Emanuel Sousa began his studies at the University of Madeira, but graduated in painting from the Faculty of Fine Arts of Porto. His work inicide especially in figurative painting that he rediscovers thru a series of canvas that reflect his concerns as an artist and human being. On the 5th of December will open an exhibition entitled "scenes of vices / scenes of sacrifices" in the arts space of João Carvalho in Alcanena.

You say in your presentation that your artistic object is “having the human figure as a starting point and all its traditional academic stature, I am trying to transcend, or at least question, its formal representations".
Emanuel Sousa: What do I mean as bases? All that you start to learn where all the rules of drawing, painting, physical representation and the process from which I try to develop my work. I try to create, build upon, then I destroy, return to reconstruct what is left of this base and from these elements, although they are recognizable fragments. I bet on rebuilding in a riskiest language with a more contemporary view fleeing a bit from the classical canons, while I seek a very personal journey.

But I realized you choose portraits, how do you choose these faces, these bodies?
ES: It depends on the series in which I am working. I have to divide it into two parts, on the one hand the technique and aesthetics, is the visual result which is presented in terms of color, layout, shape and composition. Then we have the theme of the concept, I have chosen to address, as a rule, more social and mythological themes and try to turn them into more contemporary situations.

So let's talk about the series "go back home" which is a very strong title, has racist connotations, is it not?
ES: Exactly. The purpose of this series is trying to point out the hypocrisy of our own country. The people I portrayed are my Portuguese colleagues, who are here in London and sometimes we hear some unpleasant phrases, they do not call us names, but when we make a mistake in their language, they sends us back home as an answer. What is the perfect analogy for previous generations in Portugal who looked at people from African origin with the same disdain and also we sent them back home, but they are as Portuguese like us, the only difference is their skin color and so they were treated differently. I wanted to point out this aspect, the hypocrisy, that is, people who repeat such phrases in Portugal, maybe have children, grandchildren, or family members abroad who also suffer prejudice. The title was right in the sense of being provocative, to be blunt. I chose certain kind of people for this series, because I have a strong connection with them, met them a few in London and another in Portugal, over the years we have established a strong relationship, some are friends, some are almost my adoptive family with whom I live and I have some laughs. But that is always contact with our land without being there.

And all of them at some point were also target of prejudice?
ES: Yes, well. The common link is also important. The project is more complex than just the fact that they are immigrants, Portuguese, based in London. They had to have suffered some kind of xenophobia, racism.

Jorge Pelicano is a young documentary filmmaker who has won prizes and the general public all over the world. Its cinematic vision seeks to embrace the various realities that he does not know and the characters that populate these very restricted universes and sometimes very intimate.

I thought in all your documentaries, since "there are still shepherds" and "stop, listen, look" including the latter, "stops suddenly my thought" you approach always the invisibles, are worlds within worlds.
Jorge Pelicano: Basically I agree with this observation. To me interests me making movies, telling stories of people who normally we do not , where we are not very in touch with these characters, that is what drives me to make a documentary is the unknown and I use this film device to go meet this reality. In the movie "there are still shepherds" I went to the other side of the mountain to look for a new character in this case was a sheperd, that is not visible, so I went across the world, there is this interest in searching which I do not control, I do not know, that's what moves me. Similarly happened last documentary, I did not know the reality and the characters within a psychiatric hospital because they are "closed", it is very difficult to have access to the interior, the daily life in a mental institution, but if you are director film is possible and that's what fascinates me in this activity.

Nor is it a reflection of your own loneliness? I noticed that you have chosen people who reflect this solitude, the are isolated in their own worlds where only you notes that they exist.
JP: I know that they exist, because I search lives. Does not mean in my life is suffering from such solitude, I look for worlds that are totally different from mine, that what it is, this quest fills me plenty, for example, when I pass thru a psychiatric hospital I already know what's going on inside. In the background is a search for other experiences, which is what the human being tries to know other realities, because in so doing so feels fulfilled, likes to meet others and feels good about it. In a way to meet these other worlds I use the cinema.

