SPEA (Portuguese society for the study of birds) in 2010 conducted a study on the impact of power lines on three species of seabirds Madeira Island, and concluded that it has a negative effect on the level of their populations. A project in partnership with the Madeira electricity company already has given fruits and whose second phase now provides total cable burial in the Caniçal.

A study was made for Eurasian woodcocks (suolopex rusticola).
Cátia Gouveia: The study has been carried out and was inserted in the draft of the impact of power lines in some species of birds of Madeira. We did some work on the Paul da Serra which included censuses of the Eurasian woodcocks. The other part was included the power lines Caniçal and then the object of the study was directed to the Madeiran storm-petrel and Bulwer's petrel which are marine species. The project is finished and was funded in partnership with Madeira Electricity Company from the island.

Tell me a little bit of the findings, there is a great impact of power lines on birds or not?
CG: Yes, there are two types of occurrences that may arise from power lines, birds can die from the collision and the problem lies in the small species, especially in places with poor visibility such as the Paul da Serra, which is an area of strong winds and quite often very foggy, hence the difficulty on the part of the birds in view the power lines and end up colliding with them. In Ponta de São Lourenço in Caniçal, the issues is with the seabirds, are animals that spend the day at sea and only return at night to the earth as it is dark and also has difficulty in visualizing the cables and eventually collide, because it is also a very windy area. Unfortunately we found that these two areas had a very negative impact on these species. At the end of the project we suggested some measures that could be implemented in order to decrease the mortality of these animals.

What measures have been suggested?
CG: The ideal is always putting lines underground. And in that sense , part of the grid Caniçal was buried thus ceases to have any kind of influence Another measure that can be implemented is the placement of devices on the power lines that eventually emit light or sound, which helps them become increasingly visible and make the birds do not collide with them so easily. However , the problem of electric shock to the Common Buzzard is an issue relatively important and so these devices are necessary to place between the protective posts and power lines, because the electric shock occurs when the bird touches two different wires , or between the pole and the wire and in this case it is necessary to put the insulator so that the animal does not acquire electric charge from these two points of support.

This negative impact jeopardizes the survival of these same species or not?
CG: The data that we do not mean that the species may be destroyed because of this, it is not a concerned; however, the mortality associated with this type of infrastructure may have an effect on their populations. We did this study with three species that do not have a conservation status which is very favorable the Eurasian woodcock, the Madeiran storm petrel and the Bulwer's Petrel and it is important to implement these measures, since populations are relatively fragile and for which we do not have a lot of data about its distribution, then it becomes important to have this concern and try to minimize any threat that may endanger these animals.

Returning to the question some of the suggestions was accepted.
CG: Yes, as I mentioned part of the line suffered a burial and now there is a new project that is being implemented, a new action that aims to bury the whole network of Caniçal. Referring to Paul da Serra, the burial of the line is not to be equated, due to costs, as it is very large, but the power company was receptive to the implementation of the provisions on the lines. We suggest, but we are waiting.

José Eduardo Pinto da Costa is one of the greatest national benchmarks in the field of Forensic Medicine. His name is part of the annals of the most important personalities of our country, having held throughout his extensive and meritorious career more than 30,000 autopsies.

The Portuguese are more morbid than the rest of Europe? Or is it in equal proportion to the rest of the world?
José Pinto da Costa: In the depressive aspect the number is increasing, but it is a temporary situation. Affects more people who do not always have the capacity to solve their emotional difficulties, anxiety is the very basis of depression. So much such so that 25% are estimated for the Portuguese population, I think that is derived from external factors and not exactly the intrinsic personality traits of the Portuguese. Rather, the Latin's, in which we are included, the southern, are more optimistic than the rest of the European continent.

I approach this question because the Portuguese are always whining.
JPC: Even so, this kind of behavior is a kind of reaction, but they are quite optimistic and solve their problems until lightly without much awareness. Just see the amount of festivals and celebrations that exist and large adhesion that is a clear evidence of what I'm saying. In August, for example, the people walk cheerful, adhere and sing without being aware of what exactly is happening. Not so long ago were 75 000 people in the tides festival in city of Vila Nova de Gaia. People can turn things around and sublimate.

In one of many interviews you gave you stressed that the number of suicides has increased at the national level.
JPC: Yes, it has been increasing and the problem arises from what I already emphasized. It has increased, as has increased also the homicide. Indeed, the phenomenon of psychopathological point of view is not very distant, because when the aggression turns to him, goes to the suicide, when facing the other, homicides occur.

