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This dataset consists in replication data for the study “A Study on the Conceptual Structure of the Use of Prepositions in the Complement of Goal-oriented Motion Verbs in Brazilian Portuguese”, in which based on a usage-feature analysis and using corpus-based and multivariate statistical methods, we analyze the use of the prepositions a ‘at’, para ‘to’, and em ‘in’ to introduce the complement of ir ‘to go’, vir ‘to come’ and chegar ‘to arrive’ in BP. The results show that there is a tendency for the use of a ‘at’ in the most formal and monitored register. The factors ‘profiling’ and ‘verb’ are the most important language-internal predictors. Action and neutral profiled events are more associated with the use of para ‘to’, while locative profiled events are more associated with the use of em ‘in’. The verb chegar ‘to arrive’ is more associated with the use of em ‘in’. We highlight that (i) the variation investigated has a cognitive basis, in addition to the linguistic and extralinguistic acting factors pointed out by previous studies, and (ii) the variation of prepositions conveys alternative construals; thus, the very high frequency of em ‘in’ next to the goal-oriented motion verbs indicates nuances of meaning motivated by the superimposition of image schemas and the cognitive operation of profiling. This dataset consists of 459 occurrences of goal-oriented motion verbs in Brazilian Portuguese (ir ‘to go’, vir ‘to come’ or chegar ‘to arrive’) manually annotated according to a set of linguistic, social and cognitive factors. Data were extracted from four BP corpora: (i) C-Oral-Brasil (263,000 words), which includes spontaneous oral language transcripts; (ii) Blogs_Foruns (263,772 words), which includes BP forums from written informal language; (iii) TecEM (234,717 words), which includes texts written by teenagers students during their BP classes in high school; and (iv) Corpus Brasileiro (CB), which consists of only texts classified as journalistic (250,700,829 words) and includes texts from Brazilian newspapers. The archive contains data in an Unicode-encoded text file (Dataset_Motion_Verb_Prep.csv), the statistical analysis script in a txt (R_script_Motion_Verbs_Prep.txt), and a Read Me data in a txt file (00_readme.txt). Methodological information: The four subcorpora were selected to have a sample composed of occurrences with different levels of monitoring, representing a continuum from formal written texts (newspaper/CB) to spontaneous speech (C-Oral), passing through school texts (TecEM) and informal written texts (Blogs_Foruns). This study exclusively considered the constructions that followed the structure “verb (ir ‘to go’, vir ‘to come’ or chegar ‘to arrive’) + {0 up to 3 words} + preposition (a ‘at’, para ‘to’ or em ‘in’) + complement”. First, a random sample of 300 occurrences of each subcorpus was generated through a concordance search; then, the tokens that for some reason did not follow the inclusion criteria were excluded (e.g., sentences in which a was an article and not a preposition, meaning ‘the’ instead of ‘at’; sentences in which the motion verb was an auxiliar and not the main verb). The final dataset consists of 459 tokens.

Museums have increasingly been using digital approaches to explore new ways to provide new experiences with Cultural Heritage (CH). The need for these solutions exploded with the COVID-19 pandemic forcing museums and cultural organizations to move towards a digital transformation to engage their audiences. Although, with a lack of guidelines on how to create eXtended Reality (XR) experiences with multiple perspectives for CH environments. This project aims to provide Museums with novel approaches to include interactive and immersive activities targeted at the cultural assets of their exhibitions and educational activities. Firstly, we will map and critically access current participatory practices in museums; then, we will develop a new methodology for creating and implementing experiences using XR technology in a range of workshops. The concept of multiple perspectives on cultural heritage will be explored through the application of co-creation practices, towards engaging different communities with cultural heritage contents from Serralves Museum.

Virtual Reality (VR) allows to immerse oneself into different realities, into the past, to motive users to virtually visit objects and places. The Porto Cathedral, one of the oldest and most distinct heritage of Porto city, is the starting point to a journey with no linear destination. The building was rebuilt in VR as it was in 1591 A.C. through a collaboration between researchers, artists, and historians. That space will serve as a platform for questioning issues and disturbances that are transversal to human essence, regardless of historical time. The development of Virtual Reality projects does not generally come from the exploration of artistic concepts, especially those anchored in spatial audio composition. So, the project represents an important step in the convergence of those fields.especially those anchored in spatial audio composition. So, the project represents an important step in the convergence of those fields.

Este livro resulta da exposição homónima que, em 2021, inaugurou a Galeria Millennium bcp no Museu Nacional de Arte Contemporânea. Aqui se propõe um novo olhar sobre a narrativa oficial da história da arte e se estabelecem relações inéditas entre vários artistas, com especial enfoque nas obras de Vieira da Silva e de Brion Gysin. A investigação do curador, João Biscainho, coloca em diálogo obras modernistas e contemporâneas que trabalham a representação e a composição espacial enquanto estratégias de notação (de espaços mentais, sonoros, literários e de realidade virtual), juntamente com obras realizadas a partir da actividade eléctrica do cérebro ou do conhecimento das neurociências.INCLUI UM ENSAIO INÉDITO DO NEUROBIÓLOGO SEMIR ZEKIEdição bilingue: português e inglêsCom obras de: Alvin Lucier, Bernhard Leitner, Brion Gysin, Char Davies, Emanuel Dimas de Melo Pimenta, Fernando Lemos, Hélder Rodrigues, Henrique Risques Pereira, Ian Sommerville, Jorge Pinheiro, Manuel D’Assumpção, Maria Helena Vieira da Silva, Paulo Bruscky, Silvestre Pestana, Suzanne Dikker & Matthias Oostrik, Varela Pécurto

In this paper, we are going to talk about the American Mature Animation and how it is changing. First, Animation was only a way of showing something different and new, and with time, started to become more directed towards children, forgetting completely the more Mature audience. Shows like The Flintstones (1960 – 1966) and The Simpsons (1989 – present) helped to open the doors of this recent market, that since the 80’s hasn’t stopped but only more recently it started to explore different genres, such as horror, action and musical. In the last year alone, it was possible to see a big flow of content for this audience thanks to the online streaming services that want to attract more people. As the titles says, this paper is only going to talk about animation in the American context because there are other markets, such as the Asian one, that is more advance, creating content for all the audiences.

In transposing the CDSM Directive, the EU Member States that presently lack a parody exception in their domestic copyright laws are faced with one fundamental choice: either they include a provision allowing for parodic uses only in the context of Article 17, or they implement a general parody defense, covering not only those online acts, but also others, online and offline alike, that are not related to Article 17. This paper argues that the former approach is not compatible with EU copyright law when interpreted in light of the Charter of Fundamental Rights. Instead, those Member States that have no parody exception and that are yet to transpose the Directive, like Cyprus, Greece and Portugal, would be well-advised to use the opportunity provided by the implementation to finally recognise a general parody defense.