To "stop suddenly my thought" why you decided to choose a psychiatric institution in Oporto and no closer to your house, for example, in Coimbra?
JP: Because when it comes the stories the location does not matter, to me what matters are the characters and not where they are, a schizophrenic in OPorto is the same as another in Coimbra, is not the location amending. The choice of "Conde Ferreira" had to do with access, to make a documentary one of the most important things is the story, how did we get there? Just as if we want to reach the top of a mountain we have to choose the best route. I had a colleague who had access to hospital administrators and more easily reached those people, because that was a major issue at the level of production of the film which was entering in a psychiatric institution, it is really difficult. A great work from the production was necessary, so that in fact the people who are in and manage the hospital understand what is the end, the movie object that is intended to do within that reality. I think within the "Conde Ferreira" these conditions have been created, so we filmed in OPorto, but we could have a shot it somewhere else. On the other hand, it was what I felt inside that reality, that world, so that the characters could sustain the narrative and the purpose of the film.

Interestingly, you recorded immensly and I think that there was the idea of having a second part of this documentary.
JP: We filmed about 250 hours, a total of four weeks. So it was an exceptional intensive process where we tried to make the most of our presence, because it is a rare opportunity, do not say unique, but it was necessary to take advantage of that. Now, as to join material for a second movie that was never on the table. Basically, the extension of this story may appear in a play, the actor Miguel Borges planned it in the near future, but this will not be a continuation of the film, because the actor himself entered in that reality to do so. Now, he absorbed all that worldview and in the future will give all his vision of that four-week experience that will be the continuity of the history of that reality. The cinematographic point of view my work is finished, I do not intend to make a sequel, my perspective had a beginning, middle, and this finished.

Batida, by the way, Pedro Coquenão created a remarkable musical universe that cuts across all kinds of audiences. His performances reflect his creative vision of his African origins and the world, through a rhythmic and compelling sound combined with a very strong message that leaves no one indifferent.

From what I saw at the concerts you offspring sort of pseudonyms in musical terms. There is a musical universe in which your various alter-egos, batida, dj, pedro create different sounds, including your personal convictions, so how does it works your creative process?
Pedro Coquenão: In practice ends up being my perspective. What I find is that you yourself can have multiple views, have different experiences. In a concert is easy to reach the stage, put yourself in the role of artist, been in the scenario, say something similar to what you did the day before, people love it, but there is a gap, a formality, they applaud at the end and then I'm out of here, this tire me a bit, bores me and it becomes too repetitive. I like to strive for perfection rather than have a sterile something that does not fit, it's not alive. I always end up having an organization, a test method with each artist who want to create individually work with me separately and when it is to be on stage with them all, depending of time, the public, the history of the site where I am and the concert. But however comfortable it may be I cannot forget my friends who are imprisoned in Angola. It may even be a buzzword artists using this type of appeal, but always believe there will be someone who will know something else and the only peaceful weapon to counteract some of these injustices that happen in the world is passing information. If only one or two people have been curious and have signed the petition Amnesty International, or made a google on the subject is already good, at least they heard the name of these people, on television, or radio and will have to face the subject that is not totally strange and for me it is to break barriers. If all this is done with a more dj character, more artistic, or performer is a bit of the tools I use to express myself at the time, or cause anything because our life is too short and do what's more comfortable, does not reflect me. I do not want to be the best, I am interested in creating works that provoke strong reactions in people. I'd rather have in the public someone who hated it, while I do wish to attract this kind of people and not want to create that kind of feeling, but I like to risk it and others who loved who felt that was special in some way, than an entire audience found it all pleasant. The heteronyms or aliases end up being my changes departing from my way of being in the day-to-day. I have moments I do boring things and other days when I have to be creative, is not the objective, it is the noun to create new things.

