Joaquim de Almeida is one of the most international actors of the Portuguese panorama. He has a diverse career that allowed him to participate in all kinds of film projects in and out of Portugal and is now promoting a new French film a "golden cage" about the Portuguese community.

Let's talk of Portuguese cinema, having participated in several movies; you think there has been an evolution in terms of national cinematography?
Joaquim de Almeida: I do not remember which of my last projects were in Portugal. Portuguese cinema unfortunately does not have money. We have new filmmakers who are working very well, unfortunately this year the Ministry of Culture did not give hardly anything to the movies, now we see that some money was allocated. I like a lot of Portuguese cinema, but people have not offered me roles. I now have a movie coming out in France, the "golden cage", is about the Portuguese community in Paris. It's a film that will debut August 1st in Portugal, premiered in Paris, which I was advertising and had a very good reaction. Unfortunately Portuguese cinema is in bad hands and I doubt that there is some money to be made. I think we have great filmmakers who film differently and his is to be commended.

You can name any of these young filmmakers who you appreciate?
JA: I'd rather not say names because I do not want to favor one over others and they are so few. There are also two types of Portuguese cinema, one that I like and others I do not. Portuguese cinema is at a delicate stage, but Tabu, for example, is one of the films that has earned great prominence outside, Miguel Gomes, the director, has a lot of talent. There are others who are more directed to Portuguese cinema.

The so-called commercial films?
JA: No, I have nothing against commercial films. I think it's a fantastic style; the cinematography does not work without this global gender. In France, the film has the right production to the right public and they can make auteur cinema. We have no money to do so if the Portuguese will not see the Portuguese cinema in the movie theater, then who is going to see it?

But, you said earlier that there were two kinds of cinema.
JA: The commercial and author. Tabu is author and is good Portuguese cinema. There are many who are very Oliveira, or João Botelho who I'm not a big supporter. In France there is room for all kinds of cinema, which is I think it should be in our country. Except that we are not a rich country to have money to develop films. The Portuguese directors have a duty to show to Portuguese cinema to the Portuguese. The film I just did in France we can call it commercial and will have large audiences. In Portugal we have to look at the culture, because whenever there is crisis the culture suffers and is not fair. People who live from it must also continue to work. We've noticed that they suffer greatly in the theaters with subsidies by half, or are cut altogether. Now, I hear they gave them some more money.

It is a new collection of Louis Onofre for this spring-summer 2013.

The bright colors are one of the prints of the Portuguese footwear designer Luis Onofre. Are shades with allure in a fresh collection full of charm. Sandals with straps, with heels, or wedges, or even platform confer an undulating walking at the same time sophisticated. Accessories, such as bags, wallets, clutch and the iphone covers are inspired by exotic patterns which incidentally, gave the name to the entire collection. Luis Onofre is indeed one of the designers of footwear favorite of many international celebrities such as Michelle Obama, Princess Letizia of Spain, Naomi Watts, Paris Hilton and Genoveva Casanova.

"Like you" is a work aimed for the younger readers combining poetry and illustration in addressing the issues of sex education, civic and environmental education, written by poet and translator, Ana Luisa Amaral. It was a conversation about books that drifted to other readings.

Recently you published a book of poems for children, "like you", is there any difference in terms of writing?
Ana Luísa Amaral: Difference, difference, I would say no, because if I said that writing for young people is different than writing for adults it almost seems that this is something almost pornographic, writing for adults, no one says that. I think it's always writing, poetry can be good or bad, what I feel is that the writing process is that it's not different. I do not feel anxiety when I write for children, but pleasure. While in the other books of poetry, there is also the pleasure mixed with pain. I do not think whether or not the child will understand, I like to put myself in the skin of a child, then I write.

And the idea for this book?
ALA: Initially this book arose from an order of the theater Campo Alegre they requested a script of a play, which was staged and will return to the stage soon called "love to pieces." They asked me to write it, I said I would do it in verse and they said yes once. The poems speak of differences in terms of sex education, about life. Then they asked me if I could put this text in the book and what I did make minor changes, just put the titles that were already dialogues and added two more poems. Then I was fortunate to have Álvaro Teixeira Lopes, who is a pianist playing the music from Antonio Pinto Vargas and Pedro Lamares, Ruth Pimenta to read it and I also read a little. The book comes with a CD.

