Nuno Leocádio wrote the screenplay and Rafael Rolo directed the short film. It was the result of a final project of the course of social cultural Animation of the Polytechnic Institute of Guarda

They wanted to mess with the surrounding reality, the purpose of this short film is to show the abandonment and degradation which various localities in the interior of the country is doomed, is a fundamental issue that is never disclose too. The documentary seeks to enhance the potential of rural localities presenting profitability solutions contrary to the recent situation. Throughout in the documentary are displayed successful investments located in the interior, it is intended to arouse the viewer's interest on the return to the country side. It feeds the hope that you can change the depopulation of the interior, restore its fabric and try to reverse the demographic exacerbated littoralisation of Portugal.

What did you managed to achieve with this film?
Nuno Leocádio: One of the things that makes me happy about this movie is that interlink with the new rural society, it is an association that promotes the return to the field in terms of housing, help families, or couples who are interested to return to the country side. Promote this transition and networking with other institutions. The aim of this film is not marketed it, but releases it, if it's a fashion now to live in the countryside, let us enjoy it.

When promote your short film by various locations, the various organizations and associations, in the end people also indicated that this was a reality of their microcosm?
NL: Yes, there is also plenty of interiority in Lisbon, in the Algarve. People felt it, but also that they were the goldfish being devoured by larger mouths, even those living in urban areas.

Dércio Pereira is a self-taught artist by intrinsic necessity. His drawings come from a very personal language that conveys to the world spontaneously, with special emphasis for comics.

I know you're a self-taught, so how does this get your passion for drawing?
Dércio Pereira: The design is already inherent in me. Since the four years of age drawing is an integral part of my life, is perhaps the only language that can convey to the outside in the right way. It is always descriptive, I haul out the deepest part of me, is not autism.

It's like your language.
DP: It's a daily moment of speech with various handwritings and so I created my own language.

Who are the artists who have inspired you over the years?
DP: Since the age of seven, Hugo Pratt. I started reading and had no idea what was Freemasonry and so I found it strange and an indecipherable book, the poetics of this author it is all Kabalistic, if you can say so. It is inspired by ellipses and a whirlwind of information that generates a very beautiful poetry or literary or graphically.

The comic is one of the components that you explore in your art.
DP: Yes, I still did not finish any project completely, I am not sure if I'll ever materialize it at all. I have schizophrenia and I deal with a dispersion of thought. Therefore, do not know if I'll ever finish some comics, I always start projects but never end up. There is a certain frustration at being such a perfectionist and just as a page fails is enough to stop.

It is an initiative of the Green Movement will take place on the 26th May in the gardens of the Museum of Electricity, in Lisbon, between 15hours to 20hours. Admission is free.

It's a great eco party in the gardens of the cities, with various events that promote greater environmental awareness. The initiative of the "green movement", which is a group of private citizens, seeks to raise awareness through various educational and leisure activities seeking healthier and ecological habits that can easily apply to the day-to-day. In the Green Day there will be workshops on wellness, healthy food, there will be music and a market for organic products and the exchange of second-hand goods.

According to its statutes, this movement aims to draw attention to the importance of environmental issues and sustainability, adding wills, gestures and actions to change the world.
It's one more way we found to discuss, inform and produce knowledge about sustainability in a systematic way for all audiences, not just those already converted to the cause. Among other activities we organize events in gardens and public spaces, inviting people to celebrate sustainability, as part of the solution and not the problem, commit to change attitudes. In a culture permeated by self-interest and self-indulgent passivity, where people are more references to the role of spectator than a participant, who prefer the comfort easy to start a needed change, here is an inclusive and independent movement that we hope will help people to believe.

https://www.facebook.com/verdemovimento

It is a program led by Maestro Rui Massena on the theme of classical music.

