Miguel Angelo will join Xutos e Pontapés and Carlão at the International Portuguese Music Awards gala on April 21st at The Zeiterion Performing Arts Center in Boston.

The IPMA celebrates the work and career of international artists of Portuguese origin.

Miguel Angelo edited in January the today the EP Grotesco Vs. The Song, available in stores on 12 "vinyl and on all digital platforms

It includes the unprecedented Grotesque, a song of our times that resemble others, where more electronic and claustrophobic sonorities are explored, in an aesthetic approach to the real fiction in which we live. The theme, which was to call Berlinesco, has the participation of João Cabrita in the saxophone.

Grotesque's lyric video noir is performed by Edgar Keats and illustrated by Joël Martins.

The EP also includes "The Song" and a double remix of this single released in 2017. This song is also the subject of a remix planned and executed by Rui Maia (X-Wife, Mirror People), with the collaboration of SaiR. Acquire in this form the light of all the long and hot summers, resting our head in a literary cloud that calls for action and inner revolution.

There is also added the instrumental version that comes free from the dictatorship of the main voice and its lyrics, perhaps waking up other senses that make us betray all our principles and ends.

The official video of this single is realized by Edgar Keats that includes the participation of Leonel de Jesus and was also subject to a remix by the director Vasco Mendes.

The Regional Directorate for Culture, through the Directorate of Museums and Cultural Heritage Services, of the Regional Secretariat for Tourism and Culture, celebrates the 18th of April, International Monuments and Sites Day, this year on the theme "Cultural Heritage: Generation ", in the Church of Our Lady of the Conception, Mother Church of Machico.

As a way of celebrating this day, the completion of the restoration work on the vaults of the Espirito Santo and São João Baptista chapels of the main church and as a way of sensitizing the population to the vulnerability of the cultural heritage, as well as to the effort involved in its protection and valorization, and the importance of its safeguard and passage to the next generation.

Program
21: 00h - Presentation of the Bilingual Guide of the Mother Church of Machico, by Rita Rodrigues, followed by a guided tour of the church by Francisco Clode de Sousa and Rita Rodrigues from the Directorate of Museums and Cultural Heritage Services
9:30 p.m. - Concert

Musical program
- "Canzona for horn with echo" - Anonymous Iberian
- Aria "Flammende Rose" - G. F. Haendel
- 1º and. of the Sonata TWV 42 G. Telemann
- "Ich folge dir gleichfalls", of the Passion according to S. João - J.S. Bach
- Prelude to the 1st Cello Suite - J.S. Bach
- Flee in there m - J. Stanley
- "Hostias et Preces" J. Jongen
- "Pentecost II" - C. Kimberling
- "Ave Maria" - G. Caccini (atr.)
Performed by: Paulo Silva (pipe organ); Maria João Pereira (soprano); Carla Abreu (bevel flute); László Szepesi (cello).

- Premiere of the piece "Memórias", by the composer Pedro Macedo Camacho,
interpreted by: Pedro Camacho (transverse flute); Louise Whipham (oboe); José Barros (clarinet); Manuel Balbino (bassoon); Rúben Silva (french horn).

A Academia Portuguesa de Cinema e Leonel Vieira celebram  aniversário de “A SOMBRA DOS ABUTRES” 

20 anos após a estreia, os portugueses poderão rever este filme de Leonel Vieira, agora numa edição renovada em DVD que se junta à “Coleção Academia” da Academia Portuguesa de Cinema. O DVD será apresentado na próxima sexta-feira, 13 de abril, às 18h30, na FNAC do Chiado, em Lisboa.

Leonel Vieira realizou “A Sombra dos Abutres” em 1998, com apenas 26 anos. O filme retrata a repressão política da década de 60 em Portugal seguindo a história de Daniel (Vítor Norte), um mineiro que se torna o rosto da greve do seu grupo de trabalho numa mina de Trás-os-Montes. A Guarda Nacional Republicana começa por reprimir a greve mas é a PIDE que torna Daniel, que apenas lutava por melhores condições de vida, o protagonista do movimento, suspeitando de que ele está a ser manipulado por forças políticas contrárias ao regime. Daniel tenta, na companhia do cunhado Zé (Diogo Infante) fugir para França, mas o cerco da implacável perseguição aperta-se cada vez mais, sob a direção do inspetor determinado a caçar o seu homem (José Wallenstein).