This is a country of women poets? We that it is a country of poets, but generally forgets women.
ALA: It's true, we still forget the women. I think they continue to be subalternized, minimize in many areas. The country, Europe, the world is in crisis and this is nothing new. When there is a crisis are not guaranteed the basic equality, between sexes, or classes and or races, I think, the poor, the weak, suffer more. This I mean that domestic violence is raising brutally, if an employer needs to dispense someone a woman goes instead of a man. This proves how the subalternization of women is still a reality. The literature will reflect this reality. When I speak of poetry with my students, I ask: how many women you know that write poetry? They say some names. Then I say, fifty years ago? Sofia Melo Breyner. Just before... Florbela Espanca. And even more? They stop. If I ask about the name of men who write poetry, the list is endless. Portugal is a country of men poets from that point of view, the symbolic power. But I say that there are many women writing poetry, there are not many women poets.

You noted that there are many women writing poems, but there is now a new generation of women poets? We never talk about them too.
ALA: Yes, we talk of young men poets precisely. The curious thing is that I do not think literature discriminates, but the technical expertise, science, philosophy, literary critics, they discriminate. What I mean by this? If you have 10 people to write poetry, men and women, we know that five are male and the other female, one speaks more of men poets over them. There is a new generation of poets, Filipa Leal is one of these cases, and I do not know honestly many more. So now, they published too early, is something that I do not quite understand is when a young writer publishes a book of poetry at 22 or less and already talk about my work. A work has Herberto Helder. It's all very fast. I think this aspect Bauman and the liquid modernity that he speaks is true. People are constantly changing and nothing makes sediments. Doesn't stabilize and they do not wait for things.

Sérgio Godinho condensed in a book 40 years of his own songs. A journey that he refutes as been a career, but aimed primarily to highlight an anniversary that began with the album "survivors."

40 letters, 40 songs score sheet is a 40-year career, why a book?
Sérgio Godinho: I thought it was interesting that the songs were reinterpreted. They have imaginary pictures itself for each person, I always enjoyed painting, arts and always thought it was an interesting intersection and one day had to be done. It was an old project that was only realized now, well, two years ago, in the year of my forty years of songs that marked my first record the "survivors". So it was a multiple adventure and a repercussions of my songs on the work of other creators, I am very happy as this was done with João Paulo Cotrim, the editor, is someone who is extremely prestigious in the illustration and comics. It was the ideal person to make these crossings, these weddings of the songs in this case the lyrics. It is another universe, as if there is other music for these songs.

After 40 years we are the same country you sang at the beginning of your career?
SG: I have two records before April 25th, but 40 years ago we were not the same country in any way. We cannot speak of freedom, there are many abuses, especially long social injustice and inequality. I lived in exile for 9 years, precisely because of a colonial war that was criminal. Firstly, there is this reality.

I say this because your songs and Zeca Afonso are sang in the streets and remain current.
SG: Of course, because there is a stigma that social and economic that is throwing us into unemployment, for a social despair and this is absolutely true. In this aspect the songs apply because they speak of it, most are not strictly political, speak of life, love, society, they are ironic criticism, characters that I invented, is a fictional universe that intersects with reality. But it always happened. Our society has always been very imperfect as an access to a good economic life, namely a culture that is something we have to worry about, why is it we cherished it very little.

Your career is something you've always dreamed or exceeded your expectations?
SG: No, I never dreamed the long term. It was a creative impetus that made me write songs and wrote other things, like children's books. Now, this year, will leave another children's book and I'm writing short stories, not for children, but I hope, for adults. But I never dreamed in the long term, so when I hit the anniversary of 40 years, did not want to be called 40 years of career, because it presupposes a prediction in along term of something. Things were happening with no prediction it is a spontaneous route that is also a part of me.

António Lopes from the film are and Ana Rodrigues mastering in architect filmed over a month the life in a factory, through a short film. The Place of abandonment is a university project that rose one of the many abandoned spaces of the wool era, in the city of Covilha.

