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- Review: audio/visual makings. Practice-based research, post-digital hybridisation & techno-criticismPublication . Gago, AnaAnchored by the Pedro Ferreira’s own practice-based research, Audiovisual Disruption: Post-Digital Aesthetics in Contemporary Audiovisual Arts (2024) explores critical making as a way to address the impact(s) of digital technologies, in/through contemporary arts, and IRL. In this sense, the book’s theoretical-conceptual foundation, carefully set throughout its initial chapters, proceeds to be (de)materialized in the analysis of artistic projects that explore post-digital hybridisation, thus, challenging static categories of digital aesthetics, referenced from the analysis of Christiane Paul and Alexander Galloway. When trying to avoid insider-outsider, on and off, and other meta-existentialistic dichotomies, the author positions himself (as well as his audio/visuo/logical work/s) somewhere in between: media, medium, arts and techno-criticism. In this review, we synthesize Pedro Ferreira’s perspective, briefly relating it to other critical approaches, namely the idea of “multiple makings”, as proposed by Simon Bowen, and Tim Ingold’s “ways of making”.
- Poesis, system, and sensorial regeneration: a conversation with Abbas ZahediPublication . Fleisher, GuyThe work of Abbas Zahedi (b. 1984) operates in the space between social action, biological systems, and aesthetic experience. Drawing from his former training as a medical doctor, Zahedi creates immersive, relational frameworks—often employing sound and ritual—that poetically address collective trauma, systemic failures, and the contemporary sense of precarity. This interview explores the artist’s unique trajectory, from a background rooted in protocols of care to the design of his artistic systems and methodologies, examining how his practice reclaims sensorial experience and artifice as indispensable tools to generate genuine connection and communal support, from both an artistic and experiential point of view.
- Editorial: V17 N2Publication . Natálio, Carlos; Balona, Alexandra; Amorim, João Pedro; Branco, Sara Castelo
- Modos de produção e ensino superior de cinema: estudo comparativo entre Moçambique e PortugalPublication . Alves, Pedro; Nhachote, RosalinaO ensino superior orienta-se pelos desafios advindos de cada realidade profissional, social e cultural. Deve ser capaz de produzir conhecimento e desenvolver capacidades nos estudantes que desemboquem em respostas capazes às suas vidas profissionais futuras. O cinema não é exceção a esta regra. Os modos de produção cinematográficos de cada contexto requerem competências e respostas específicas das universidades às exigências e à história da cinematografia local, regional ou nacional. E deve também proporcionar ou construir uma participação ativa, produtiva e exitosa dos estudantes nesse panorama. Neste artigo procuraremos desenhar um mapa dos modos de produção de cinema em Moçambique e Portugal, visando o seu percurso histórico e a resposta pedagógica proporcionada por duas das principais instituições de ensino superior lecionando cinema nos dois países (Instituto Superior de Artes e Cultura de Moçambique e Escola das Artes da Universidade Católica Portuguesa) aos desafios colocados pelos mesmos.
- O espaço público na obra de Zulmiro de CarvalhoPublication . Abreu, José GuilhermeO presente texto visa estudar, analisar e discutir a obra pública de Zulmiro de Carvalho, definindo-se a mesma como a série de peças acessíveis, sem restrições, à receção pública, quer as mesmas se encontrem, em permanência ou temporariamente, em espaços públicos ou privados, exteriores ou interiores, sendo o livre acesso e a integração das obras onde a vida flui as condições diferenciadoras. O estudo das obras públicas de Zulmiro de Carvalho implica, por isso, uma indagação dupla. Por um lado, analisar como as obras que se integram no espaço público. Por outro, sondar como o espaço público se repercute nas obras. Se é verdade que esta dialética é válida para todas as produções artísticas que elegem o espaço público como lugar de implantação. No caso da obra pública de Zulmiro de Carvalho, torna-se imperioso considerar a mesma, já que a obra do escultor é eminentemente site-specific, na medida que é a partir da visão e da compreensão do lugar que o escultor concebe a sua obra. Foi por isso opção, analisar todas as obras públicas de Zulmiro, da escultura pública de caráter civil, até à obra de arte de expressão sagrada, permitindo assim apurar a consistência e a coerência da arte de Zulmiro de Carvalho.