When you speak of homicide refers to crimes of passion?
JPC: Not only. The crimes are not passionate, because the problem is not controlling the emotions. An individual who takes a hoe and opens the head of a neighbor, because he used the water when it wasn't his day, it has nothing of passionate. It is an uncontrolled to know what the limit of the importance of life is over a little water.

As a decane of this area you notice over the years an increase? Or the numbers are stable?
JPC: There was an increase.

Irene Quintal always had a great appetite for the arts, which grew over the years through various training courses. Her degree in arts, incidentally, a lesson in art history, gave her the idea of creating collections of fashion accessories in cork marketed with great success at fairs all week-ends, in Funchal.

Tell me a little bit of your project, how you came out with the idea ofcreating fashion accessories with cork.
Irene Quintal: Well it was so when I was doing my course in college, my professor of Portuguese art history addressed the work of various Portuguese artists who were already using cork, which is a Portuguese product. I found it all very interesting, but at the time had many works to do and could not go investigate. Once I finished the course the first thing I did was go to the internet looking for information about this material, I went looking for suppliers that I found, I made a small order and then brought the first pieces made by me to the fair. There were 4 large suitcases and a smaller one to take advantage of smaller pieces of cork I had. In an instant I sold everything and realized I had to continue with this concept, by that time I also worked with fabrics, bags made for women and children, but I ended up choosing the cork and then have been popping up other accessories such as purses, necklaces, bracelets and earrings that were the last thing I got to do.

You always had this craving for art of hands?
IQ: Yes, I have always enjoyed crafts, since long ago. Had a particular course of painting and two of my colleagues, told me I should go back to school and do a degree in arts. I answered that I did not wanted to study subjects that did not interest me, but the insistence was so that I decided to apply myself under the auspices of the program over 23 years old, I got the first place and follow straight ahead and finished it.

The craft appears as a result of this love for the arts?
IQ: Yes, when I was already in the course of painting made handicrafts but with fabric. First started bringing paintings to exhibitions, but were large and valuable and people were not very receptive to spend so much money. So I turned to the fabrics and accessories made from this material, only after that come the cork.

What are the challenges you have for example, to work with the cork?
IQ: Cork is a bit stiff to work. I have a callus on the hand that is from the scissors to cut the cork and even sticking it to do, for example, the earrings is not very easy. Use a standard belt puncher, also use leather with cork to create a decorative different effect, this natural material has a very uniform color and leather works in terms of contrast, I do it with the coin purses I added the colorful zipper and the leather flowers.

It is a novel by Carlos Campaniço who won the literary prize of the city of Almada, in 2012.

This book has a rich and enticing language that transports us to Medinas, deep inside the Alentejo, a village with no time where the days go by the wimps of the comings and goings of the sun, the moon and the seasons. The main character, Álvaro Cobra is an enormous man in every way, in an almost supernatural way which makes him the prime target for all sorts of strange phenomena, mishaps and misfortunes that feed the local legends and influence in various ways the lives of the villagers. But do not think that the unusual farmer is a single specimen, there is a gallery of characters that follow the route of this unusual giant, as is the case Lourença, the great-grandmother with almost 150 years old that insists on not dying, Branca Mariana , the sister, always burning in a fever permanent, as if it were an eternal fire that has to be constantly placated with water and the mother Maria Braz who can work differently task with both hands simultaneously, but there is more, this is just a taste to sharpen your curiosity. This entire bizarre universe filled with magic and demonic beings almost simultaneously described so well by Carlos Campaniço remind me somehow of the writing of South American writers. It is a type of literature is not very frequent in Portugal, which deserves my highlight precisely by its unusual narrative style, full of beautiful metaphors and high stylistic beauty with this does not mean that it is a difficult read, quite the contrary, is considerably more affordable than you might think, is above all a narrative that has a lot of music, reminiscent of an opera by Verdi, intense, with big tears of seduction, passion and drama that culminate in intense climax, but nothing unexpected. We know it will end badly, but do not how. Therefore, it is urgent to read this black novel, much to the like of the Portuguese; at least you cannot say I did not warn you. Good read.

Formed in late 2006 the Melech Mechaya with João Graça on the violin, the clarinet Miguel Veríssimo, André Santos on guitar, João Novais on bass and Francisco Caiado on percussion, are now seen as the first and most prominent Klezmer band music in Portugal . Sounds that blend several musical influences that result in compositions that make us smile and dance all night.

How did you decide to create this musical project? How did it all start?
Miguel Veríssimo: We knew each other, were mutual friends, some of the Music Conservatory of Lisbon, the beach and other places like that. There was a day that one of the teachers brought a book of sheet music of Traditional Jewish Klezmer music, which showed to John and Andrew and then they tried out. Later they invited me and other two, and three, and before we knew it we were five to try and make our own music. After seven years we have been doing it so.

