It is one of the shades that always accompany the new fashion trends.

Ricardo Preto and Katty Xiomara, both Portuguese designers, decided to include in their collections Autumn-Winter 2013/14, navy blue. It's one of those colors that easily women use in their day-to-day by its great versatility and discretion. Typically this tone, it is associated with denim pants which is one of the garments preferred by Portuguese women in general, but that can be revisited shirts, skirts and dresses together with other colors in block. The navy blue is a designation that comes associated with sailors, hence the name and is usually combined with lists of white and red stripes. Incidentally, this hue is a major trend this spring-summer also, by its adaptability and convenience. It is above all a basic look that allows many combinations and is unisex. There is only one catch, horizontal stripes widen the silhouette, so if you have more curves, invest in vertical lists. Then just wear it and match it with accessories in gold and silver. A classic look that looks great on all ages.

Maria Rosario Pedreira is an unavoidable name of poetry in Portugal. It has a work that reflects her anguish, love, the lovelessness and her disruption of day-to-day. Poetry reunited is one of these examples and in good time awarded with the prize Inês de Castro.

I would like to ask you first a general question, we are a country of women poets?
Maria do Rosário Pedreira: We are a more of a country of novelists today, more than poets. I would say that the new generation is of fiction writers, but there is a great tradition in Portugal either men or women to write poetry. I'd say it's a little early to tell if the people who were born in the post-April 25, which has 30 to 40 years, if in them there is a group of poets who will survive and who will stay in the history of literature. I think it is too early to assess.

Speaking of that generation that you thinks is will still arising, it includes your name?
MRP: No, I started writing in the last century, and thus was born long before the April 25th, was 14 years old on the day of the revolution, I'm talking mostly of people who were born after that are new writers today who are succeed so to speak and I see much more attention to novelists like Gonçalo Tavares, João Tordo, José Luís Peixoto and Valter Hugo Mãe than the poets of the same age. They do not have a lot of critical attention, even from the public point of view they are not successful as those same names in the novel.

Speaking of poetry, which inspires you to write?
MRP: I do not know what it is, but Eduardo Padro Coelho once a book fair describe the difference between poets and novelists said something that was very funny: novelists were clearly neurotic, they thought about a book woke up with the characters, looked in the mirror thinking of them, could not leave it and it was something completely present in their mind. Did not separate from them. As opposed to poets that he called psychotic, saying that normally they do not know what pushes them come write, so is something transcendental. For me is exactly the same, we're sitting on a bus or at work, at home in the evening and there is an expression, a verse that starts to annoy and do not know where it is coming from, but it's the principle of the poem. Obviously there is a work, but you never know where comes from that first call. I do not know to answer that question where does the inspiration come from? My poetry has much to do with my biography, it is facing the feelings of the moment, I write much more at times when I feel very restless, or abandoned, or sad, than in those moments when I feel good. I tend to use poetry as psychotherapy for my own situation, but not always what I write is autobiographical in that sense, the feeling yes, that's what appears in the poem, sometimes outlines a story that is not mine. It's something we'll get to talk about this thing that grinds me.

It is necessary to suffer to write poems?
MRP: Not for everyone. In my case it is necessary above all to be uneasy. Be something that is clouding me, when I'm beautifully, or balanced, at least I do not feel the need to write. For me it has more to do with somber moods, darker. This is me. I know there are poets like Vasco Graça Moura, and have watched it, sat down beside him on a trip from Lisbon-Madrid where he translated two sonnets by Petrarch who is almost his poems. There are people who look to poetry as a technique, in my case, no. I write poetry, I started from girl, when I'm more sad and disturbed.

This record includes 11 songs chosen by Janelo Costa that brings together a constellation of cameos for each theme, from rap singers from Brazil to Nigeria, Mozambique, Angola and Portugal to Jamaican musicians to celebrate the return of the 13th album of the Kussondulola career.

The amajah has the collaboration of various artists. It is mostly fusion music why this CD now?
Janelo Costa: It turns out that we feel the need to come together and give a little sympathy towards the situation which we are living. The intention is to realize that we need each other, regardless of being an artist that I have much time to make albums, we are going through a time when we need to join forces, regardless of how music is viewed by individual. The intention was to get young hip hop, African, Brazilian, Jamaican, Cape Verdian, Guinean and Portuguese music. It was like, we have to all be together, amajah.

This work does not shy away a bit from your repertoire that is more of social intervention?
JC: Does not flee. It has themes that address the cost of living, we live in a difficult situation, people do not have money, and I speak of the ecosystem in a subject with the participation of the Rafa Archangel that is a Brazilian rapper. We did a tribute to a zone, not all, but spoke of the forest, we talked to the Babylonian will fall, the troika, the movements that are happening, we speaks of the foundations of our world cities. When you hear the record you see all these foundations, primarily is to have faith in God. This is the basis, is where we can grab.