O lançamento do DVD vai contar com a presença do realizador, de alguns dos atores que integram o elenco e de elementos da equipa de produção. Recorde-se que “A Sombra dos Abutres” foi a estreia de Leonel Vieira como realizador, numa carreira que já conta com 12 filmes e que inclui o mais visto de sempre pelos portugueses: o remake de “O Pátio das Cantigas”, de 2015.

Astrophotography is a specialized type of photography that involves recording images of celestial bodies and large areas of the night sky. It is a branch of photography that, although it has a strong aesthetic and artistic focus, that often contributes in a valuable way with science.
The images are authored by amateur photographer Duarte Silva, a native of Gaula, who belongs to the Association of Amateurs Astronomers of Madeira, a fan and patient image collector of the celestial space who was already been distinguished by NASA. The "Astrophotography" exhibition is at the House of Culture of Santa Cruz, under the "Earth Hour", with the aim of sensitizing the population to environmental issues and the consequent, sustainability of our planet.

How did your passion for the stars begin?
Duarte Silva: This started many years ago, I bought telescopes to see planets. After looking at both the planets and the constellations, I endlessly desire to record them, for example, if you take a trip to London, you take a camera and capture those moments, right? Astrophotography is exactly that. In this field of astrophotography there are two types of processes, the planetary images that are photographs taken in frames, it is a video of two or three minutes from where they can remove more than a thousand frames and after these images are process into a single photograph, who does this type of work is, in my opinion, one of the greatest astronomers in Portugal Paulo Casquinha, he is fantastic and does a job from out of this world! (laughs).

The deep sky, on the other hand, is another type of image, they are photos of galaxies and nebulae, which require 600 minutes of exposure each, if I intend to make 18 images you can imagine the several hours I have to spend to make these photos. The problems for this type of prolonged exposure only arise when, due to the rotation of the earth, satellites appear, space trash, or the rains of shooting stars, when this happens of the 40 images that are made 20 are to throw away.
Let's then address this issue to capture these images in the space what kind of equipment does it require?
DS: These images of the deep sky are outside our solar system, millions of light years away.
~
But do you know how many light years away?
DS: I can only tell you that Andromeda is 2.5 light years from Earth and is the closest galaxy to our planet.
Then explain to me how you prepare the equipment to capture these images? Do you need to check the weather?

What is the specificity of the equipment?
DS: It is more in the summer that this type of images is made, it must be a very transparent night, that is, if it is not very polluted, if it does not have many dust. From there we set up the telescopes, we make the so-called drift alignment that consists of the assembly of a camera on a telescope that has a motorized equatorial montage, that is, it is a precise and millimetric alignment of the rotation of the earth with the space and the periodic errors of our planet are corrected by the engine. I use special cameras that are only for this type of astrophotography, which is also used in astronomy observatories, one of the equipment makes the alignment with the stars, any millimeter in which the star moves to either the right or the left, taking into account the rotation of the earth, the machine corrects the errors of this trajectory and stays the whole night pointed towards the object that I want to photograph.

Does this mean that if the objective is to photograph the galaxy of Andromeda, for example, the camera always keeps that trajectory all night?
DS: Yes, but there is a detail to take this type of images there are two types of machines, there are DSLR cameras that are Canon and Nikon and others of the sort and then we have the CCD machines dedicated to astronomy that has a problem, are monochromatic, what does this mean? That the images are as black and white as the Hubble telescope does, but to get the actual color in these images we used between 3 to 5 types of filters, which in this case we called RGB for red, green and blue. Thus, we make between 10 and 20 images with the red filter, the same for blue and green, between each of the filters the image is black and white, and the result of this mixture is the actual image we see in the photographs.

