A research center created a computer platform will all the incidents of harmful spills on the oceans.

The center of marine and environmental research (CIIMAR), from the University of Porto has created a database that allows you to access information from 120 incidents of spills of hazardous and noxious substances in the sea. The data carriers of all types of such events occurring in the world from the years of 1947 to 2011 with the aim of identifying such disasters, and more particularly the chemicals which contaminate the oceans, according to the website "traffic of the substances has grown exponentially in recent decades and are likely to cause huge environmental damage, such as oil and its derivatives. Are substances with industrial applications that travel the globe on freighters, in bulk or in containers in very high volumes and we are unaware up until now, the proper way to act in the event of an accident. To date have been registered in the database about 190 different compounds with different degrees of danger. "

The page was developed by researchers from the center under the project ARCOPOL Plus, "the database classifies accidents by vessel name, date and location of the spill and HNS involved. The spilled substance is characterized by (CAS registry number in the database Chemical Abstracts Service), the volume spilled, the physical temperature of the sea water, the water behavior in the short term (code ESCB) and hazard according to international codes (IBC and IMDG). Beyond these parameters is made in news gathering and reporting data observed and recorded in the context of stroke, and aging on the behavior of the substance in the water and shoreline. These data are essential to trigger a response in the event of an incident. "
http://www.ciimar.up.pt/hns/

It is a fashion trend, in terms of footwear that is found in Portugal and beyond.

In a recent survey I did thru several sites I came across by accident with a curious conversation that arose on the internet on the subject: Are Portuguese women beautiful? From the point of view of foreigners who visit us, the comments were very mixed, i.e., there was a bit of everything. And I do not intend to dwell on this issue that I do not care about, in my opinion; beauty is only in the eye of the beholder and not in the race. Opinions aside, what really caught my attention was the unlimited number of guys who realized a trend that actually we can see in young Portuguese women when they come out at night: they use make up without exaggeration, they use the ultimate fashion trends, but almost all have one thing in common, complement their looks with tennis shoes in several shapes and forms. And I could not help but smile, because it is the purest of truths. I do not know what moves them, I think, especially, they like to feel comfortable and there's no better footwear for this purpose than a good pair of sneakers. And then, there is certain rebelliousness behind this style, a kind of revolt against everything that is remotely related to the previous generation. Right now we witness a proliferation of models, from sneakers with heels, the customize vans and the old ladies, but never out of fashion, the converse. These type os shoes exist in many different colors which helps further complement the looks of these Portuguese beauties, however, the phenomenon is not national, it's global. I notice the same standard of style even in a Hollywood star such as Kristen Stewart, did you know that this young actress dressed by the best designers in the world, after the usual photos on the red carpet, she straightaway replaces Louboutins, or Jimmy Choo, or Manolo Blaniks for a good pair of sneakers? It seems bizarre to you? Well, fashion is a phenomenon in constant evolution and we do not argue about taste, we criticize it until the next season, or generation.

Raul Guerrero is a pioneer teacher in Portugal on the basic social architecture of Waldorf. It is a type of education that begins with parents and teachers, appropriate to its historical, geographical and religious environment of the country where it operates. It is not an imported German model, is a kind of universal humanistic teaching to suit the wishes of the families of all classes and religious beliefs and obeys the freedom of choice, just does not accept atheists.

How to start your journey through Waldorf education?
Raul Guerrero: There is a brief story behind it; I'm the first Portuguese Waldorf teacher for over twenty-seven years. At that time, after April 25th, 1974, saw the cultural environment in Portugal was not what I expected for my children's education. In search of an alternative, I was still in the Lisbon University studying philosophy and then applied psychology; I discovered the principles of Waldorf and took a complete turn my life. I left the country with my wife, who was German and went to Stuttgart to do the training.

So what was missing in education in our country that made you change to another type of pedagogy?
RG: First, was the most intimate relationship possible between teacher and student, especially to each individual child. In the state system children are treated collectively and that individualization is something very difficult to achieve, this is one of the arts of teaching Waldorf and basically it was crucial for me. There was also a past in which family left Portugal in the 40s due to the dictatorship and we all went to Brazil's why I have the rest of a Brazilian accent. I spent over 22 years in São Paulo, and when I returned to Portugal where I met my wife.