How does all this work in practice?
PC: When I work with an artist I end up investing a lot of my time to talk because I think it is very important to know the people, places for them where they step and that perhaps causes a lot of inconsistency, puts the very need for plural beings, even when it concerns myself and I have to do it. I do not know what is to be better, or what is more interesting, then, try to do on stage what I went through life to see in shows and think what people look for is vulnerability, it is to expose-the public go to see sincerity, honesty and talent. As I do not know what is my real talent, I show everything I've got and let the people decide what they like. This show also includes artists who will bring something to the stage and it tastes great.

Speaking of these creative partnerships, you underline that you saw a lot of concerts this is how you get to know their work, or emerges almost spontaneously to know them personally?
PC: Emerges in several ways. Let's talk about the concert which is the most honest, I needed a drummer, usually work with two or three who are always busy with other bands, so I asked a contact I have in England the names of some musicians and links on their work. I like to see the videos that have less views, which were recorded in less glamorous places, like in a room playing, which is where I like to see people, because a big stage is easy all goes well, now when the person is alone, It is when you see what the musician has to give. Tom Skinner, called my attention by his drumming gift and the curriculum itself, also he is the drummer of one of my favorite bands, the "Owiny Sigoma Band", then invited him to rehearse in my garage for a few days followed and we worked well, apparently he was also familiar with my music. From gig to gig he begins to realize better and better what I want, I want to give a little of it, not just to replicate. The Bernardino Tavares, the higher dancer, I needed someone who came from the Angolan traditional dances, but also had something of the street, which was not a formal dancer, this was my first need, then went to see the trials of an association in Lisbon called " Batoto Yetu Portugal "that teaches children and adults dancing Angolan traditional music. I'm not sure if I was there for three months or longer, but at first they did not give me much notice, because they did not realize what I was there, they did not understand what that guy was doing by only looking and during this period I meet them without them even knowing me, in the end I invited two, one was the Bernardino and a female dancer, Daniela Sanha. I started working with both touring aside, based on what they had that was the traditional dances for other things that interested me more, working the choreography individually and try to take advantage of more interesting things. I try to challenge them to get out of their comfort zone, something that never explored because it is obvious to me, for example, the Bernardino was a woman on stage, he had never done it and now likes to put the skin of this character, is a time of fun for the dancer. Gonçalo Cabral arises because was looking for a more contemporary dancer and first I met André Cabral who is one of the revelations in terms of comtemporary dance, he's amazing and tried for weeks to do something different, put him to dance African music, despite to be a descendant of Angolans was pulling it from contemporary for something dirtier, more dusty, less perfect and maybe worked it for a long time. There was a show I met his twin brother, who is Gonzalo and I realized that he also liked what his brother was doing and wanted to participate, then I told him that one day he would come up that opportunity to invite him to do the shows and so there was a chance where Andre could not do a show, I invited him and continued to work. Catarina Limão emerged as VJ, she joined the area of video through the work I've done with my own pictures collection, I liked having someone on stage who manipulates them in real time, though she came from the radio and liked photography and image too for a time she did that. Then I was pushing her to do other things, she began to sing and dance it was something that she never done before, was a dreams of life nowadays no longer makes videos, only sings, dances and plays repercussion that is what she develops more now. Bruno Lobato is another good example, is in the mix, has worked with "Terrakota" and produced the "nigga poison" I like a lot. He knows what I need in terms of sound, because I can't be in front of the stage listening to me, I have someone who knows me and what I like a lot, if not. Manuel Pinheiro is also part of the gang, he makes the sound of Noiserv, I've worked with him for a long time, that essentially was me as a DJ and he on the rebound. The people I worked with were not my friends, but I think I become friend of everyone, deep down there must be mutual love and respect for this to also translate on stage, the idea is to be almost a family gathering, or a wheel of the village to commune.

Your sound is irresistible to the public who wants to participate and dance, however, the lyrics have a very strong message, are almost polar opposites that do not match, it is your provocative side then?
PC: Maybe. We are all a bit incongruous and coherence is not a quality of man, we tried, but never are. I think it is beautiful this attempt of man, from my behalf there is only one test to be minimally coherent and decent, because other wise I will be boring. We all have things that make us interesting, but politicians, priests and parents try to pass this image that is not real, deep down no one can be perfect. I like a lot of convergence, to be together, to create a kind of calm, of peace, of meeting and celebration. But then I think nothing of this is funny unless there is some excitement.