You live on an island, so how you get your cameras?
DS: I have friends astronomers on the mainland and friends astrophotographers from whom I learn some techniques and acquiring some material. I know the CCD I use is a professional machine that is seen in the observatories and since in Portugal this type of equipment does not exist for sale we had to send it from abroad, we ordered 10 and it was one for each one of us and they only serve for this purpose, to photograph the deep sky. The material for astronomy is expensive and one of these equipment’s can cost approximately 3, 000 euros.

This is a passion that you only nourish in your free time?
DS: Yes, yes.
You have a profession?
DS: Yes, I only do this when I have time and the weather helps.

Is there an image you would like to capture, but has been difficult?
DS: I'm doing a job now called a mosaic system, what's this? For example, I have a photo of the deep sky with about 200 galaxies, which are the various points that are visualized in the image, if I want to make a mosaic I need six pieces, each image corresponds to 5 to 6 hours of exposure, are several days of work, then the mosaic is embedded and I get a unique brutal image with 2,000 or 3,000 galaxies. For an observatory it is easy to do, they program, and the equipment does everything, now, I do everything myself, whenever there is good weather I have to mount and then disassemble the telescope and it is complicated, because here in Madeira we do not have an observatory.

Is it difficult to get this kind of pictures on the island due to its location or not at all?
DS: No, we here in Madeira and the Canary Islands have an excellent location for this purpose and there is scientific study that proves this. These two outermost regions are the best in Europe in terms of astronomy, so much so that the European Space Agency has one of its observatories set up in the Canaries. In Madeira, two years ago we had renown astronomers making several measurements in Pico do Areeiro and were astounded by the quality of the sky that we have here, in this region there are no factories, that is no great light pollution, except in the more urban areas, such as the Funchal. It is a pity that we cannot take advantage of this aspect, we have the resources and we do not develop them, which is incredible. In Portugal, the general rule is to provide financing to foreigners, and we do not use the resources available in our country. This is a scientific work and in our case is private, the amateurs, develop this type of projects.

But your work has already been recognized by NASA.
DS: Yes, the image of the Rosette nebula was the last work I did, time helped together with the techniques I develop. NASA has asked for my permission to publish this image in an astrophotography magazine, for them it is important to show this kind of photos, from all over the globe, because although this American agency has between 2,000 and 3,000 telescopes, there are billions of galaxies left to photograph. The Rosette nebula was photographed with special filters through the so-called Hubble process, which only let pass a sequence of light. What is a nebula? It is the result of the explosion of a star millions of years ago and it spreads its own gases through space and creates this effect and if I make this same image from 50, 100 or 200 years from now it will be practically the same, there may be one or another star that has exploded, however, but the nebula in general will be identical.

Another image shows the nebula of the horse's head, which was baptized by the detail of what appears to be the head of this animal at the top.

What is the period of summer when you make these images?
DS: It is a period of roughly six months, which begins in May and ends in mid-October. For example, the Orion nebula, which sits on the Orion sword, where the three Marias can be seen, we can see it in Madeira, it is there, the problem is the weather.

And where do you usually photograph?
DS: I photographed all these images at Achada de Gaula, in Santa Cruz, which stands 600 meters high. At the moment we are working in Pico do Areeiro which is about 1,800 meters of high, as part of the Association of Astronomers Amateurs of Madeira we have had some support from the City Council to mount some of our equipment in this place because it is higher and the sky it is cleaner, while in my house in Gaula, which, though it is a high place, to shut the image of the Rosette Nebula I had to do it in two days, one with the red and green filter and the next day the blue and the illuminance, but the joy is there when after all the images are processed and you see the result, you think Epa!

It is another text that seeks to deconstruct the idea of responsible consumption in what concerns fashion.