But, after the April 25th, 1974 the teaching has not improved in Portugal? Because before the Carnation Revolution was a very emasculating system.
RG: Yes, it was a terrible thing, a cemetery during the dictatorship. In post April 25th there was a chaotic state because of the freedom, like a youth in puberty that explodes and then you have to be to make blunders, freedom is absolute. That moment did not bring an order or a makeover for teaching. After that period followed a basic outline, is no longer a semi-fascist ideology, but created a stratification where children are like sardines waiting to be filled with knowledge. This model in which children are served of information that has to build up and make a further examination where a person can give them five or not, this for me with the knowledge I had of education was a horror. It was crucial to become a teacher in alternative pedagogy, totally revolutionary as the Waldorf.

Then, after the revolution and then back to Portugal was difficult to introduce the Waldorf model in Portugal.
RG: I even got time to rip the words Salazar of the bridge over the Tagus with a hammer. But yes it was very difficult, but it is not something to regret, because it was not a single case is typical when there is such a great novelty. First, the Waldorf is never founded by educators. The initiative must come from the parents, particularly mothers. After ended up the course in conversation with friends, I made contacts waiting for a minimal interest in Portugal, meetings to learn more about the subject, but it never happened. After working 11 years at schools in Germany, in English, French and introducing woods, I kept constant contact with friends in Portugal and it was gradually emerging one basic idea, which was very healthy, a study group between mothers and fathers directed to create a kindergartens. Today, for 3 years exists the first Waldorf School in the Algarve, is called a free school, the Oliveira; however, there is one more on the outskirts of Lisbon. During the time I was in Germany I dedicated myself to the future, what I can do in the name of Waldorf and became a member of the national council, which stimulates the work of 230 schools with hundreds of thousands of children. Waldorf is currently spread around the world, with more than 1000 schools and 2400 kindergartens.

The historian Rui Tavares wrote a short essay on the greatest natural disaster of Lisbon, which generated a great conversation about its content.

Did the idea of the little book come about because of September 11th, or because of the 2004 tsunami?
Rui Tavares: Well, my area of specialization as a historian is the Pombal era, particularly after the earthquake. The idea for this book came a few years earlier, when I realized that the 250th anniversary of the earthquake was to be commemorated, thought and made plans for a documentary about this historic event. I made a script that went around, talked to producers, and sought funding. We walked around these large structures that are film and television, because such projects require large teams, and at one point I realized we were not going to get anywhere. I gave up this idea and followed a simpler path, to go home and write a book. It was something I could do myself, then I had the great fortune that the publisher, Tinta da china, appeared at the time. It was created by my faculty colleagues, all women, looking for a book that was precisely this one. It was written in two months, uninterrupted. I had some ideas for a rehearsal and was happy in the sense that, despite being about a sad subject, it was written in a very fluid manner, in one breath, in only 62 days if I'm not mistaken.

But there was formerly a large amount of research, because it describes in detail the city of Lisbon before the 1755 earthquake.
RT: The study had already been done extensively, over time because of the original idea of making a film. Therefore, there were a number of support materials for the project. The rest of the research was from the Pombal era. So these two months were just writing, with few trips to the archives, although there was a chapter written directly in the tower of Tombo, with the documents at hand, without doing what historians often do, which is to collect documents first and then treat them. I wrote on top of the document, and was also an opportunity to do something that is probably barely noticeable to the reader, but I quite like to do, which is that each one of the chapters is of a different historiographical genre.