It was a celebration full of glamor and great national fashion.

One aspect that really caught my attention about the celebrations of the 20th anniversary of Portugal Fashion, during the presentation of the spring-summer collections 2016, were the garments of some of the young fashion designers in the “bloom passerelle", which I believe personally were of a high quality. These new national talents showed great sophisticated collections, creativity and aesthetic innovation that left me impressed. I liked it so much here are my nominees for the spring-summer 2016:

Eduardo Amorim presented "Untold" which is precisely what the creator demonstrates this new collection. The designer, through the details with thermoglue tape overlapping the seams, bands holding the area of arms, etc and still tries to represent the current system, where the false freedom of information and expression reigns. In contrast we see some details in deconstructed sleeves applied in odd spots to represent the liberation from oppression mentioned above, thus passing the idea of humanity freed gag censorship. With a color palette ranging between darker and lighter shades, the collection presents some notes and color materials such as, for example, techniques meshes ring paper and double-sided "aborrachadas". All this is a deconstruction of the classic pieces with new relaxed forms. This effect follows the allusion to a controversial and often camouflaged "democratic" and "free" society .

Inês Marques showed the collection "Lath" which is characterized by being rich in graphics and textures elements. Inspired by the aesthetics of artist Andy Vogt, and never forgetting the key perpetrator, wood, the young designer will reveal 'proposals with a very simplified design, and purified by straight lines with color mixtures and materials. " Inês Marques privileged "simple materials", such as twills, from which created" new results through different interventions in the tissues. The results, these, which she materialized in printed, applications and finishes. This creative process guarantees, makes her clothes in authentic works of art.

[UN] T is the brand of Tiago Silva,a fashion design student aged 24 from Modatex, born in Braga he attended visual arts, where he discovered a taste for art and fashion design. To his credit, already has an internship in industrial design in Petratex and participation (in collaboration with Marques Almeida and Carlos Couto) in Portugal Fashion. Winner of the “44 Young Artists Competition", sponsored by the Portuguese Institute of Sport and Youth, the creator takes preference for concept development and an enormous pleasure in making collections for a female audience. Two bodies and two materials, opposed to each other, collide where the mind becomes palpable within a solid body. "Frames" are taken this matter as the reaction they have with this struggle with the mind, which are disseminated in accordance with the surrounding atmosphere.

Daniela Barros has designed a collection that alludes to reflect on the words of Didion on moral values, experiences and acts. Experimental work that combines techniques and tailoring of details about a deconstructed silhouette. Denim, tencel and lyoncel Japanese silk 1980, traditionally used for kimonos are the main materials of the collection. The white, it conveys purity, in contrast to the depth of the black, with beige and blue also two-tone with a strong presence in the collection. Color blocks, a male vs. female harmonious composition, and overlays make up a structured figure, but at the same time fluid.

Salimo Abdula is the current president of the business confederation of countries of the Community of the Portuguese Speaking Countries (CPLP). It is a Mozambican businessman of repute who has 26 years of experience in numerous areas and sectors and strong supporter of the idea of a global Lusophone community with free movement of people, goods and capitals.

You argues in your speeches a revolutionary idea of creating a sort of Schengen area among the countries of CPLP community. But on what basis?
Salimo Abdula: The economy is going to sustain the available wishes. Having this in mind, we, the entrepreneurs, formalized this gold in the States summit in Dili, at the meeting of Council of Ministers of the CPLP. The business confederation presented a report and we alo made a tour to the various nations, speaking to the Presidents of the Republic and the political leaders of each country to harmonize what is the main gold of the project of the confederation in the economic and business side.