Since I know myself as a woman I am an avid consumer of fashion and of course a be a big fan of promotions and sales, because it allows me to buy those pieces that I so much desire at a much more affordable price and at a bigger and better discount, I really like researching to exhaustion and nothing gives me more pleasure than finding "bargains" and taking advantage of it. I thought that not only did I get what I wanted, but also, in a way, the clothing companies did not make a blatant profit at the expense of my "compulsion" for beautiful clothes and so the price was fairer, I thought, well , I learned a hard and great lesson with "The True Cost" is that I could not be more wrong!
The documentary shows a broad view of the global fashion market as we recognize it today and its social and environmental consequences for the planet. "The true cost" follows the trail of garments from the big stores to the manufacturer and the plain truth about the cost of producing, a sweater that costs € 5 bought on an H & M, Primark, Zara, C & A, or at Forever 21 among other companies, made at the expense of outsourcing production to small and medium-sized businesses based in third world countries, but you will ask, how is this a problem if it create jobs?
Well, while we all like to think that by buying a jersey made in Bangladesh, or in India, or Morocco that we are indirectly helping to create jobs and promote the economic development of these countries, the reality is that none of this is sustainable either from the social or environmental point of view and I will explain, the same sweater that will be sold in the most developed countries at these 5 pounds in major stores will have to cost much less of this amount in terms of production, the aim is profit maximization and what does this entail?
The guarantee of a mass production of thousands of jerseys at a company in Bangladesh, or India, or even in Morocco, which has to be done at the expense of the value of labor, also entails deplorable working conditions to say the least, not to mention the no safety rules, or benefits of any kind for the workers, with the advantage that none of this entails any kind of responsibility on the behalf of the major clothing brands or ultimately us consumers.
The environmental consequences, on the other hand, are more serious than you might think, did you know that fashion is the second most polluting industry in the world, coming soon after oil? Well, the beautiful colors of our clothes, the effects of certain fabrics, the leather treatment of our shoes, wallets and coats use heavy chemicals that are simply dumped into the rivers or into the sea with consequences not only for the environment and the public health of the populations of these nations, thanks to the famous butterfly effect, also the climate, life and health of populations on the other side of the world, which is us!
Others not-so-visible damages, but with so dire consequences for the environment and the local populations, come from the remains of the collections that are not sold. Contrary to what you may think most clothes are not recycled, quite the contrary, they are shipped in large containers to third world countries, through non-governmental organizations, where they are given or resold locally and even then, there are huge leftovers that end up causing an environmental problem in the form of highly polluting waste. But, you must be thinking, what fault do I have that the governments of these countries do not act and protect the interests of their citizens and their environment?
We have responsibilities, even indirect ones in all of this, because long-term damage is for everyone. As you know, we only have this planet and if we continue to close our eyes to what we considered to be a problem of others we are contributing to the destruction of a global natural heritage that is finite. And when it finishes what we're going to do? Travel to Mars?
Also, have you ever thought that your 5-pound sweater reflects your low purchasing power? And the poverty rate of such third-party workers? If you only have the financial capacity to consume fashion at a low cost, based on the very low salary of a Bangladeshi worker that is less than $ 1, it is because you earn even less than you think, it is a hoax created by the big brands who actually profit by encouraging unbridled consumption by making us think that we can buy whatever we want, but this is an illusion that in a shorter term than you might think will be destructive for all.
Did you also think that this type of consumption contributes to the death of small and medium-sized companies in the sector in your country? The constant change of collections, the so called fast fashion, that no longer considers the seasons, but rather the trends, ends up having a very high cost for the national entrepreneurs that many of them ca not cope with the constant investment in terms of the production of pieces, why do you think that many textile factories are failing? It is not in many cases because of a lack of customers, but because it is very difficult to produce several collections at the same cost more than twice a year, that is, they cannot compete with the big brands that put new pieces of clothing in their store, for them it is difficult to match with the same prices. Ultimately, this model of global economy ends up benefiting a narrow percentage of people and creates more poverty than one would think, so what should we do?
Consume responsibly, buy a lot less and ask yourself to do I really need even another pink sweater? It is necessary to encourage brands to recycle leaving a lower carbon footprint, requiring a more ethical treatment the way their products are produced. Do not get me wrong, I am not against the global market, we must help these third world countries to develop, keeping our industries viable, through fairer forms of trade. Just do not buy, or at least acquire brands with a business model that is more sustainable and beneficial to all, for the good of our planet, our conscience and our pocket.