What attracted you in this kind of music, the fact that has many instruments, much unknown when compared with Portuguese music?
João Graça: I do not think had much to do with the instruments, though they united and that helped to create this type of formation, but I think it had more to do with the energy of Klezmer, the music itself. It is a very strong resonance and festive, though we did not knew it very well, already had heard it somehow contacted with it, or saw live concerts, or hear Klezmer music records. Then we thought it was important to explore that sound in Portugal.

Your sound comes from a mixture of different musical variations as fado and others. This is noticeable in the first EP "Budja Ba". This fusion happens naturally or was something you being building?
MV: It was coming naturally as we were exploring the songs. Naturally we incorporate other sounds, other rhythms that just seemed to us appropriate and easily reached. Our EP which is very small, only has five songs, was our first album. Is still a rather green work and does not reflect the aspect that we have today. As we make new songs, we respectfully not followed the rules of traditional music we did what we think sounds good and we found it interesting. Portuguese music comes from the inevitability of being Portuguese and it is natural to get these sounds.

Your discography works have also many music partnerships, you choose musicians from several sonorities. How you reach the conclusion that certain song requires a certain voice, as was the case in Mysia and others.
JG: I think it started right off with "Budja Ba", the first album and we invited the Tucanas. This is a very democratic process, we have a song together and we felt that the voice would work well in this case because what is it that we lack in a generic way and then we looked at the people with whom we have some musical identity, or artistic professional projects and life. So far I think it has gone very well, in the "down here all is simple" we invited Frank London, the charismatic leader of the Klezmatics, was a unique collaboration on the record, but we exchanged a few emails. With this partnership with Mísia it leaked the record work and recently we participated in live concerts and other projects.

It's a short film by Arcadiy Kulchinskiy, Janine Silva, Mariana Beja and Ricardo Batalha.

It's a little revenge movie based on a horror story of Paul Garcia, entitled "the jewelry box", interestingly I liked the plot, I thought it was well thought out, yet I've already seen a similar sequence in the movie" Sixth Sense "by M. Night Shiamalan, when the spirit of a very sick girl enlists the help of Cole, the young man who sees dead people. All similarities aside, the narrative sequence of events is very interesting, I emphasize in particular the scenes associated with the dream, that prints an almost phantasmagoric character to the movie, but in my view, there were failures in the way the residential space was too bright in some scenes. Another point I want to focus on the actors, I thought the protagonist, actor Romeo Sousa, did not capture the essence of Philip, he was not convincing, then the bar scene ... no further comment. Interestingly, the actresses, Mariana Bastos and Catarina Guimarães earn all the credits of this film as they incarnated their characters very well and they are they who print the dramatic load to the text. Again I leave everything up to you, at the link below. Good cinema.

http://www.portugalfantastico.com/album/galeria-de-fotos-galeria-de-fotos1/#ajuda-me-jpg

The drawing more than art is a way of life. The return to the simple things, the more complex ones. The sculpture, the installation, the painting has at its base the drawing, the line, which is simplest way to make art. To see it just visit and check the exhibition that resulted from a workshop, of Django Hernández curate by Nuno Faria patent on Port 33 until the end of September, in Funchal.

Why it is necessary to contextualize the line?
Nuno Faria: The line has this feature to be the constitutive element of the design and allows the knowledge of something. At the same time also has a power of realization of very strong holding of this passage, or two-dimension or three-dimension object.

So what was the purpose of the workshop? It is a return to base? The simplicity of the line looking for their various infinite dimensions as stated?
NF: Yes, it's a drawing workshop and we wanted was to propose it as something that is outside the field of art, or beyond.

In what way? When referring to other areas, such as archeology?
NF: The drawing is transversal to all areas, or in many areas. It is a kind of first language. We know this because we used it in children, and is not just a form of representation, is a form of individual constitution, to understand how we can oriented ourselves, how is the scale of things, is a form of contact with the world and is also a way of transmitting . The workshop tried to convey this idea of drawing as a means of transmission, legacy if you will, a kind of inheritance that allows perceive things and pass on to others. From this point of view to show that Django Hernández assemble on the ground floor is not quite an exhibition, is an installation of a set of fragments of proposals that can be taken up by other artists, for other people and that's what happened.

The starting point was the work of Hernando?
NF: Yes, it was his work.

So why choose this particular artist? What set him apart from others who could also coordinate this workshop?
NF: There would be other artists to begin with. The choice was based on a schedule devised by the port 33 to do a workshop and me. Django and I have worked together and have been finding a common platform in the design, ideal, we want to explain, in this aspect the workshop is a form of transmission.

