Urban Art is gradually assuming an increasingly significant role in the development of a city’s character, something which is often promoted by public institutions. This has been strongly instigated by the rhetoric of creative cities, present in the strategies for the urban development of many cities in recent years. The rising appreciation of this artistic movement and the recognition of the cultural and symbolic role it currently plays are accompanied by a growing offer of tourism services in this field, namely, through dozens of tours operated by multiple entities. The literature has, in fact, been paying some attention to this phenomenon of touristification of Urban Art. In this article, we draw on qualitative empirical material from an ongoing research project on Urban Art in the city of Lisbon. We consider the touristification of Urban Art in Lisbon to be a recent and still ongoing process involving several social actors with specific perspectives, strategies, actions and representations. We have concluded that there is currently a combination of social and economic factors favourable to the development of this process of touristification. This could not have happened without (a) a number of institutional initiatives, (b) local entrepreneurship ventures and (c) the development of a narrative shared by the different agents.

Resumo Diversas cidades têm incluído a arte urbana como parte das suas estratégias de promoção e planeamento turístico. Este facto deriva de uma gradual valorização social e legitimação institucional deste tipo de expressões estéticas presentes no espaço público. Em muitas cidades deparamo-nos, hoje, com processos de turistificação da arte urbana, uma dinâmica que está dependente de um conjunto de atores sociais. A turistificação da arte urbana tem consequências, não só ao nível da constituição da oferta turística da cidade, mas também ao nível das relações e interações que se estabelecem entre operadores e guias, turistas, artistas, instituições e comunidades locais. Com este artigo pretendemos refletir sobre a articulação entre a arte urbana e o sector turístico, partindo de um conjunto de dados preliminares de natureza qualitativa recolhidos no âmbito de um projeto em curso sobre arte urbana em Lisboa.

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Digital interactive television (iDTV) is often seen as a platform with great potential to deliver health and wellness content and services directly to people. Despite the advantages of e-Health, public engagement with such services is still limited. Our research assumes that health literacy plays a key role on users' engagement with these kinds of services and we postulate that it is one of the main predictors of users' attitudes and behaviours towards iDTV health and wellness services. Our main goal was to identify and describe the factors that limit the efficiency of e-Health interventions and the potential depicted in this context by specific technologies -i.e. iDTV. The proposed research design adopts a mix of quantitative and qualitative methods and techniques. The studies were conducted in a southern European country -Portugalbetween 2012 and 2013. We found that 51.7% of the respondents showed high probability (þ50%) of having limited health literacy (low literacy) and they are more likely to be men/women with an average age of 49.81, fourth grade or less, belonging to status group D/E and showing less interest and less perception of the utility of e-Health interventions. The groups that depict limited e-Health literacy are also the ones least interested in digital TV services related to health and wellness. Following this, we propose that in order for people to realize the actual benefits of using these applications, it is essential to tailor both content and services in accordance with the depicted level of e-Health literacy.

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This article focuses on contemporary urban art in the city of Lisbon. We understand urban art as an art world that has developed through a historical process that, in Portugal, is essentially three decades old. It began with the emergence of the subculture of graffiti in Portugal and it culminates in the gradual artification, commodification and institutionalization of graffiti and street art. We believe this was caused by a particular historical arrangement during the previous decade that produced extremely favourable conditions for the emergence of a set of artists in this field. This arrangement is characterized internationally by the expansion and recognition of street art and, on a national level (especially in Lisbon), by the actions of a number of agents (media, municipalities, art world, commercial entities, academia) that contributed to a higher visibility and legitimacy of this artistic community. Thus, we argue that a structure of opportunities was created that a allowed a number of actors to establish and define a strategy of professionalization in this field. In this article we analyse three types of opportunities: practice opportunities, symbolic, and financial. We consider the social actors that generate these opportunities as well as the way in which artists perceive them and adapt.

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