It is the debut album by Maria João Fura, which will be presented on April 14 at the Teatro do Bairro in Lisbon and on the 19th of the same month at the Casa da Música in Oporto, with the support of SPA and GDA respectively.

With strong melodies woven by various states of soul, which develop in an ambience that travels between Bossa Nova, Soul, Pop-Electroacoustic, Cool Jazz and World Music, the disc mastered by António Pinheiro da Silva, is a matured personal project. The cantautora that accompanies the guitar also counted on the participation of several musicians of the current musical scene in the recording of this work.
In Lisbon and Porto, Maria João shares the stage with Rui Gonçalves on Trombone, Giovanni Barbieri on Keyboard, Miguel Menezes on Contrabass, André Mota on Drums.
The authenticity of Maria João Fura elicits recognition in the musical environment and was selected for the Zeca Afonso and Ary dos Santos awards in 2015 and 2017, with two songs that are now on this album, such as "I'll be happy by chance" and "Mais um gole" .
His concerts in Portugal and Brazil have had an excellent receptivity of the public, with the participation of renowned musicians such as Afonso Pais, Susana Travassos and Jorge Palma.

ABOUT MARIA JOÃO FURA

The music and the playing of instruments have been part of his life since childhood and adolescence. He attends the course of cello players at the Évora Vocational School, at the same time he studies Agricultural Engineering. In parallel, he studied classical guitar at the Regional Conservatory of Évora and participated in several projects.
She is a Music Education teacher and holds a degree in Musicology from the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, where she graduates from the Musical Pedagogy.
He composes songs for the theater plays "Dentro de mim Acontece ..." by Mário Fedele and Tanixumá, from the Pilgrimage of Fernão Mendes Pinto, inserted in the celebrations of the 500th anniversary of his birth.
In 2012 he develops an intense work of composition at the level of lyric, music and arrangements, presenting the solo accompanied by his guitar or in quintet with musicians coming from varied musical currents.

It is the title of the exhibition of the young artist, Carolina Fernandes, who develops female anatomical deconstruction as the central theme of her artistic work. The works to be seen and appreciated at the Marca de Água Gallery in Funchal, until March 29th.

Why the title "Mutants"?
Carolina Fernandes: When I entered college, one of the artists that started to interest me was Mariana Abramovich, for example, and it also has to do with my interest in surrealism. It is a combination of these two interests, from then on. When I started to work I found that I had material to explore, that matter of the body, of mutant bodies.

But it is a deconstruction of the body.
CF: And the very work of the act of drawing, also ends up being that. The themes of deconstruction turn out to be more three-dimensional works in which the idea of the drawing itself is deconstructed.
You have many drawings in pencil.
CF: No, it's a ballpoint pen.
Why this particular choice?
CF: Because it's my favorite material, it's more practical, I've lived in Caldas, Costa da Caparica and Madeira and it's a material that I can take everywhere, and I can use it on canvas or other materials.

Do you use models? I see many drawings of bodies.
CF: I used some models and myself for lack of them. It is easier to increase or reduce the proportions if it is my body. Later I like to draw the female body, besides the feminist side that I also own, it is much easier for me, because I am a woman.

You have many black and white works and there is not much color.
CF: Yes, I do not use much color, I'm not interested so much in color, but the artificial shades.

Which of your works exemplifies your mutant world more?
CF: I think that poster photography, to me, is one of my most important works, because it's an idea I had for a long time. Then, there is a more central work that brings together several techniques in one piece, they are small boxes in which my work can be seen through various techniques, in a period that begins in 2013 and goes until 2018.
So many of these works were being developed in college?
CF: Yes, I never finished the course, deconstructive anatomy studies were my final year project. But, there were works that were developed in college, others not, I just went into the plastic arts course in 2012.
Is this an obsessive theme for you, because it is the only one you have developed?
CF: Yes, I think I have an explanation for myself about it, but I will not explain it, because it is a figurative art and if I explain it a lot I will take people's space so that they themselves can talk and explain the piece they see. Of course, all these works are personal, but art turns out to be always personal.

