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This paper shows how mathematical concepts can be displayed on World Wide Web pages. A few of the most interesting solutions are outlined although a few others are missing and a few more will be invented very soon. It is for authors to decide which system is the most suitable for their purposes.

In this paper, preliminary investigation was conducted to evaluate the potential ecological risk of heavy metals contamination in cemetery soils. Necrosol samples were collected from within and around the vicinity of the largest mass grave in Rwanda and analyzed for heavy metal concentrations using total digestion–inductively coupled plasma mass spectrometry and instrumental neutron activation analysis. Based on the concentrations of As, Cu, Cr, Pb, and Zn, the overall contamination degree (Cdeg) and potential ecological risks status (RI) of the necrosols were determined. The preliminary results revealed that the associated cemetery soils are only contaminated to a low degree. On the other hand, assessment of the potential ecological risk index (RI) revealed that cumulative heavy metal content of the soil do not pose any significant ecological risks. These findings, therefore, suggest that, while cemetery soils may be toxic due to the accumulation of certain heavy metals, their overall ecological risks may be minimal and insignificant.

In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.

Virgílio de Lemos (1929-2013), poeta de vanguarda, é um dos precursores da modernidade e experimentalismo como criador do “barroco estético” que ele próprio designou como a linguagem poética marcante nas letras moçambicanas no das décadas de 50 e 60

In Macao, Special Autonomous Region of China, there are two professional codes of journalists: one by the Portuguese and English Press Association of Macao and the other by the Macao Journalists’ Association, and there is no regulator in the territory or anyone who administers the rules or sanctions the journalists activity. here’s also no cases of known or reported censorship. However, according to the latest human rights report for this small region of Asia, “the Government has taken steps to limit the coverage of unfavorable news”, admitting the practice of self-censorship by the media.

Comunicar é tornar comum e informar é dar forma à comunicação. Entre um e outro vai frequentemente uma distancia que nem sempre é possível eliminar. O objetivo deste artigo é mostrar que tanto a comunicação como a informação são um espaço ao sentido da vida. Pese embora as contrariedades e obstáculos, a conivência com os poderes, os imperativos de rentabilidade, a pressão do tempo e a aceleração, os media oferecem um espaço ao espaço público, ao sentido dos fatos, à interpelação; um espaço ao sentido da vida.

Creativity and collaboration are crucial to learning development in today's fast-paced educational environment. New technology can bridge humans and their natural needs through immersion in digital environments with physical objects. As knowledge and information evolve, digital interactive experienc...

There can be no conclusive determining regarding true press freedom in Macau, and perhaps this statement can be applied elsewhere as well. Issues of self-censorship, partisanship, or cultural loyalty exist in cities and countries around the world, and most of the time there is simply no reliable measurement to determine their impact. The Special Administrative Region (SAR) of Macau is separate and distinct from mainland China, but that does not mean that it is entirely without question regarding its freedom of the press, ethical journalistic practices, and interference by non-authorized agencies at the three languages local newspapers.

Resumo O fascínio do Ocidente pela dicção poética oriental está atestado em várias latitudes e línguas, e resultou numa profícua produção na área da poesia. Sabe-se que a reinvenção da poesia chinesa da autoria de Pound, em grande medida na origem da sua proposta de revolução do idioma poético, nas primeiras décadas do séc. XX, assentou, na verdade, numa falácia; numa concepção errada da natureza da escrita chinesa (e japonesa) como essencialmente pictográfica e ideogramática, na base de propriedades expressivas reconhecidas na poesia que resultariam numa particular eficácia na apreensão e tradução do real. Pessanha enaltece, em termos similares aos da exaltação poundiana, a escrita da poesia chinesa clássica. Interessa-nos rever alguns inventários dos traços da dicção poética chinesa e japonesa que explicam que ela seja tomada como metonímia e metáfora da poesia, ou como meta e utopia da poesia, para perceber o que terá levado autores muito díspares a tentar a mão nos haikus, processo em que sondaremos algumas formulações poéticas em língua portuguesa. Consideramos também que esse fascínio por uma (sonhada) origem da dicção poética, quando cruzada com o habitar (não metafórico, neste caso) do pequenino enclave de Macau, de autores que nele lançaram raízes, resultou em alguns exercícios poéticos particularmente felizes e singulares. Serão trazidos à colação nesta abordagem poemas de Eugénio de Andrade, Sophia de Mello Breyner Andresen, José Tolentino Mendonça, Yao Feng, Fernanda Dias e Fernando Sales Lopes.

Malacca Portuguese Creole (MPC) (ISO 639-3; code: mcm), popularly known as Malacca Portuguese or locally as (Papiá) Cristang, belongs to the group of Portuguese-lexified creoles of (South)east Asia, which includes the extinct varieties of Batavia/Tugu (Maurer 2013) and Bidau, East Timor (Baxter 1990), and the moribund variety of Macau (Baxter 2009). MPC has its origins in the Portuguese presence in Malacca, and like the other creoles in this subset, it is genetically related to the Portuguese Creoles of South Asia (Holm 1988, Cardoso, Baxter & Nunes 2012).

Abstract Earlier linguistic research suggested that Malacca Creole Portuguese (MCP) had existed without diglossia with Portuguese ever since the Dutch conquest of Portuguese Malacca in 1642, yet it had experienced some contact with Portuguese in the 19th and 20th centuries. The present study adds significantly to this discussion. It considers a range of information from sociohistorical studies and archival sources (including linguistic data) relating to the Dutch (1642–1795, 1818–1823) and early British (1795–1818, 1823–1884) colonial periods. For the Dutch period, it is seen that contact with other Creole Portuguese communities is likely to have persisted for some time. Most significant, however, is the finding that 19th century texts in Portuguese and creole Portuguese, recently identified in archival sources in London and Graz, show that Portuguese continued to be part of the Malacca sociolinguistic setting until the early British period, and that missionary Indo-Portuguese also had a presence at that time. It is concluded that, rather than presenting a narrow lectal range akin to that of the MCP community in the late 20th century, the creole lectal grid in the 19th century was more complex, and included dimensions of a continuum in a diglossic relationship with Portuguese.