It is an extensible proposal only for entrepreneurs?
SA: No, we advocate the full opening, the free movement of people and goods, did not define whether it is business, or are a simple citizen. We made this proposal because we believe that will create a new dinamic of scale economies. Who indeed will benefit from this are the micro, small and medium enterprises that will emerge from future generations. I defend this idea and I give as an example, the African countries where Portuguese is the official language, or the most emerging nations, as if my country, Mozambique, in which those who make the small informal economy are women, most of them do internally traveling with many difficulties in terms of infra-structures, but also move to other neighboring countries for buy and sell in order to sustain the family economy. They cannot have access to Portugal or other countries, such as Brazil, because it has administrative barriers, you have to request visas that take weeks and sometimes are refused. In the social networks a young man recently said, on one of the speeches of the CPLP, he did not feel part of this community, but felt integrated into the Development Community of Southern Africa, because when he wants to go to Zimbabwe or South Africa he can and to do so just had to take the car. or catch a bus, but if you want to go to Brazil, or Portugal do not know whether they will give the visa or not. This is the feeling of the Portuguese-speaking population and we want to draw the attention of the politions that it is necessary to eliminate such taboos, we are a community that were more than five centuries together and cannot be the bureaucratic and political barriers that tend to divide us.

What has been the receptivity of the politicians about this idea of free movement of people and goods?
SA: The responses of heads of state are that they agreed, but still I do not see action.

You are aware that it will take time?
SA: I have this awareness, but I believe that the pressure is the fuel for things to happen. It's not just my voice, you must also be the conviction of other business leaders, the media that cover these events, because when politicians feel the pressure of the community and the media will do anything to facilitate this idea.

What has Cabeço de Vide in Alentejo, the planet Mars and the area of Cedars, in the United States in common?

Rocks is the right answer. According to several exhaustive studies carried out by scientists from NASA to the meteorite fragments that over the years have been fallen in various parts of our planet and some of the Martian rocks, they all have elements and hydrogeological characteristics similar to rocks that we can find in the Cabeço de Vide and the termal area of Cedars, in USA. According to scientists from the US space agency the information collected from these space debris was related to data obtained by the probes that were on the red planet and that will now be complemented by the work of the Curiosity robot, which is currently conducting a mission of two years on Mars.

Analyses carried out in the Alentejo town confirm that the local waters have a specific composition and a characteristic smell and because of its various components, the waters have a pH of 11.5, being considered unic at European level and only comparable to those occurring in north mountain -American and the evidence of water on Mars detected by scientists. Based on this information, the American astrophysicist Steve Vance, from the Jet Propulsion Lab (JPL) NASA began a collaboration with researchers from Petrology Center and Geochemistry of the Technical Faculty of Lisbon that will relate and analyze three of these elements rock types and their waters, which may unravel the mysteries of the origin of life on Earth and other planets.

Entre os próximos dias 15 de outubro e 22 de novembro, a Sociedade Portuguesa para o Estudo das Aves (SPEA) promove mais uma edição da campanha “Salve uma Ave Marinha” na Ilha da Madeira e em Porto Santo.

A campanha, iniciada em 2009, conta com a colaboração de diversos voluntários que tentam salvar o máximo número possível de aves cada ano. A poluição luminosa é uma ameaça para as aves marinhas, em especial na época em que os juvenis abandonam os ninhos. Nesta altura é frequente encontrarmos muitas cagarras (Calonectris borealis) encandeadas, o que coincide com a saída dos juvenis dos ninhos. Esta espécie de ave é a mais afetada pela iluminação e também de mais fácil deteção. Estas aves, atraídas pelas luzes, colidem com edifícios, linhas elétricas e veículos, necessitando de colaboração para voltarem ao seu meio natural,o mar.

A campanha “Salve uma Ave Marinha” teve início em 2009 e ao longo dos últimos anos tem vindo a desenvolver diversas ações de divulgação em todos os concelhos da região, sensibilizando a população para a problemática da iluminação publica na conservação de aves marinhas nidificantes. Além destas atividades com a população, as utarquias estão a receber informação detalhada acerca dos pontos sensíveis em cada um dos municípios, no sentido de minimizar o encandeamento de juvenis e realizar algumas mudanças na iluminação pública. Igualmente, a campanha tem estado presente em eventos como a “Hora do Planeta” e foi finalista nos “ GREEN PROJECT  WARDS" Portugal.