Cátia Martins has uncovered hundreds of volatile molecules from several dozen national and international beers that are part or not of the aroma of one of the most appreciated beverages in the world. This unpublished work earned the young scientist the prize for better oral communication at the 10th National Meeting of Chromatography of the Portuguese Society of Chemistry 2017.

Have you thought while sipping a fresh cold beer in the summer how many flavors you can taste in this delicious drink? From fruity fragrances, vegetables, toasted aromas and caramel from hops or malt. Flavors of cereals based on wheat, corn or barley, sweeten with honey, jam or syrup. There are many aromas and flavors that can be experienced by consuming a beer. Created nearly 40 years ago, the WAB (wheel of aromas of beers) makes it possible for breweries and consumers around the world to assess the aromas and flavors in the beverage so far.
Adding to this old tool, the University of Aveiro (UA) now adds another level of information with which it intends to help in the production and control of beers: the volatile molecules that may or may not belong to each beer at that time of unique pleasure.

The unpublished work of Cátia Martins, carried out during her doctorate in biochemistry, with a scientific orientation by Sílvia Rocha, professor of the department of chemistry and researcher at the research unit of organic chemistry, natural products and agri-foods, co-orientation of Adelaide Almeida, of Biology and a researcher at the Center for Environmental and Marine Studies of the UA and Tiago Brandão of Unicer Bebidas, unveiled hundreds of volatile molecules from several dozen national and international beers.
Using advanced methods of gas chromatography, a technique used to separate chemicals, the researcher over the last five years has studied in detail the volatile molecules responsible for the aroma of each of the beers.

Based on the results this young scientist created the "Beer Aroma Molecular Atlas (BeerAMA)". BeerAma aims to make life easier for beer 'alchemists' as it reveals the characteristics of the tiniest and most essential ingredients of beer, a fundamental knowledge not only to optimize the production of brands already on the market but also to discover new aromas more easily.

Brewers still use WAB, which was developed in the 1970s by Danish chemical engineer Morten Meilgaard and at three levels of information, has 14 sensory groups, which are related to the aromas and flavors perceived in beer. In relation to the volatile molecules that are the basis of all the multiple sensations caused by the consumption of beer, but the aroma wheel contains little information about them.
With this new tool, says Cátia Martins, "with the addition of a 4th level of information related exclusively to molecules, it can be used as an aid in sensory analysis, allowing a detailed understanding not only at the level of aromas, but also of molecules characteristic of a certain aroma ". Also, through detailed knowledge of the molecules, it will be possible to monitor, for example, the origin of raw materials and the brewing process itself.

It is the most recent book of fiction written by Maria Helena do Carmo that addresses the life of the most beautiful nun of the Convent of Santa Clara and of the whole island of Madeira, Maria Clementina de Vasconcelos, who suffered the enclosure due to the subjection of paternal authority, she saw her freedom been limited due to her condition as a women of the first half of the nineteenth century and the political revolutions of the time.

Why did you decide to write about the life of Maria Clementina?
Maria Helena do Carmo: It was a suggestion of Duarte Mendonça to write about Maria Clementina de Vasconcelos, when I came to present the book "Broken Bamboo" in 2015. Since I already had a book about the Madeiran daily life that approached her, I went to investigate other books and then I wrote her history, because she was to marry, however, she got sick and ended up being all the life locked in a convent.

You focused it a novel, so there is a great deal of fiction, which were her feelings, although she has been 18 years cloistered, you only focus on a specific year.
MHC: She was more than a year and a half out of the cloister, because she was ill, even after 1834, when liberalism enabled the friars to leave the monasteries, not the nuns. However, they had the opportunity to come out, or if the family would support them. In the case of Maria Clementina, she left to recover, and it was at that time that she could analyze the bustle and activity of the city that she heard in the convent and that she did not know. Also, at this time, she was too old to marry, left at the age of 31 and returned to the convent with 33, so it was not a suitable time for a marriage bond, so she decided to return to her cloister, calmer and without that eagerness to see the world outside.

Why the choice of this period of her life?
MHC: Because in this period, between the ages of 31 and 33, she returns more consciously than her life will have to be there, in the convent of Santa Clara.