- A antiga igreja paroquial de Ramalde: intervenção de conservação e restauroPublication . Vieira, Eduarda; Rodrigues, Rita
- Lola Montès: Max Ophüls's final dive into circularity and repetitionPublication . Natálio, CarlosThis article aims to reflect on the testamentary dimension of Max Ophüls’ last feature film, Lola Montès, from a research context that seeks to understand the thematic, narrative, and stylistic traits of film directors’ last films. Through a mobilisation of Gilles Deleuze’s concept of crystal image, and a film analysis of the work and comparison with other important Ophüls films, this paper argues that the constant movement of the characters and the filmmaker’s camera throughout his body of work is, in this testament film, transformed into an infernal circularity in which its protagonist is imprisoned. This movement without escape, based on the circularity of the circus arena in which Lola is held captive, is ultimately a way of portraying the decadence and exploitation of mass entertainment culture in its logic of capture, exploitation and commodification of its “human products.” The culmination of circularity and repetition in this capture is associated with the degradation of both the living performative body of Lola and the figure of its director Max Ophüls, given that Lola Montès was not only a very difficult film to direct but also very poorly received at the time of its release.
- The sexual self-esteem inventory - short form (SSEI-SF): factor structure of the scale for the Portuguese populationPublication . Mendes, Liliana; Leonido, Levi; Carvalho, Inês; Barbosa, Ana; Martins, Ana; Ribeiro, Maria; Morgado, Elsa GabrielIntroduction. Sexuality plays a pivotal role in human life, shaping individuals’ perceptions and practices, known as sexual self-esteem, which significantly influences attitudes and behaviours. Aim. This study aimed to examine the factor structure and reliability of the Sexual Self-Esteem Inventory (SSEI) in its abbreviated form for the Portuguese population, considering five distinct aspects: Skill/Experience, Attractiveness, Control, Moral Judgment, and Adaptiveness. Method. A cross-sectional, quantitative, comparative, and correlational study with a quasi-experimental design was conducted. A total of 901 individuals aged 18 to 39 years (M = 25.52, SD = 6.27), predominantly female (67.8%), participated in the study. The factor structure was analysed via exploratory factor analysis, and instrument reliability was assessed using Cronbach’s alpha. Results. The exploratory factor analysis yielded 24 items organized into four factors – Emotional Readiness, Competence and Experience, Attractiveness, and Adaptiveness - explaining 51.99% of the total variance. All factors exhibited good internal consistency. Conclusion. Thus, the inventory demonstrated adequate factor structure and reliability and is deemed suitable for assessing self-perceptions regarding sexuality across four dimensions in a Portuguese sample.
- Cinematographic resonances: points of contact and overflows in the definition of experimental-structural cinema alongside the cinematic oeuvre of Narcisa Hirsch and Rose LowderPublication . Vargas, Paola VelaExperimental cinema, understood here as a porous concept originating in the Western world, grew a structuralist offshoot, which influenced the production of specific movies made in Latin America, which distanced themselves from Third Cinema, a popular movement of the 60s and 70s. Within this subculture, and immediately afterwards in the 80s and 90s, two filmmakers and visual artists sprang into view: Narcisa Hirsch, born in Berlin, but working and filming in Argentina; and Rose Lowder, born in Lima and working in France. At first glance, it could be said that their films dialog with the styles and the goals of what has been known as structural film, a movement of the English-speaking world. However, these two filmmakers, having taken this movement as their starting point, refused to adhere to its norms. This allows us to reflect upon the filmic resonances of their work while also transcending the confines of structural film. In order to accomplish this, we must first define experimental and structural film, citing both Western and Latin American authors, such as Duncan Reekie, A. L. Rees, P. Adams Sitney, Peter Gidal, Juan Pablo Lattanzi, Andrea Giunta and Silvestre Byron. Secondly, we shall analyze Lowder and Hirsch's filmic oeuvre while drawing on various other authors. In so doing, we shall unlock new perspectives of two key female actors, who propose a transformation of cinematic language, putting into question no only how the images of cinema might be perceived, but also how the concept of experimental cinema can be understood within Latin America or outside of it.
- AYA - I Am Not Afraid of You: combining assessment tools for evaluating a theater of the oppressed workshopPublication . Chagas, Lorena de Oliveira; Baltazar, André; Moreno, Ana Filipa; Bines, Rosana Kohl; Oliveira-Silva, Patrícia; Sá, CristinaThis interdisciplinary study investigates the transformative potential of the workshop AYA—I Am Not Afraid of You (“Aya—Não tenho medo de ti”), an innovative program that employs Theater of the Oppressed techniques to enhance well-being and empower young women. Participants engaged in collaborative and expressive activities to address and reframe experiences of oppression, fostering personal growth and collective resilience. A comprehensive mixed-method evaluation—integrating qualitative reflections, observational insights, surveys, and psychophysiological data—assessed the workshop’s influence on emotional well-being, reduction of reactiveness, and empowerment. The workshop took place in Porto, Portugal, with a small, purposefully selected sample of nine young Lusophone women, of Portuguese and Brazilian nationalities. While small in scale and diversity, the study demonstrates how such assessments can be adapted across cultural contexts. Results indicated improvements in well-being and embodied emotional indicators.