How did it all start?
António Lopes: We met at a class entitled "film and other arts" whose aim was to produce a short film which brought together the cinema to an art, like music, dance, painting, and as it was obvious we had to do something related to architecture. After we start the idea of revisiting a factory. I am from Covilha and studied there. The city has always lived the wool industry and now a big part of these structures is the university and throughout the city especially around the river and streams are large abandoned buildings. We wanted to film the constructive details of a building.

Ana Rodrigues: We did not film the building as is done usually in cinema. As a rule, they are part of the narrative, here is the actual space that will tell its story through elements that were significant finding. Although over the short film we do not show the whole breadth of the building, because when you see the movie we want it remits not only to what happened in the building, but also the other stories. Hence the sound.

Why you chose that particular factory? What distinguished it from other abandoned buildings that exist in Covilha?
AL: It's the few factories that you can visit the inside. The last time we almost had no ground. We recorded over a month and going just once a week, always at the same time. And each time we went there always something was different, since people went to steal electrical cables and there was always a lot of machinery pile would be led by someone overnight. Our intention was to record details and not a factory that could be identifiable; I think we could have done it in another space. This, however, had the most important architectural aspects, woolen mills usually do not have windows, are enclosed areas where workers hardly saw the light of day, this one distinguished itself because all over the space there were large windows and it was one of many things we shot. There were interesting little details that always stood in the windows and there was hardly anything on the opposite side. There were many more elements that could have been recorded, the accounts of the material they wrote on the walls with pencils, I think it was a facility in terms of production and as we did not intend to recorded it at all this could be a good example, except architecturally, because otherwise they do not vary much inside.

It is a game of light and shadows that you look for?
AL: More or less. The initial idea is not about light and shadow. However, the means of production led to this. We recorded with a camera, with no lighting; the factory had no electricity and then tried to take advantage of daylight and windows that exist in order to make a more adequate film.

Gabriela Albergaria is a Portuguese artist who lives and works in New York and that defines her work as the idea of rebuilding times, observed or from mechanisms of feeling. The idea of a physical location that awakens the desire to create a particular piece and the landscape in the cultural sense, not the "wild" landscape.

In your own words, his work reflects a social, political and cultural environment where does that fit these strands into pieces of art related to nature?
Gabriela Albergaria: What happens is that any place that I leave is a physical place and real. It is always a set of things that are the domain of culture, social and political. What interests me in a place is to realize how I would read it, what is it story, this is related to the contemporary, what decisions were taken to be that certain way and what are the points which may be of interest here. It is in this sense. It is a confrontation with us and we are social and political beans.

The landscapes in your work are decontextualized, such as the tree, why you always decide to reinterprets them?
GA: No, it's not always like that. Maybe it was what I chose to present here because the theme was "the place and representation." From a place I departure for the real thing and the works do that, the tree appear by chance, I have no specific reason, there is an allure to try to know it, were the circumstances and the visits I did to several gardens. Everything happens naturally in my work. The question of the decontextualization is that I like often to find solutions that are already exist in nature and how it is well done I can dock them to those things that already exist, I can draw attention to certain points that interest me. It is a product of my work. I am more interested to perform a new thing on a certain topic.

Some of the works can be very violent.
GA: Exactly. When you see these trees they part of a poetic moment, then are extremely violent, because they are made with fittings, maybe follow a language of the sculpture. When I put a branch it cannot fall, I have to find a way to grab it, and then I found this language that comes from the gardens, fences and bridges. All solutions are on the way to work nature. It's a violent language, because it is inside a museum, a room, we look at it another way. If you saw a tree in nature excoriated with a wood that has a screw to hold, you wouldn't say the same thing. My work is always found in nature
.
You visited several gardens in various parts of the world. Why?
GA: Gardens, but not only, landscapes, natural places, they interest me. Walks thru nature, with my feet on the ground. It's what I like.

On May 9, at 9:30 am, at the Political Science Institute, in Lisbon.

It is a further session of the conference cycle "Sea Seminar: Science and Strategic Vision", on "the extent of the continental shelf in the perspective of the UN," by Commander Aldino Santos Campos. This set of talks, which began in April and extend up to the month of June, are part of the project "Extension of the Continental Shelf: Implications for Strategic Decision Making, funded by the Foundation for Science and Technology (FCT) in partnership with the Navy and the company ESRI-Portugal, in the framework of the Center for Public Policy and Administration from the Institute of Social and Political Sciences of the Technical University of Lisbon. An initiative that aims primarily to inform the general public the strategic vision of Portugal on the Atlantic and work in terms of scientific research by the Task Group for the Extension of the Continental Shelf (EMEPC). The conference, will last for about 30m, after there will be a debate. Admission is free.