So, let's start with the first chapter that discusses the deterministic and indeterministic, as historian do you identify with any of these movements?
RT: The answer if whether the story is deterministic, i.e., if we can predict and understand events, since we have knowledge of the laws of history, or if the attitude we should have towards the story is Pyrrhonist, the term comes from the ancient philosopher Pyrrhus of Elea, who when he heard that Socrates had said: I only know that I know nothing, he said, Even that I do not know. Therefore, we have a Pyrrhonist attitude toward history, we do not know if there is progress or not, or if there is sense to the history. As a historian I rather leave that answer in abeyance. As an individual, with a sort of philosophical view of history, in fact my answer would be that I am philosophically Pyrrhonist; I think there is no sense to the history, if we cannot grasp it, I am a radical skeptic. Civically I am a proactive, whether or not there is human progress, it is not a question to be answered in theory, it should be answered by our everyday practices. We do not know if there is human progress or not, but we should make it be. Those are two different positions, as the writer Scott Fitzgerald said: I might even think that there is no hope, but I should be determined to act to change things.

Speaking about the chapters themselves, why was the division was made this way?
RT: I as a student of history have always been interested in theories of historiography and a sort of cross between the literary experimentalism and this same approach. So, how to do anything that meets the parameters of documentary and factual accuracy, but bring to our experience as readers, the multiplicity of perspectives that a fiction writer can bring, micro scales to very, very macro. Stories told by multiple narrators at the same time or told from various perspectives, etc... I've always loved it, and that's what I decided to do in this book. It is applied in each chapter differently. For example, there is a chapter about everyday life in the year of the Lisbon earthquake. Until November 1, 1755 we have 10 months in which life happens in a normal way, for us today, the picture of that year is terrible, a sharp break in history, but from January 1 when the court goes to the Church of São Roque to hear a Te Deum to 31st October, even until 9 am of November 1, 1755 it is a normal day. The Lisbon Gazette speaks of a blessed year, a city favored by God, where miracles were seen even in things like candles not burning up as quickly as expected. This chapter that tells all, step by step, is micro-history, which is a historiographical genre that was born in Italy in the 70s and 80s, with a historian Carlo Ginzburg and Giovanni Levi, the latter the son of novelist Natalia Ginzburg, is someone who brought literature to history. The other chapter is written in another style that is the counterfactual, in which it explores how Lisbon would have been had there not been the earthquake. Here we supposedly tell the reader: we're violating the game of history, because we talk about things that have not happened and will not happen, because the city had an earthquake and was subsequently rebuilt and another metropolis arose. But let's do it anyway to emphasize how important this tragic event was. Then there are other chapters written in other genres, the neo history, and an essay that has to do more with reception theory, which has to do with the memory of the earthquake today. Each chapter has a style and a different voice.

Formed in late 2011 by three musicians with various musical and cultural experiences, Ana Irene Rodrigues on saxophone, Sandra Sá on the violin and Giancarlo Mongelli on the piano, coming from different professional backgrounds, this trio was born from a desire of sharing and finding. A discovery that became an adventure of a world yet to explore. An unusual chamber music formation, where they join timbres and sonorities that only recently aroused the interest of some contemporary composers.

How appears Allegro Giocoso Trio?
Ana Irene Rodrigues: It started when I got back from Amsterdam, had just finished studying and wanted to continue with music. My first intention was to perform a concert and talked to Giancarlo Mongelli and in the middle of the repertoire that I showed him appeared a concerto for saxophone, violin and piano, a trio, and instead of making a sporadic music concert we decided to create this project.
Sandra Sá: Then she came to me and from there we started to see a repertoire.

Speaking of the repertoire, your deviate a little of the typical concert of classical music?
AIR: We flee from the classic term, yes.

It was a conscious choice or something that was stemmed after the first concert?
SS: It depends on the compositions. When someone writes for violin, saxophone and piano they are already creating a musical environment, a note that sounds different. It flees from traditional classical scholar, because it is more recent. Usually the scores are more contemporary and are audibly diverse, their characteristics are different.
AIR: While the violin and piano are instruments scholarly enough, the saxophone is relatively recent, is one of the youngest musical instruments that exist.

But do you have a long repertoire at your disposal?
AIR: There is not much of a more scholarly repertoire; we have sought to find compositions easier to hear. More contemporary pieces and there are quite modern, nowadays many people have written, is a repertoire that runs from concert halls and people like to hear.

Teresa Madruga is one of the most sought after actresses in Portuguese film, by her enormous talent and naturalness that gives the characters she creates for the screen, or does not, as in the case of Vitoria de Tabu.