Each episode of this "music maestro" focuses on a celebrated work of classical music, with the backdrop of some Portuguese cities. Has several items that I find truly interesting, for example, when they question people what they feel when they hear short excerpts of these famous compositions, but others leave much to be desired, the introduction of "notes" on the tourist location visited in each of 13 episodes, in my opinion, has nothing to do with the topic discussed. The trip is actually musical and non-geographic and in that specific context makes little or no sense at all. Could use the national urban and rural landscapes as a backdrop for several sections of masterpieces, without, however, discusses them in detail, suffice a small subtitle. Another curiosity, I cannot resist to stress out, are the funny faces of the conductor Rui Massena that gives to his format an informal tone and fun as intended.

Maria de Madeiros is not only a multifaceted actress, is an artist of the world that moves through the various valences of the arts, from acting, filmmaking to singing, she takes it all with a huge maturity and desire to achieve further without any limits.

Only after all these years that you decides to launch a music career. Why only now?
Maria de Medeiros: I think on one hand it was great to grow up surrounded by so much music, the other was a limiting factor, because in my family music is taken very seriously. I always been surrounded by great musicians, great songwriters, so I dared and that took time. And also to understand that I could still do something much simpler, composing songs that are not symphonies and now somehow like everything in life, the encounters made things happen.

Why bossa nova and jazz?
MM: I've always loved Brazilian music, BPM (Brazilian popular music), jazz and bossa nova. Are my genres besides classical music, they seduce me and now recently turned samba.

Because of his trip to Brazil.
MM: Yes, I've going a lot to Brazil, made a film as a director for the commission of amnesty and reparation that is doing very important work for the Brazilian state, which is apologize to the victims of the military dictatorship and a theater play. And now I have several friends been forming me in samba, it's wonderful, is a musical fountain of wisdom and extremely popular.

You also sang Portuguese music.
MM: I sang almost exclusively Portuguese music composed by me, or Legendary Tigerman and two Italian songs, in the album because there are only two songs that are covers, of Ivan Lins and Adriano Celentano, the 24 mila baci, everything else is original, because I'm Portuguese. And even composed a fado.

João Paulo Cotrim is one of the leading names in comics in Portugal. The book "Salazar-Now, at the time of his death," published in 2006, was a sales success, proving that there is still room for graphic novels in our country.

Being recognized for your work as a comic author, a world that is dominated by big companies like Marvel, Disney and others with a great merchandising machine behind, there is still room for the authors, and is there a market?
João Paulo Cotrim: I think that despite everything are two issues: One is the market, and for now we leave it, and whether there is another space, I think yes there is. The issue of the comic author is above all, more than the question of the market, the author's will to do it. Before being publish. It is a medium that requires only paper, pencil and will. Thus it is easy to draw. Publish is something different. But I think this idea that we have to create a market for a different kind of comic book is based on an idea that is out of fashion, it has to do with the 70s and 80s when comics exploded. It was above all the Marvel heroes, a certain imaginary urban youth and this indeed shattered, today there is no such great weight. Comics sells fewer, there is a great competition from video games, a series of extensions of the comics that ceased to have this expression and this force. Then, we watched following all this the emergence of a number of young authors in Europe, but also in Japan, is more or less simultaneously, and perhaps before in the U.S. in the aftermath of the 60s because of the indirect censorship of distributors for interesting things. And thus opened the way, which explodes in the 90s, for example, one of the trends of contemporary comics is the autobiography. What we have shown is that there have been some major publishers who interpreted this interest, although there are differences between countries, they sensed this author market and invested in them. Today live beyond the authors for the masses, some publishers have room for a graphic novel more or less experimental.

It is a reality that applies to Portugal or not? Or is it a different case?
JPC: No, we also have some special things. Some 10 years ago I translated a book by Lorenzo Mattotti that sold both here and in France. Precisely is a smaller market, the smaller is closer in some cases, alternate currents that ultimately functions. My book about Salazar, "Now, at the time of his death" had three editions and a book is not only the subject, but as the way it was approached by me and Miguel Rocha turned out to be a graphic novel with quite a reasonable success. Even today, the big publishers like Leya, Asa are give attention to some of these trends minority. Also since the 90s until 2000 had a number of new Portuguese authors to produce very interesting graphic novels, which broke with some canons. Now, in the Festival of Amadora appeared a number of interesting authors, there is an even a new comic prize for professionals with published work. The work that Marco Mendes is developing the "ghost world" is absolutely the most interesting and radical I would say of this area of autobiographies and so I think there is room and production, though, has declined.

