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Outdoor stone sculptures are prone to accelerated deterioration caused by the proliferation of microorganisms in the stone. The physical, chemical and mechanical action of microorganisms on stone heritage causes aesthetic and structural changes that devalue the artworks over time. Developing more sustainable and ecological alternatives for their preventive conservation is necessary to reduce the negative environmental and human health impacts of currently used toxic biocides. Chitosan-based coatings cross-linked with citric acid and sodium tripolyphosphate (TPP) were developed for application to stone sculptures, as antimicrobial protection to inhibit the growth of degrading microorganisms. After polymerisation of the formulations, the resulting films were only partially soluble while remaining permeable to water vapour. These characteristics offer the possibility to reverse the conservation treatments, or to re-treat in regular periods, as part of programmed conservation strategies. Bacteria and fungi commonly found in stone microbiomes that contribute to biodeterioration processes were inhibited, particularly the pigment-producing yeast Rhodotorula spp., which causes discolouration of stone surfaces. The most interesting coating was successfully tested on granite, limestone and marble samples, and its presence on the stones' surfaces was confirmed by FTIR and SEM analyses. The chitosan-based coating caused no visible colour changes to the stones and reduced the wettability of granite and limestone, thus representing a potential antimicrobial protective layer for stone cultural heritage.

Interview with José Bogalheiro that seeks to shed light on the personal and professional journey of a major Portuguese figure who dedicated almost half a century to thinking about and teaching cinema in Portugal. Subsidiarily, this interview also reflects on the main theoretical and conceptual lines that have defined the pedagogical proposal of the Lisbon Theatre and Film School (ESTC), as well as the tensions inherent in artistic teaching from a historical and transversal point of view. Entrevista a José Bogalheiro que procura compreender melhor o percurso pessoal e profissional de quase meio século de uma das principais figuras dedicadas ao pensamento e ensino do cinema em Portugal. Subsidiariamente, refletimos também acerca das principais linhas teóricas e conceptuais que definem a proposta pedagógica da Escola Superior de Teatro de Cinema (ESTC), bem como as tensões inerentes ao ensino artístico de um ponto de vista não apenas histórico, mas também transversal.

Landscapes are socially produced and reproduced spaces. This is easily recognizable for large-scale urban groups with built environments that dominate living places. But it also pertains to all types of societies and cultures, even small-scale hunter–gatherers, once the ontological beliefs structuring landscape perception and use are acknowledged. The foragers of south–central and southern California and the Great Basin illustrate this fact. They maintained a widely shared ontological perspective supported by a fundamental cognitive postulate. This is that supernatural power, the principle causative agent in the universe, was differentially distributed among individuals and places. The distribution of power, revealed by certain geomorphological features and natural events, structured their perceptions of landscape. These perceptions were expressed in ritual and symbolism, including petroglyphs and pictographs as durable manifestations of ceremonies on the landscape. The ontological relationship between power and landscape explains a longstanding question in hunter–gatherer archaeology: Why were rock writing sites created at specific locations? It also explains another equally significant but rarely considered and related problem: Why do some localities have massive quantities of rock writings that dwarf most other sites? The landscape symbolism of and the placement of sites by Native Californian and Great Basin tribes is explained by reference to their shared ontological beliefs, illustrating how they structured their ritual practices and archaeological record.

Significance: Wounds of all types remain one of the most important, expensive, and common medical problems, for example, up to approximately two-thirds of the work time of community nurses is spent on wound management. Many wounds are treated by means of dressings. The materials used in a dressing, their microarchitecture, and how they are composed and constructed form the basis for the laboratory and clinical performances of any advanced dressing. Recent Advances: The established structure/function principle in material science is reviewed and analyzed in this article in the context of wound dressings. This principle states that the microstructure determines the physical, mechanical, and fluid transport and handling properties, all of which are critically important for, and relevant to the, adequate performances of wound dressings. Critical Issues: According to the above principle, once the clinical requirements for wound care and management are defined for a given wound type and etiology, it should be theoretically possible to translate clinically relevant characteristics of dressings into physical test designs resulting specific metrics of materials, mechanical, and fluid transport and handling properties, all of which should be determined to meet the clinical objectives and be measurable through standardized bench testing. Future Directions: This multidisciplinary review article, written by an International Wound Dressing Technology Expert Panel, discusses the translation of clinical wound care and management into effective, basic engineering standard testing requirements from wound dressings with respect to material types, microarchitecture, and properties, to achieve the desirable performance in supporting healing and improving the quality of life of patients.

