Abstract
Toda a obra e pensamento do Padre Manuel Antunes se revestem de características de grande abrangência e de capacidade de abertura à inovação, na perspetiva de que o pensamento crítico, sendo perscrutador do desconhecido, enquanto questiona o conhecimento adquirido ou em pesquisa, não se pode fechar em si mesmo ou separar partes do conhecimento de um todo que constitui o universo, e o homem como parte deste, já que se objetiva a compreensão última do Todo. Encontramos, portanto, traços de transdisciplinaridade na obra e pensamento do Padre Manuel Antunes indicando um pioneirismo relativamente ao movimento da transdisciplinaridade que arranca com o primeiro congresso da área e a respetiva carta daí resultante. Neste artigo, os autores propõem uma análise crítica da obra do Padre Manuel Antunes à luz dos princípios fundacionais encontrados na Carta da Transdisciplinaridade de 1994.;All the work and thought of Father Manuel Antunes are characterized by a wide scope and openness to innovation, in the perspective that all critical thinking, as it searches the unknown while questioning the understanding acquired or still under research, cannot be closed in itself or be separated from the knowledge as a whole that constitutes the universe, of which the human being is part, since the ultimate understanding of the Whole is sought. We find, therefore, traces of transdisciplinarity in the work and thought of Father Manuel Antunes indicating a pioneering spirit with respect to the transdisciplinarity movement that starts with the first congress in this area and the establishment of the respective charter of principles. In this article, the authors propose a critical analysis of the work of Father Manuel Antunes in light of the foundational principles depicted in the Charter of Transdisciplinarity of 1994.

Abstract
The post-digital perspective of contemporaneity is characterized by two fundamental lines of thought that intersect and complement each other by assuming, on the one hand, the inevitability of the omnipresence of digital computer technology in all aspects of life, that is, its concrete ubiquity; and, on the other hand, by noting the emergence of new materiality or rematerialisation in the practices of digital creation in art and culture, where tangible physical materials assume an equal role to the digital while expanding and repositioning it in an aesthetic that is vested with its own distinctive characteristics. In this paper, we present a critical reflection on processes of digital rematerialisation of a set of three textile art artefacts, seeking to convoke for this purpose the theories of the post-digital while proposing and discussing a defining instantiation of post-digital textile aesthetics.

Abstract
The COVID-19 pandemic had the most impact on teaching and learning processes worldwide, particularly considering the traditional universities that base their pedagogic processes on face-to-face teaching. The imposed lockdown implied that suddenly all teaching-learning processes had to move online, which led to increased use of and familiarization with web conferencing technologies, thus intensifying and driving new ways to learn and communicate while launching new or enforcing existing online learning communities. These online learning practices tend(ed) to be adopted after the pandemics, thus establishing unstructured approaches of hybrid pedagogic models integrating both online and face-to-face classroom-based teaching-learning processes. In this talk, we report on online teaching practices during the COVID-19 pandemic in the context of the learning unit Research Methods in Design in the Master Program of Design of the Faculty of Arts and Humanities of the University of Saint Joseph, Macau, China, where we have adopted open distance teaching and learning strategies based on student-student interaction through collaborative learning. Based on this experience, we propose a simplified virtual pedagogic model in view of the post-pandemic teaching and learning scenarios at a face-to-face university like the University of Saint Joseph.

Abstract

Abstract
The Portuguese Open University, together with the University of Algarve, both in Portugal, launched a doctoral program in digital media art taught by a hybrid approach, adopting open distance asynchronous teaching based on an e-learning platform along with face-to-face sessions (doctoral retreats) with the duration of one week at the final of each academic year. This program has been established in 2012 pioneering the innovation of applying asynchronous online teaching in practical and some labour intensive disciplines such are programming sensors or planning art installation exhibitions while creating an online learning community. In this article we aim at presenting the doctoral program by emphasizing not only the overall project but specifically the pedagogic model and strategy adopted while providing examples of concrete teaching/learning scenarios implemented including the doctoral retreats.

Abstract
A perspetiva pós-digital da contemporaneidade caracteriza-se por duas linhas fundamentais de pensamento que se entre cruzam e se complementam, ao assumir, por um lado, a inevitabilidade da onipresença da tecnologia computacional digital em todos os aspetos da vida, ou seja, a sua ubiquidade concreta; e por outro lado, constatar a emergência de uma nova materialidade ou rematerialização nas práticas de criação digital na arte e cultura, onde os materiais físicos tangíveis assumem um papel equiparado ao digital enquanto o expandem e o reposicionam em uma estética que se reveste de características próprias diferenciadoras. Neste artigo apresentamos uma reflexão critica sobre processos de rematerialização digital de um conjunto de três artefactos de arte têxtil, procurando convocar para o efeito as teorias do pós-digital, enquanto se propõe e discute uma instanciação definidora de uma estética têxtil pós-digital.;The post-digital perspective of contemporaneity is characterized by two fundamental lines of thought that intersect and complement each other by assuming, on the one hand, the inevitability of the omnipresence of digital computer technology in all aspects of life, that is, its concrete ubiquity; and, on the other hand, by noting the emergence of new materiality or rematerialisation in the practices of digital creation in art and culture, where tangible physical materials assume an equal role to the digital while expanding and repositioning it in an aesthetic that is vested with its own distinctive characteristics. In this paper, we present a critical reflection on processes of digital rematerialisation of a set of three textile art artefacts, seeking to convoke for this purpose the theories of the post-digital while proposing and discussing a defining instantiation of post-digital textile aesthetics.