Going back a little while ago and talking about the work of Salazar, it was curious that has been the life of a dictator to arouse much curiosity, leaves certain unease in the air.
JPC: It turns out to be a novel. The idea came from the publisher itself, the Partnership A.M Pereira, who is very old, edited books back in the time of Salazar and after April 25th made some historical work on these issues, with Fernando Rosas and they remembered to do something around the dictator. The question I asked if I was going to accepted I had complete freedom, even from the point of view of the format and what we were doing and suddenly it put me a question that any novelist stands before a certain theme: what does this have to do with me? Though I was born still in dictatorship, I was very small when the Carnation Revolution happened, I think that despite everything, we, today, we continue to live and now I think it has changed a little, but still, we continued to look at the figure of Salazar as a myth, not as concrete figure of flesh and bone, defects, with quirks, as I think to some extent he reveals. Salazar's Character from that point of view is rich, how he relates to women, how you manage the relationship with the military, the church, beyond the influence he had, makes it an important romantic character. Then also from the point of view of the image, propaganda, many images were produced, not say it's information, it is more of a construction around the figure, all that mattered to me in that sense. Only we can eliminate him from our lives when he is a real person. We cannot kill myths, figures of flesh and blood we can finish with them. Then there is another influence more pernicious is that today we live in the aftermath of this period in how we cannot get organized in such a situation of crisis which we live.

You think we are searching for the father figure?
JPC: No, I think we keep a slightly Sebastian version, which we cannot get rid of. We live in a country where people pride themselves on not going the condominium meetings, it is our home, there is nothing that interests us more than our home, it all has to do with the lack of civil society that has very to do with Salazar. This process was absolutely fascinating work for me with Miguel Rocha, is very integrated, very ping pong, there is not text on one side and the image of the other. Turned out to be interesting.

On April 17th, 2012 this young musician released nine themes in an ep, titled "Twist & Turns" which earned since the first moment the public preference and recognition of his original work by a Norwegean record company, where he recorded his first album with the same name. Dieter Daniel Pereira, best known as DD Pear Tree, already has new songs for a new album, a cd which is still on standby, know why.

Your sound turns out to be a fusion of Celtic, folk, and Portuguese music. It was a musical direction that came naturally?
Dieter Pereira: Yes, turns out to be a merger. From a young age I was always connected to the music of other genres, have helped compose and been in several groups and bands, so when I started doing things to me felt right this strand fusion, with traditional roots. I enjoy playing traditional instruments, more land, are transverse to the Portuguese and Irish folk music. Was natural. Come out.

You sing in English, but you got a repertoire in Portuguese?
DP: I have some songs in Portuguese and from the point of view of language that is something that is not natural to me. I was born in London, I have a Portuguese father, my natural process is still based on English. Besides I think is an easiest language in musical terms, is less poetic than the Portuguese, but on the other hand, I work my songs in a more direct way. In this album I have nothing in Portuguese, the compositions are saved to be developed at other times.

Let's talk about your first album, "Twist & Turns" what inspirated the songs?
DP: Are two or three years of my life, my themes are always very personal and reflect directly what is going on in people's lives. There is people who can write songs and create fiction, my compositions are very customized and turn out to be an overview of a phase of my life, is a reflection of the ups and downs that everyone lives. Turns out to be a mirror of that period. It's an album more joyful than sad. That is also who I am. It's pop, melodic and with lots of positive energy, which was something I wanted to convey.

I heard an earlier version of "Twist & Turns".
DP: Yes, it is an EP that preceded it in a year the debut album of the same name. I removed two themes of this work.

