Abstract

Abstract
Cooperative environments to support Software Development (CSD) have as main goal to enable several users connected over network to work together in order to develop software. They have to solve problems such as: coherence maintenance of the software project through the distributed system by managing possible conflicts between local versions of each group member and promote the necessary mechanisms for the inter-group awareness and integrity We introduce in this paper a distributed solution to support CSD by describing our own prototype: a Computer-Supported Cooperative Work (CSCW) architecture for software development. It enables a group of developers (2 to 4), possibly located at remote places and connected over network, to develop software together. A cooperative multimedia editing environment is available during the development cycle, enclosing mechanisms of computer-conferencing (text, audio and video communications).

Abstract

Abstract
In the last decade, an increasing number of techniques have been developed to reproduce high dynamic range imagery on traditional displays. These techniques, known as Tone Mapping Operators (TMOs), have been compared and ranked in different ways according to several image characteristics. However, none of these algorithms has been developed specifically for small screen devices (SSD). In this paper, we present an evaluation of currently used TMOs to show that SSDs with limited size, resolution and colour depth require specific research to find or create an appropriate solution. The research described in this paper is based on psychophysical experiments; using three different types of displays (CRT, LCD and SSD). The obtained results show that rankings obtained are similar for the LCD and CRT but are significantly different for the SSD. Furthermore, these rankings show additionally that some characteristics of TMOs need to be emphasized to obtain better high-fidelity mapped images for SSDs.

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.