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As an incomparable implication of industrial culture, the industrial heritage has a wide range of historical, technological, social, architectural or scientific values. With the process of large-scale contemporary urban revitalization, abandoned industrial buildings and areas always become the targets of urban renewal and redevelopment due to the ongoing transformation on structural changes of economy and adjustments of plot usage. Although the research and discussion on preservation of industrial heritage have been launched in the fields of theory and practice in China, many former industrial areas and buildings are still undergoing extreme threats and irreversible damages. Taking Iec Long Fireworks Factory which is the only well preserved survivor of industrial heritage in Macao as a case study, this paper presents its historic background, present challenges and future envisions of development. Based on group investigations and SWOT analysis, integrated strategies are proposed to preserve and revitalize the old factory ruins and their landscape settings. The conclusions show the significance to preserve and reuse industrial heritage opened for the urban renewal, which also could be a good contribution for sustainability of history and culture, environment, society and tourism.

Phenomenography is a well-known empirical research approach that is often used to investigate students' ways of learning programming. Phenomenographic pedagogy is an instructional approach to plan learning and teaching activities. This theoretical paper gives an overview of prior research in phenomenographic studies of programming and shows how the results from these research studies can be applied to course design. Pedagogic principles grounded in the phenomenographic perspective on teaching and learning are then presented that consider how to tie students' experiences to the course goals (relevance structure) and how to apply variation theory to focus on the desired critical aspects of learning. Building on this, an introductory object-oriented programming course is described as an example of research-based course design. The insights gained from the experience of running the course are shared with the community of computer science educators, as also the benefits and responsibilities for those who wish to adopt the phenomenographic perspective on learning to plan their teaching. The development of an increased awareness of the variation in students' ways of experiencing programming and the need to broaden the context of the programming course are discussed.

At EA/CITAR (School of Arts/Research Centre in Science and Technology of the Arts), sound has always assumed a fundamental role, both in academic research and curricular offer, featuring a Master Program in Sound Design and a Doctoral Program Specialization in Computer Music. This paper presents an overview of some recent artistic/research projects undertaken by students and researchers at this institution, which stimulate the user/listener awareness for the acoustic phenomenon. Furthermore, we describe three pedagogical practices, stemming from Soundscape and Film Sound studies, which aim at training students to avoid the devious influence of sight on the assessment of soundscapes.

Research in ubiquitous networked music systems has unveiled the potential of behavioural-driven interaction interfaces as an effective model to cope with network communication delays in remote musical performances. Most of the techniques developed under these premises are based on digital music interfaces implemented on laptop computers or tablet devices, where a certain degree of gestural control comes as an added dimension. The purpose of this paper is to present an implementation of such type of interfaces in the form of a physical tangible musical instrument, contemplating multiple expressive possibilities. This is viable at the current stage of technological development thanks to leveraging 3D printing and laser cutting technologies for effective prototyping and testing of such a device. The paper seeks to demonstrate that this approach opens a wide range of possibilities for creating musical instruments with versatility and expressiveness beyond what is usually accomplished in traditional instruments. This implementation, entitled “Radial String Chimes,” is presented with its advantages, the challenges it faces, and the methods used to create it. Finally, the paper will offer suggestions for further developing such an instrument to unlock its potential.

The purpose of this paper examines the potential role of Chinese outbound tourism as a catalyst of change for the Macanese identity. There is an emerging trend to have a new identity amongst Macanese residents to valorize cultural and heritage assets. By using Bourdieu’s concept of habitus, it proposes that the social media space is built to voice concerns of language, place attachment and induced public participation. The study utilizes a mixed method approach comprising a survey for netizens and content analysis of online discussions, in order to fully understand changes due to Chinese outbound tourism.

This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.

In this paper, the repertory grid is presented as a technique to explore novice programmers' experiences within the context of an action research project. The theoretical and methodological aspects of the technique are discussed. The findings from the technique that combined quantitative and qualitative data analysis methods are provided. These findings relate to the learning process, learning content, and learning support as experienced by the students in an introductory object-oriented programming course. The repertory grid technique is then appraised for its relevance and usefulness to the project, and for its contribution to the diversity of computer science research methods. Insights gained from the use of the technique are shared with the community of computer science educators.

The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.

Macau is the most densely populated territory in the world, a small but complex urban landscape populated by a myriad of informal devices that produce a dramatic impact on the image and use of the city, creating an ever-present layer shaped by use. The traditional fields of architectural and urban morphology base their analysis on the private and public space, on the forms of buildings, block, streets, and squares. However, the urban landscape is not only shaped top down by market forces, governments, institutional players, but also bottom-up by thousands of small scale interventions carried out daily by their inhabitants, to solve problems or seize opportunities, on the normal process of usage. This research summarizes an extensive analysis of Macau’s urban landscape focused on this layer of appropriation, aimed to identify these shapes generated by use or, in other words, the devices that materialize the phenomenon of appropriation of the public space. They can take the shape of window cages, rooftop houses, canopies, annexes, hawker booths, and outdoor ads. SHAPED BY USE Individual designs reshaping the city – is a typo morphological essay aimed to provide a methodological tool for the analysis of such phenomena, both in this and other similar urban contexts as well as a compelling starting point to speculate on how small scale individual designs can contribute to reactivate and be harnessed to positively reshape the city.

The contemporary city is a complex system where a multitude of factors and dwellers interact, creating a multi-layered spatial structure that supports the urban life. To successfully research and intervene in this context, one needs to develop fitting approaches and methods to be able to analyze it in depth.