Then the EP eventually help you?
DP: The EP was a necessity. I already had songs recorded and needed to promote myself, be more able to reach the sites and have agency as a musician. I did an impression of 300 units that sold relatively quickly, which was a good sign. Had some outlets, then there were the concerts and it was motivating to see that the work was going to have some acceptance if I could record it. For this I had to go to Norway, where I was invited to edit an album.

The Madeiran artist Nuno Henrique was assistant Gallery Door 33, where he developed his narrative work on the indigenous forest of Madeira and Porto Santo. An artistic practice that relates various types of materials including paper, with monuments dedicated to nature. A representation of reality that can be enjoyed in a forthcoming exhibition on the 21st of June in Guimarães, in the laboratory of the arts.

From what I am given to understand your artistic career begins with a door 33?
Nuno Henrique: Yes, I started doing an internship at door 33, because I had won a prize in the House of seedlings. At the end participated in a collective exhibition curate by Alexandre Melo and began to develop a work for two years, forty shims.

What is the idea behind the forty shims?
NH: Build a monument of botanical species of Madera. At the time I was on the island, there are many walks, many tours and I had always a relationship with botany, through my uncle. So, I decided to propose a monument of this forest. I made a selection of species and worked with the help of some biologist.

In your second exhibition there are two dynamics. One is the archeology. What fascinated you in this topic?
NH: The starting point of this idea had to do with the Latin nomenclature of these species. It is fascinating because it is a dead language, in a way there is always an incantation. After, I was interested in creating a monument. I did a research around the inscriptions and in archeology found this technique that allows me to make negative entries. So at first I create a fictional archeology, with the notion of monuments in itself, but is a record of those monuments that do not exist.

Another component of your work is the island. It has weight. It due to the fact that you are an islander, if you were not so would not even be included in your work?
NH: Yes, it could have been someone else. Would be different.

A study proves that the climate changes influence the survival of this seabird.

Environmental changes threaten the survival of top predators in Antarctica, as the Albatross, was one of the findings of an international research led by Portuguese scientist, Jose Xavier, researcher at the Institute of Marine Research at the University of Coimbra. The Polar research project is funded by the British Antarctic Survey and the Foundation for Science and Technology (FCT), had the invaluable help of a team of eight scientists from the UK, France and Germany, which showed top predators are not able to find enough food in a year when the Antarctic Ocean is unusually warm. Thus, their offspring die of hunger, which threatens the survival of this species. To the expert that most surprising result is the inability of these birds to find alternative food when faced with increasing temperature of ocean waters, which leads them to seek nourishment for their offspring even further without apparent success. This lack of flexibility of the top predators in the Antarctic can have a major impact in their future, in terms of survival of the species, if it continues to increase these anomalous years in terms of environmental changes.

http://cientistapolarjxavier.blogspot.pt/2008/01/albatrozes-e-beleza-das-aves-marinhas.html

It was a trip motivated by reading a diary of a young Jewish girl.

The Diary of Anne Frank was one of the books most stroke me in my youth. Its forced clandestine existence, in a confined space, the famous secret annex in Amsterdam, motivated by the racism of the III Reich always motivated my admiration and affection for this Jewish girl who I never met. So when I decided to visit Holland my first stop was the Anne Frank house, as it should be. I do not intend to speak again of what I saw, but rather how I felt, now that I see again a Europe on the brink, where several governments trade prejudice accusations that raised the old ghosts of that dark period of world history. It was precisely a crisis that led Germany to a new war, the second of the twentieth century. A wounded pride and exaggerated nationalism which caused millions of deaths and a trail of destruction that left deep marks that have been difficult to erase. It was precisely from the ashes of this world that was born the dream of a united Europe. And it is here and now that I remember this young Jewish girl, a time when prejudice and racism unfortunately returned to the media agenda, thanks to another crisis that has caused the misery and desperation of thousands of Europeans, I remember one of the annexes of the house Anne Frank, a small room where it was addressed the various forms of intolerance.