistic approaches, focusing on the animal topic.The editors are grateful to the authors for providing such wide-ranging and stimulating contributionsand to the many anonymous reviewers who gave up their time to assist with the volume’s production

As criptomoedas : enquadramento jurídico

Em 2008 Satoshi Nakamoto publicou um artigo com os fundamentos para um novo sistema de pagamentos que permitisse efetuar transações sem a necessidade de existir uma entidade central que as verificasse e processasse. Este sistema denominado bitcoin foi criado no ano seguinte e permitiu a redução dos custos associados a transações internacionais, uma maior rapidez na transferência das mesmas e o anonimato tanto dos emitentes como dos destinatários. Caraterizado por ser uma rede peer-to-peer (ponto-a-ponto) veio substituir o tradicional servidor central por um registo público de transações (Blockchain), permitindo, assim, que todos os indivíduos tenham acesso à informação de todas as transações efetuadas desde a sua criação sem, contudo, se conseguir identificar os emitentes e os destinatários. Este sistema baseado na criptografia tem suscitado inúmeras questões. Assim, é nossa intenção abordar as diversas problemáticas surgidas, no contexto nacional e europeu, comparativamente com os EUA que se encontram significativamente mais avançados no que à regulamentação diz respeito. Importa desde logo averiguar a categorização do bitcoin, que tem sido por vezes confundida, utilizando-se as expressões de moeda digital, moeda virtual e criptomoeda com o mesmo sentido, o que se demonstra erróneo, uma vez que estas definem moedas com caraterísticas distintas. De igual modo, a definição do bitcoin continua por esclarecer, havendo diversos entendimentos sobre o seu enquadramento legal, o qual constitui um ponto central para se estabelecer a regulamentação aplicável. Por outro lado, sendo um sistema recente acarreta alguns riscos, os quais são potenciados pela inexistência de regulamentação, nomeadamente no que concerne ao combate ao branqueamento de capitais e ao financiamento do terrorismo.In 2008 Satoshi Nakamoto published an article with the foundations for a new payment system that would allow transactions without the necessity of having a central entity that verified and processed them. This system, called bitcoin, was created the following year and allowed the reduction of the costs associated with international transactions, faster transactions and the anonymity of both issuers and recipients. Characterized as a peer-to-peer network, it replaced the traditional central server with a public transaction record (Blockchain), thus allowing all individuals to have access to the information of all the transactions performed since its creation without, however, being able to identify the issuers and the recipients. This system based on cryptography has raised many questions. It is therefore our intention to address the various issues that have arisen in the national and European context compared to the US that are significantly more advanced regarding regulations. It is important to ascertain the categorization of bitcoin, which has sometimes been confused, using digital currency, virtual currency and crypto-currency with the same meaning, which is proven wrong, since they define currencies with different characteristics. Likewise, the definition of bitcoin remains unclear, with a number of understandings of its legal definition, which is a key point in establishing the applicable regulations. On the other hand, being a recent system entails some risks, which are boosted by the lack of regulation, in particular the fight against money laundering and the financing of terrorism