The EMEPC mission is the preparation of a proposed extension of the continental shelf of Portugal. "Create a dictionary of oceanographic data and prepare the structure of database support for the proposed extension of the continental shelf in order to be able to serve in the future, a system of monitoring and integrated management of the ocean. Promote the development of research and development projects aimed at the exploitation of the data and information obtained during the project development of continental shelf; strengthen a national scientific group promoting the completion of doctoral programs directly related to the proposed extension of the continental shelf , particularly in geographic information systems (GIS), Geology, geophysics and public international law; Publishing an atlas data and information of the extension project of the continental shelf of Portugal and the participation of students and young researchers in the extension project continental shelf, including through its participation in scientific cruises to perform for this purpose as a contribution to the national effort to return to the ocean. And finally assist in the preparation of proposals for extension of the continental shelf of the States with which the Portuguese Government will establish cooperation agreements in this area", as stated in their website.
http://www.emepc.pt/

It is a symbol of the nation of discoverers and as such is one of the most visited monuments in Portugal.

The Jeronimos monastery was built by the grace of His Majesty Dom Manuel I, King of Portugal, to demonstrate the power of his dynastic branch, at the entrance of the harbor where the caravels anchor after coming from the new worlds conquered by the Portuguese. Forgive me, after been found by the Portuguese. May you know the construction of this monastery was paid with the twenty pepper tax, which represented 5% of revenue from trade between Africa and the East, 70 kilos of gold per year. An astronomical sum for the time in question. And as it was a symbol of power, it was a place for the cross of Christ, as a lay of prayer, the monks of St. Jerome, hence the name, prayed for the soul of the sovereign, the royal family and they even still lend spiritual support to seafarers.

The House of the Portuguese language (CLIP), through the "core cultural association", is a space of convergence of various cultures of the Lusophone world, through the various aspects of the arts. A project headed by Bernice Bernstein and Valeria Carvalho which is translated in a theater play "Chico in Pessoa" but goes beyond that.

In the play "Chico in Pessoa" there is always a duality, Portugal and Brazil, two opposing cultures, different musicality, even in the play Onni, which concerns the discovery of Brazil, it is staged from the point of view of both peoples.
Valeria de Carvalho: Actually the core is a cultural association that created this project which is the house of the Portuguese language, whose mission is the proximity of communities through art. We worked in various aspects, theater, dance, visual, literature, fine arts and music. This is a project that we're taking, I and Bernice Bernstein, that show that this framework, what ocean separate sometimes.

The idea of the play thru your father who was a fan of Chico Buarque, them there is Fernando Pessoa because when you came to Portugal you read widely this author and says that they both have one thing in common, they are suburban, but where both are suburban?
CV: The idea I have is to the contrary, Chico Buarque has controversial characters and suburban and Pessoa is the other side, would be the inconscience of these characters, one would be heaven and the other is on earth.

This play is a journey, because the bags are very important scene, every scene is a different woman.
VC: Also.

It is also a journey through language ... that was the purpose of this work?
VC: It's funny, I think the trip begins at the end of the play. I think it is funny this feedback, how people feel this show, how people see it, to see that what we've created is what they get. I think in the end when I make that ship, it's like an ultimatum of Pessoa, the world wants new sensibility, the world thirsts that we create and he even says: I proclaim saluting the infinite, it is as if we were now to rescue the spirit those people, the race of discoverers.

It is a program broadcast by RTP and one that addresses the issues related to television programming.

The voice of the citizen is the responsibility of the provider of the viewer, at the present moment, José Carlos Abrantes, this program addresses the complaints and queries of the viewers of public television. Above all, it seeks to answer these concerns that are addressed by writing and launch a debate among professionals of television on other issues of concern to viewers. It is a sobering content, I like to watch because it answers the most relevant and urgent question of today's society. Also does not shy away from controversy and ultimately does what very few programs do, public service! Something that is missing a lot from the so called public television and that is supposedly for all Portuguese.