Cada cagarra resgatada afetada pela poluição luminosa, prestes a ser libertada. Desde o início da campanha, as equipas de voluntários envolvidas, conjuntamente com outras entidades que se movem pelos mesmos interesses, salvaram mais de 1000 aves, sobretudo desta espécie. Em 2015, esperamos envolver ainda mais voluntários e salvar mais aves .

De acordo com Cátia Gouveia, “a nossa intervenção é crucial para a redução do impacte da iluminação pública sobre as aves marinhas”. Segundo a coordenadora da campanha, “além das patrulhas para recolha de aves, a sensibilização do público para a temática da poluição luminosa constitui a garantia de uma conservação a longo prazo para as aves marinhas da região”.

A SPEA é uma Organização Não Governamental de Ambiente que trabalha para a conservação das aves e dos seus habitats em Portugal. Faz parte da BirdLife International, uma aliança de organizações de conservação da natureza em mais de 100 países, considerada uma das autoridades mundiais no estudo das aves, dos seus habitats e nos problemas que os afetam. |

www.spea.pt

João Vaz is one of the major national organists. His passion for organ began at an early age when he heard play this instrument for the first time in a church. It is currently an organ professor at the Lisbon Music School and permanent consultant for the restoration of the set of six organs of the Mafra Basilica. It is also organist at the Church of Our Lady of Fatima, in Lisbon, since 1986 and was appointed in 1997, holder of the historic organ of the Monastery of São Vicente de Fora.

As one of the great Portuguese organists, note differences between the different organs?
João Vaz: Yes, there is never two equal organs, each one is different. Speaking in the specific case of Madeira, there was a guided tour, in Funchal, where I could enjoy the organ of the convent of Santa Clara, which is the oldest in the city, is an instrument of the eighteenth century and another of the College church, built there less than 10 years, the differences between them are vast and it was possible to show that the people who were with us, if we let these two aside and we approach the Funchal Cathedral is yet another completely different reality, the organ is not an instrument of mono sound, it has a multitude of different instruments.

What is an organist does when it comes to a place and will play an organ that does not know? What are the challenges you face?
JV: You have to know, first, how is the organ, will receive information about the instrument because the repertoire that you play in one is not the same on another. We noticed the disposal and the number of the program of technical specifications, but until open the keyboard there are always surprises, just when we played the keys discovered a number of new things, inclusive in terms of sound, only with much practice is that the person has this ability to adapt to the instruments, but the differences are sometimes even very large. Even though much information about the instrument there are many factors that a musician only realizes when it comes to standing there and really play.

Let us approach the instruments of Mafra Basilica, the six organs when you had access to these instruments and played them for the first time had some surprises?
JV: Surprises cannot say that I had because I know the basilica of Mafra for more than 20 years, I followed the whole process, the history of each one of the organs, the ten years since the restoration lasted and it was I who prepared the inaugural concert with the choir, I was surprised when I heard the six playing while low, was an unforgettable experience. As I was always involved in the whole process, was always playing, me and five other musicians, when I heard in the audience there was a special surprise, raved with the sound of six organs playing at the same time, you know, Mafra was a single case in the world in its time, and still is, then there was no more place where you build six organs to the same church. It is still a rare event.

In the process of restoration, it was found that the fact that we are a poor country in a way contributes to "prevent" the renewal of the organs more to the taste of later times.
JV: There was no time (laughs)

Moda Lisboa ended, but I highlight some proposals for this spring-summer 2016

Filipe Faísca decided to present a collection whose motto is"now" with very interesting pieces which highlights the transparency that is one of the trends for the summer season of next year. It is a fluid silhouette, very feminine and again the black eclipse to shape the most striking pieces.

Ricardo Preto bet on an androgynous woman, "effortless", he presented a collection that stands out the overlaps in various shades that shape the bodies and create a silhouette also dynamic and long.