How was ran the process with the participants of the workshop?
NF: Here the exhibition was a plane not visible. We set up a part held after this formative action, but the ideas that gave substance to this show were worked in the workshop.

Always addressing the bi and tri dimensional?
NF: Always in drawing while form. The workshop was divided in 3 easy steps: First the design as daily, daily practice, intimate, secret, a personal language and coded. Then we worked with small formats. The design and shape as a decal transfer, worked the pencil through the carbon, or tracing paper, as a means of transmission. And third, the design while projection line in the space and then we have the results in the upper chamber. At first, there is a set of decals that were made by each of the participants, then we have the diaries that are sealed, they are personal narratives and still have a room with drawings projected in space that are connected by a physical line that unites them as a way of transmitting ideas and I would say, the embodiment of ideas, which is what the line does.

The sea life of Porto and the Interdisciplinary Center for Marine and Environmental Research, of the University of Porto (CIIMAR) signed a protocol that joins the two main prosecutors and investigators of marine life, for a period of three years.

The partnership of these two institutions aims to promote education and scientific literacy of the ocean, in particular the coastal zone of the North. The scientific publication in the field of Marine Sciences, as well as training and exchange of experiences between experts and scientists in the areas of cultivation, pathology and maintenance of aquatic organisms are two of the main pillars of the partnership. The protocol aims, with the mutual sharing of resources, contribute to the recognition, appreciation and conservation of the marine coast of Portugal, as well as fostering scientific and technological research in the area of the oceans, through the promotion of lectures, seminars and workshops.

A synergy that fits the goals of conservation and environmental education in Porto sea life, a space that belongs to the largest network of Oceanarium of the world. In addition providing to millions of people every day, an experience of discovery of the curiosities of the marine world and promoting the environmental conservation by way of social awareness and education. One example is the creation of sanctuaries, sub-brand of sea life whose mission is saving, caring and giving back to nature seals and turtles, and other marine animals that washed ashore sick or injured.

http://www.visitsealife.com/porto/planeie-a-sua-visita/

Follow me again, for this tour in the form of images the scene photographer Celia Carmo.

Since childhood I have always had the need to express myself. The arts always caught my attention, since the age of five, but what I really liked was the cinema. I never said anything to anyone because it was something almost unattainable for a girl who lived on an island. The seventh art has always touched me, because I always needed to express my affections, to show this more emotional side of life.

At 18 I started telling my family that I would be movie director. I looked at myself as a conductor, he had to learn to play all the instruments in order to conduct an orchestra. I understood that I had to learn all areas intrinsic to the cinema to stimulate the dream, after I got in touch with Orson Wells who was also from the theater.

I went to Porto, where I joined the contemporary performances academy in the course of light design. It was something that interest me greatly, have always fascinated me the environments created in the movie and the lighting is fundamental. Worked on several shows in the city, because there were teachers who asked for our help to the plays of their respective companies. My weekend consisted on creating sounding and stage lighting. Once this stage of learning was over, the photo appears soon after. I decided I had to take a course by my growing love for the image, in the Portuguese Institute of Photography. It was there that I found my true calling, I realized I could express myself through images, in particular, in the laboratory, where everything came alive.

My first scene photography exhibition takes place in 2002, with the images of the play "Metamorphosis" by Kafka, in the Rivoli Theatre. Were photographs with movement, had a very documental side, but of course, always with a more personal look, very much mine. Later, my colleagues who knew my work started calling me to photograph the stage setup, the backstage and the premieres of their shows. That's how it happened ...

Another summer program on SIC.

It's one of the bets of this private channel programming and I must say I was amazed by such an atrocity. Honestly I do not know who are the bright minds behind this unfortunate idea, but I must say everything I watched in this first episode was to say the least unfortunate. I notice that I'm always contradicting myself every time I try to say that everything has already been invented in television terms, again, sadly I was wrong. Mea culpa again. Olé is a bizarre contest, frankly, VIPs forcados? Really? And though, I do not go so far to say that it is a freak show, but seems sincerely, taking into account some of the participants, not the animals, of course. I must say in all candor that this summer in our country promises. Madness not only is installed at the highest governmental hierarchy, as well, to our great sorrow and dismay, it also contaminated private channels with strange, unreasonable and poor taste TV formats. Olé is one such example, but unfortunately is not unique. I ask only one thing, do not see it! Think of your money and instead on spend in it in the added value calls buy a bus ticket to the beach which is healthier, not only for your wallet but also for your sanity. Olé!