What attracted you to the character in the movie Taboo? Was it her loneliness?
Teresa Madruga: It was not the character itself, but the movie project. First, I had enjoyed the previous film Miguel Gomes made, I realized he was not just any filmmaker; he had a different kind of imagination. Because I liked his last project I accepted to do the role. I found it an odd project, Victoria was also odd and this all led me to accept, not exactly because it was very interesting. In addition, she was a tough character, because it was almost non action.

She is a person who internalizes everything.
TM: Yes, she exists in terms of listening and imagining. Like that habit of going to the cinema. It was more the work itself that drew me in.

Did the fact that it was shot in black and white surprise you?
TM: With that filmmaker, no. (Laughs) It just surprised me in the sense that he knew a film in black and white is more expensive, but the methods no.

You attended the Durban film festival, how was a film such as Taboo, about a colonial past?
TM: There are many Portuguese residing in South Africa, mostly these were the most interested in seeing the film and liked it a lot. But I spoke to migrants, they are also South Africans, because they live there since they were born. Often this colonialist past touches many people who lived here too, they remember it all.

The College of Veterinary Medicine of the Technical University of Lisbon launched a website on anatomy.

The Veterinary Pathology Atlas, it is according to the team of teachers and students who created this site, "a proposal for a new study model that is based on the use of new information technologies, representing a new attitude in the acquisition of knowledge, more relaxed and interested. This work results from the choice of archive images of the Faculty of Veterinary Medicine of Lisbon, the private collection of some teachers of this institution and some offers. Selected images illustrate mostly mortem, clinical cases, findings of slaughterhouse and the pathological history of specimens used for diagnosis. The selection was made according to the topics of greatest interest in the field of Veterinary Pathology and General Pathology. It aims to facilitate students' study of Veterinary Medicine and arouse interest in the necropsy and pathological history diagnosis, clinical cases illustrate the practical interest to all those engaged in the business veterinary clinic and allow the understanding and interpretation between the macroscopic and microscopic aspects of the various conditions presented. "This is a page that can be consulted both in Portuguese and English and also aims to be a tool to aid veterinarians across the country and around the world. It is also advised to sensitive people to avoid the contents of this site.
http://atlas-ap.utad.pt/index.php/pt/

The slow food movement of Alentejo only has 25 people enrolled. A small drop of the ocean compared with the other members of the global community of slow food. But that doesn't matter to Vitor Lambert, one of the fiercer members this philosophy of life, defending with tooth and nail, the delicacies and culinary delights of our country. It makes your mouth water just talking about food!

What is the slow food movement?

Vitor Lambert: The Slow Food movement emerged in 1986, was institutionalized in 1989, and now there are more than 100,000 members worldwide. He was born in Italy, which is an example in terms of cuisine, and also has the largest number of dishes that fall under the Mediterranean diet that was considered world heritage site by UNESCO. It was this country that triggered this all, but Portugal did not join. It's now trying to catch up. This idea of the slow food movement (MSF) originated in a square in Spain where there was a McDonald's. A group of people began to feel incongruous that in a country where you can eat very well, where travelers should taste what exists locally, were eating hamburgers that are eaten everywhere, and that are always the same. So the habit of eating slowly was picked up again, taking your time, together with family and with friends. Incidentally, if you think about the great moments in life, they happen at the table, whether it a birthday, a wedding or even business. The act of eating is sacred. Our symbol is the snail, because we restored slowness, people in day-to-day go faster and faster and have less time. MSF realized this, and many people understood it as well. Interestingly, also in the U.S., where there was an exponential development of fast food, but also where the concept of slow food was founded. Increasingly it is noted that this movement has been embraced in communities, and flavors are being recovered through activities in schools, in local markets and even in the increase of vegetable species produced.