Alexandra Moura decided to revisit an episode of a Portuguese historical past, the miracle of the roses by the queen Saint Elisabeth. The narrative steeped in centuries brings us a collection that is also a tribute to one of the women in the life of this Portuguese fashion designer. I also highlights some of the most elaborate pieces in a very soft pink tone that is the key point of this almost romantic and fragrant collection.

http://modalisboa.pt/

It's a book published by journalist Maria Elisa Domingues, which discusses her career, her personal life, the sandwich generation and other more practical chapters.

The book is subtitled, how to face aging without fear why?
Maria Elisa Domingues: Because I never employ the anti-aging expression, which today is used by charlatans of every field. Cannot counteract the aging, nor is desirable, it's a lucky thing that we are here and go older, otherwise it's terrible, we just die. What is possible is to age the best possible way physically and intellectually to continue to be the most productive for our society and for our families, Doris Lessing, who died over ninety years of age said the best of aging is the dispossession. I think I haven't got there just yet I'm a accumulating still a lot of stuff, but I hope to get with age deprive of all the accessory and really concentrate on what is essential.

It is also a reflection on old age.
MED: Is not good for a nation's economy belittle people who are at their best in terms of capabilities, many who invest in specialized training throughout their careers and after fifty the country shoos them happily, because they no longer serve, come the newest. I situate me in the generation designated internacionally by sandwich, are the ones who have to do some care to our parents, in-laws and uncles, who treated us when we were small and at the same time we have to worry , especially from the financial point of view with our children, victims of the crisis, unemployed and we are in the middle, with wages also committed, whose reforms have been cut and we have to tackle all these problems, which we did not expect. What we crave once we reach a certain age it was to have time to travel, to do other activities for which we had no time during our working lives and we are faced with this new reality in which we have encountered with a quite distressing perspective from the financial point of view, not limited to the future of our country, but our children and grandchildren sometimes. However, it is not a pessimistic book, looks towards the future, looks at this third life stage in a positive way. Has a good dose of optimism and resilience, of being able to reinvent ourselves and find new challenges, new activities of pleasure, awakening to life with another joy with other "air” called that chapter "10 years younger" because often these new activities are those that will rejuvenate us in some way, are tools for maintaining our physical form and then there are the activities of the intellectual point of view. The complete book also has several chapters that would call practical, the lack of a better description, which deal with nutrition, beauty, from skin care to cloths. They gave me a lot of work to write and research, all these themes were deepened the best I could so there are not just a repository of platitudes, I try to support the themes in a more scientific way. Interestingly, there was a great disinterest by these chapters, because they are allied to the status of women and therefore are labeled futile, which is of the male dominance is very important economically and that is the reason that is evoke and I do not agree.

It is a feminine book, but it is a feminist? Because you title a feminist.
MED: I do not title my selve of feminist, I am a feminist and I think that feminism is more current than ever when we are far from having achieved parity which is the least we can aspire to, because we are more and better prepared. But it is not a feminist book, is no leaflet, no need to be a feminist to join things of which I speak off, was not written from this perspective, only in the last chapter I argue that people remain younger embracing a cause, a movement, something that are in love a lot, but it can be anything else, other activity, I know people that dance the tango and that's what keeps them young, some do meditation or yoga and is in the very end of the book I speak of mine, which is feminism.

Interestingly you addresse the issues related to fashion, which are seen as futile, because women while contributing to produce millions not only in clothing, but as well in cosmetics and perfumes, are also reponsable by domestic decisions from the purchase of appliances to the car. However, all this is seen as futile that's why you decided to write about these topics?
MED: No, that's not why I decided to write. I really thought were interesting chapters and that people would like to read it, what surprised me was the reaction of the journalists who had a huge interest in that book, too large even had a huge enthusiasm from TVs, radios, magazines and newspapers, but no one has addressed this chapter and I was thinking why? I concluded that in the head of most people, even journalists, these industries continue to be considered futile, they do not give them the true credit it deserves.