A sacred site that draws pilgrims from distant regions is a distinctive resource for studying religion. Research into a site’s relevance to pilgrims and how it came to be founded contributes to a better understanding of religious activity. To address these issues, a thorough historical analysis of a sacred site’s records is essential. Such an analysis endeavors to distinguish the historical facts of a sacred site from its narratives and further discusses the significance of each. With such intent, this study focuses on the Rujing Stupa, a sacred site of significant importance to transnational pilgrimages that has yet to receive sufficient scholarly attention. The stupa, which is located at the Jingci Monastery in Hangzhou, China, is believed to hold the relics of Tiantong Rujing 天童如浄 (1163–1228), a Song Dynasty monk. Although the modern stele inscription at this location indicates that the stupa was founded in the 13th century, shortly after the monk’s death, this paper examines the historical reinventions within the inscription and traces the influence of Japanese narratives on such a reinvention. This study demonstrates that the Rujing Stupa was established by, and for, the Japanese Sōtō Buddhists. The Chinese monk’s connection to the Sōtō pilgrims lies in Rujing’s role as the master who instructed Dōgen 道元 (1200–1253), the founder of the Sōtō tradition, making his stupa a sacred site for the Sōtō community. Concerns of commemoration and reifying doctrinal authenticity motivated two generations of Japanese pilgrims to construct the Rujing stupa in the late 19th and 20th centuries, respectively. On the other hand, Rujing’s significance and the presence of the Sōtō tradition were scarcely acknowledged in China until the early modern period. Only in the late 20th century did Chinese Buddhists begin to appreciate this stupa. Examining the site’s historical reinventions and identifying the factors that shape its narrative, this case study offers insights into the investigation of sacred sites and suggests a concern for narrative in the examination of a site’s history and significance.

This article brings together a rereading of O Signo da Ira (1961) and FazendaAbandonada (1962) to discuss the distinct imaginations of the empire and itsprojection in literature within the scope of Portuguese colonialism. In thiscontemporary rereading is highlighted the use of memory and history as a sharedstrategy of Orlando da Costa and Reis Ventura to write about colonial experience.In these novels the authors seek to “rewrite” the fate of the empire, projectingtheir utopias and ideologies onto the then unknown future of colonialism. Thisjoint reading explores the “intersection” and the “dialogue” between the worksfrom their characters and its “marginal” places in the territories of Goa andAngola. With the study of culture and ideology in the Imperial Public Sphere, thisarticle also wants to contribute to the discussion of the literary imagination of thetwenty-first century in the Portuguese language, which refer to the “rewriting” ofthe colonial past. O artigo promove uma releitura conjunta de O Signo da Ira (1961) e de Fazenda Abandonada (1962) para repensar os diversos imaginários do império e a sua projeção na literatura de língua portuguesa no âmbito do colonialismo português. Nesta releitura contemporânea, assinala-se o recurso partilhado por Orlando da Costa e Reis Ventura à memória e à história da trajetória colonial. Nestes romances os autores procuram ‘reescrever’ o destino do império, projetando os seus imaginários e ideologias sobre o futuro então desconhecido do colonialismo. Esta leitura conjunta explora o ‘encontro’, o ‘cruzamento’ e o ‘diálogo’ entre as obras a partir das suas personagens, das suas travessias e dos seus lugares ‘marginais’ nos territórios de Goa e Angola. Com o estudo da cultura e da ideologia na Esfera Pública Imperial também se quer contribuir na discussão dos imaginários literários do século XXI em língua portuguesa que remetem para a ‘reescrita’ do passado colonial.

Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did Leo VI the Wise for two newly founded churches and Constantine VII Porphyrogenitus for the second most important church of the Empire, the Holy Apostles. But in most cases, the performance aspect of their speeches could only be known indirectly from two ceremonial handbooks, Kletorologion and De Ceremoniis. It is also necessary to indicate that the spectacles in homilies were not always real and present; they sometimes came to exist in listeners’ minds through picturesque descriptions (ekphraseis) and fictional figures (ethopoiiai) composed by preachers.

Journal of Science and Technology of the Arts, v. 15 n. 1 (2023)