So how does it all work?
VL: The slow food has been restoring traditions, especially with regional structures, in this case in the Alentejo. We tried to convey this philosophy of life in a way that the alentejanos understood, while we noticed that there is a set of structures we have helped retrieve. For example, some of the traditional taverns have been closed by the silly ASAE (food inspectors), and I have no problem believing it. They have destroyed a lot in terms of tradition in our country that attracts tourists, because those who visit us will not look for things they can find in their own countries. We have also been recovering types of flavors. It is a work-based crop where we discover these traditional producers and culinary heritage. It is a starting point to showcase our precious territory. We have to help calmly, slowly, with quality and respecting the products of the season at the expense of others, because otherwise we eat food loaded with chemicals and preservatives. The future is eating locally, from our garden, and it has the advantage of making people settle on the fields and produce. It will be more expensive, yes, but nowadays people prefer to spend on mobiles and skimp on food. Here there is something wrong, we should spend more on what we eat.

The Alentejo has always had a strong gastronomic tradition but still it needs to be preserved in Portugal?
VL: Yes, it needs to be preserved. I have already spoken of the taverns that were disappearing.
But people continue to produce the traditional dishes?
VL: Yes, still, but you know that all that is cooked is Algarve food. When Algarve became fashionable, lots was forgotten, and Alentejo moving in the same direction. Many people who are involved in this area of gastronomy do not know many of these local gastronomic gems, for example, where will you eat a bread soup with lettuce? Where you eat the dishes that people themselves created? Nowadays people will eat the false Alentejo food many times. The convent sweets that were only for rich families now democratized it, but where are the dry cakes? There are a number of aspects that have been mischaracterized. The elderly no longer drink their hootch, they drink whiskey. We were dazzled by the outside, but we forget that we have an interesting heritage that should be protected before disappearing. It's what we tried to do with botifarro, or the potatoes of Azaruja. Almost nobody knows them and is a local product from the outskirts of Évora.

So showing these dishes outside their local context is one of the aims of the movement?

VL: The fact is that this type of event was not motivated by the Alentejo cuisine, but to show the movement's philosophy. Now and then we show people what is very dear about slow food, what are these seasonal dishes, which are noble and come from the people, called food from the pan. Now there is this craze of gourmet chefs, and that's fine, but in 10 years they will surely return the food of their mothers and grandmothers, who were tested for so long and endured over the years. That's what we want and should give it due credit. People here do not eat crackling, but we go to Italy where it also was not eaten anymore, but was recuperated. It was considered a dish for the masons and is now exported all over the world. In Portugal we throw it all away and do not appreciate it. Even though it is one of the dishes of the people. We go somewhere for local eating, or wine drinking and then we wonder where it all comes from? Then we walk around and get know a grove or a vineyard. At the end we see it all together on a plate.

Is the new program grid of SIC.

I always thought they had invented everything in terms of television programs, but (and there's always a but) I was sadly wrong. Splash celebrity is one of those formats, which in my humble opinion, is leaky on all sides. This is another one of those freak programs that who deserve a television point, only for its unclassifiable originality. The big question that remains is unclear what kind of public finds it attractive to see media figures jump in the water? Thus, the sole purpose is quite clear that it is to compete with the "Big Brother VIP" in TVI, which it fails to do. And finally, it only deserves one more point: I am truly impressed with the versatility of the Guedes brothers. One "shines" in TVI and the other tries to do the same in the competition, a "battle" of egos that promises more than the formats TV cited above. This alone gives it a much more interesting spin off.

Japan is in fashion and is now one of the references for this spring-summer.

It is one of the fashion trends for 2013 with the delicacy of its color patterns, large comfortable shapes and the richness of their embroidery. Details that have not left Teresa Martins creative team indifferent. Thet designed a collection inspired by Japan, titled "summer moods" That recall hot summer days, sitting by the sea, in a relaxed and bohemian atmosphere that induces a salty happiness. This would be the somewhat poetic, and very portugese, way to describe the garments of this brand. It is also one of the images of this national designer: a variety of high quality fabrics and versatility, linens, cottons and silks studded with embroidered details that refer to the niponic illustrations. Forms induce an amenity that allows great freedom of movement, let alone the overlapping parts and delicious small modeling details that somehow create a fluid silhouette that is full of life. The TM collection is a Portuguese design of fashin and houde products.All collections are created by a team of designers under the direction of Teresa Martins. Most of the fabrics used in their products are designed and produced under their exclusive own brand.