Centro de Investigação em Ciência e Tecnologia das Artes (CITAR)
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Browsing Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) by Sustainable Development Goals (SDG) "16:Paz, Justiça e Instituições Eficazes"
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- Conservation and fruition of the Côa Valley Rock Art, stakeholders and communities engagement processesPublication . Pinto, Mariana Durana; Aubry, Thierry; Vieira, Eduarda
- Economic impact of healthcare cyber risksPublication . Brilhante, M. Fátima; Mendonça, Sandra; Pestana, Pedro; Rocha, M. Luísa; Santos, RuiPurpose: The healthcare sector is a primary target for cybercriminals, with health data breaches ranking among the most critical threats. Despite stringent penalties imposed by the U.S. Department of Health and Human Services Office for Civil Rights (OCR), vulnerabilities still persist due to slow detection and ineffective data protection measures. On the other hand, as organizations are often reluctant to disclose security breaches for fear of reputational and market share losses, penalties can serve as a useful proxy for quantifying losses and insurance claims. Methods: This study analyzes fines and settlements (2008–2024) using the traditional lognormal, general extreme value (GEV) and other heavy-tailed statistical models, including the geo-max-stable loglogistic law, and also the mixture models hyperexponential and hyperloglogistic. Results: Mixture models, either the hyperexponential or the hyperloglogistic, deliver the best fit for OCR penalties, and for yearly maxima, the best fit is achieved with the GEV distribution. Regarding Attorneys General fines, the hyperexponential model is optimal, with the GEV model excelling again for their yearly maxima. Hence, mixture models effectively capture the dual nature of penalty data, comprising clusters of moderate and extreme values. However, yearly maxima align better with the GEV model. Conclusions: The findings suggest that while Panjer’s theory for aggregate claims suffices for moderate claims, it must be supplemented with strategies to address extreme cybercrime scenarios, ensuring insurers and reinsurers can manage severe losses effectively.
- El arte público y sus especificidadesPublication . Abreu, José GuilhermeBased on the assumption that Public Art is a principle for enhancing and improving collective environment (Lorraine Cox, 1996), our communication is focused on the problem of the distinction between Public Art and Contemporary Art practices and aims. Thought as a principle for enhancing the collective environment, Public Art engages an opportunity and a stimulus for the advance and the expansion of the public sphere, by allowing citizen participation and increasing social interaction. Because it functions as device for the registration of passed memories or prospecting utopias. Because it attempts to impart a more human sense of collective life. Because it expands the present communication media in the public space beyond advertising or signage that visually pollutes it (J. Maderuelo, 2001), the implementation of public art programs designed for and within a given community, improves community life and allows that our cities become spaces of conviviality and socio- cultural interaction (M. Miles, 1997). This paper intents to point out and to critically analyze different forms and processes of intervention and citizen interaction that are strictly specific to Public Art, both in historical periods and in more recent times, which help to distinguish its conceptual models (S. Armajani, 1999) and its production processes and means (A. Remesar, 1997). First of all, we shall point out some historical forms of civic participation, such as public subscriptions. Secondly, we will refer to, and discuss, some recent public art programs in Portugal, in which different forms of collective and community interaction endorsed by specific cases will be considered, as for instance the International Museum of Contemporary Sculpture of Santo Tirso, in the field of pedagogical approach aiming to help artistic perception and aesthetical awareness, and Paredes Public Art Circuit, in the field of creating community involvement programs, implemented during its programming period.
- Museos virtuales y la construcción descolonial de narrativas artísticasPublication . Teixeira, Luís; Medina, RobertoLos museos virtuales emergen como plataformas de resistencia cultural y transformación al romper con las estructuras tradicionales de los museos físicos. El uso de tecnologías digitales en el tratamiento de colecciones de arte permite reconfigurar narrativas históricas y descolonizar epistemologías, ofreciendo una alternativa al centralismo institucional. La interactividad y la flexibilidad de los museos virtuales favorecen una didáctica más plural y horizontal, al dar voz a públicos diversos y estimular su participación activa en la reorganización simbólica de las colecciones. A través de la ampliación de detalles visuales, es posible establecer conexiones intertextuales entre períodos históricos y culturas diversas, promoviendo análisis comparativos y abriendo nuevos caminos interpretativos en la enseñanza del arte. Esta propuesta destaca la libertad de acción creativa que permiten los museos virtuales. A través de ellos, se deconstruyen discursos normativos e imponen nuevas prácticas artísticas y educativas, basadas en la pluralidad cultural y en la resistencia a las lógicas hegemónicas. De este modo, los visitantes virtuales, lejos de ser espectadores pasivos, se convierten en agentes activos en la construcción de significados, redibujando, a partir de sus vivencias y contextos, una cartografía artística que acoge las diferencias.En este escenario, los museos virtuales funcionan como espacios de “reexistencia”, donde las narrativas silenciadas son recuperadas y celebradas. Al desplazar los centros de poder, ofrecen una respuesta resiliente y transformadora a lo inhumano contemporáneo, al tiempo que introducen nuevas metodologías en la enseñanza del arte y permiten la emergencia de epistemologías nómadas y relacionales.
- To MaryamPublication . Ribas, DanielIn a form of a letter, the text explores the works of Iranian artist and filmmaker Maryam Tafakory.