Did you do immense research on the life of the most beautiful nun in Madeira, in this course was there something that surprised you?
MHC: Some books, especially foreign ones, like John Drive's, said that she was the youngest daughter of the Vasconcelos couple, whereas the book by João do Nascimento indicates that she was an older daughter. This mismatch between being the youngest and the oldest forced me to rephrase the whole story of the novel, because being the youngest would have to have a different origin than if it were the oldest, even more she was born five and a half months before the parents' wedding.
And did you get proof that this was indeed what happened?
MHC: No, although there are records of marriage and birth, I have no evidence, this is already fiction, there is no evidence that it originated.
Maria Helena do Carmo writes many books on women in historical terms, now there are more publications on women at key points in history.
MHC: I started with a lady of the seventeenth century Dona Catarina de Noronha, because it was a paper I did for the university, it was 30 pages, so I decided to make a romance about her life with more than 300 pages.
What attracts you in these women?
MHC: A lot, Yvette you are a young woman, you have all the freedom of the world, also no restrictions, so you do not understand the same way I do at a time when women had no freedom at all. In this context, I recognize a time when many women lived upset lives, or because marriages were fostered by the family, or were often forced to marry, especially if there was a slip, this forced me to face women's lack of freedom as an interesting subject that I could investigate. I think this is very important, because never before has a woman had as much freedom as today and unfortunately some do not know how to take advantage of it, we could be whatever we want in life and others abuse that freedom going from 8 to 80, recreating the former to the topicality.

And Maria Clementina was one of those women?
MHC: She was displeased, she was put in the convent by the will of her parents. What she wanted was to come out here, get married, be a mother and it was not like that when she had a chance, she fell ill, and it was not possible to fulfill the dream. The politic environment also ended up undoing everything and it was again destined for closure.
How long did it take from research to writing the book?
MHC: It did not take much time to write, it took a lot of time to research, sometimes I take as much of one to two years reading, for example, "The opium merchants - Macao in the time of Qianlong" took five years to research. Then, before writing I already have an outline and from there I'll fill the plot, in 3 to 4 months I can have a written and revised work. The "Destined for enclosure" took a few months to write, it was suggested the theme in 2015 at that time I still had other works in hand and only began to research in 2017 in the regional archive and the novel was complete in 3 to 4 months.

This Autumn-Winter 2018/19 of Susana Bettencourt's collection, will be presented in her Showroom between the 27th of February up to 5th of March at 126 Rue De Turenne, Paris, is a statement and wake up call, inspiration driven by our fast digital focused society and the contactless relationships.

Society is automated, the habits and customs of future leaders are shaped around a digital and impersonal age. Communication is done through screens and touch keyboards that distances the interaction and exchange of human experiences. The word touch lost its physical and warm sense, gaining an ambiguous and rigid meaning. What was the turning point?

In this collection, Machine After Machine, Susana Bettencourt's mission is to extol the era of turning, when Arcade games were the noble movement. These represent the beginning of video games and the beginning of the end of street games. In this decade of the 80's, there was still real contact and touchable friends, a reality that is transposed directly into the colors and textures of the collection.

One of the novelties of his collection is that embraces a concept focused on changing the habits of children and this was the right moment for the brand Susana Bettencourt to present bold proposals for the little ones.

Once again, Susana Bettencourt expressed her vision with unique and personalized textures and yarns created in partnership with Fifitex. Thick knit knitwear merge with shiny bombazine, the volumes are created with knitted and crimp ribbons, messages and graphics are clear: they are critical of the robots that society is creating. The dubious shine of Chenil combined with the strong pattern jacquards, already known signature of the creator, bring to this collection depth and complexity in the combination of colors.

As Susana mentioned in the announcement of this collaboration “to achieve exclusive results it is necessary to deepen the creation processes, to be able to have control of all the materials used in the pieces. Now this "dream" has become real with the support of Fifitex, the wire is unique, the colors are unique, making each piece even more special and unique. This collection has as its vision the defense of feminism but the equality of all human beings”.