And the title?
JC: Amajah is to love God, is short for Jehovah's name. Having faith towards the things he created in this universe. The album has a lot of social concern, in terms of how we looked at the nature and at the same time speaks of the people's choke. What we can grasp is still faith. We are not complicit in the problems that occur worldwide.

This is his 13th music record in 15-year career, is a kind of audit?
JC: There is a continuity, when we showed up at the time of the album "oh well", my generation and the previous one had a need to hear something new, then we were in a time when low-income families had difficulties because are the most in the world, at that time there was also a need to honor these people. It is always continuity. Now we have another generation, what love jah ended up doing, to see if they conveys some conduct that can not only attack, we must have another way of seeing. The record has this intention. I can say that I have a album called survivor was even intended to have duets with Vitorino, Rui Veloso, Sara Tavares, Rui Reininho and that is a record that went unnoticed at the time, because the music industry took a break, was the period of the internet, but it is only to say that the intention is always present. The Kussondudolas always had guests, even on the first album. The intention is to always be together. It unifying, culture is art.

It is one of the most honored films of Portuguese cinema in 2012.

After the success of "that dear month of August," Miguel Gomes, wrote and directed a feature film that invokes a tribute to the homonymous work of F.W.Murnau. Taboo despite being a film author and uncommercial, won attention of the Portuguese moviegoers, which proves two things, there is room for the national creation with quality and there is an audience hungry for this type of cinema, while recognizing the fact that been awarded in several international festivals have also helped. In fact it is an unusual work, first because it is filmed entirely in black and white, then the narrative itself does not follow a set of pre-determined parameters, what I mean is do not wait for a "Out of Africa", it is also a love story with tragic contours. Taboo from the first moment is the picture of a paradise lost in three chapters, almost always told in the third person by a narrator who cradles us languidly thru the romantic idyll of Aurora and Gian Luca. The characters they also end up being instruments of this mute poetic narrative, made of light and shadows, which gives strength to the images expertly captured by the camera, which culminate in an almost unexpected end. Miguel Gomes foremost films the loneliness of the various characters that make up his "painting" film, hence the silences, the cries and sighs that cleverly introduces along this melancholy narrative. Maybe his only "defect" is to be a Portuguese film, if it were American; I bet he would have won an Oscar! Good movie.

With particular interest in the relationship between the individual and the space that surrounds it, the work of Natercia Caneira has unfolded around the issues of body and landscape, as well as the importance of the geographical shift has on the development of the artist's creative process, a method that was evident in her last artistic residence in Pedra da Sina. in Funchal.

The installation of this exhibition is inspired by what?
Natércia Caneira: In the issues of light and how people move in space, is one of the things that interest me, in this case when I went to the house and talk with the group we agreed that one of the rooms would be used by me. Then from there I start to build the installation, as I was also living in the same building site and start depending on my perception of that space. My relationship with the light, with the window, with the lamps, which were already in the room, them they gave me two hangers to hang my clothes that I also decided to join in the work. Later the installation began to grow and I asked two more hangers in the end are built around these two objects found here. On the street I found on the floor kapok, is a tree that exists on the island, had never seen a live one and this type of ball has a great ability to reflect light. It is a material that is white, but when the light hits it reflects glare, this seed was also integrated into the piece. The material used is a thread that is made of kapok woven. The logic was to integrate what has been found here these two weeks I was here and that interested me, because it has to do with my ideas of light, space and lines. And during the day is completely different, because the light that enters through the window reflects the sparkles of the material itself. At night the light controlled by me, creates an environment totally opposite, brightness softer, more relaxed. The way the installation is built also allows people to walk in space, becomes in part, that may interact with it by touching the materials and walking around, creating this kind of dance between the object and the visitor, the fact that you can enter through one door and exit by another, it was all things I was thinking while building the piece.

Then you considered yourself a visual artist?
NC: Yes, I am a person who comes from the field of painting and drawing, sculpture, and after that I focused on these issues of scale, space and the human body around this dynamic. My work is in fact an installation for a particular site, is a space designated to me and I create from there. I also work with photography and video, with several different materials and techniques, but always following these concerns I have and that has to do with space.

What are the predominant factors which attract you in relation to a space over another?
NC: I am usually very flexible on this issue. I like to try different places. Make a proposal to a particular location and then adapt me to space with the consent of the people there. In this case, we have agreed in relation to that room because it had two entrances, allowing people move from one place to the other. Choose this kind of sites that allow visitors to enter and exit, move more easily along the work piece.

Light and shadow are important in your work?
NC: Yes, extremely important.

Two studies have shown that his invasive species does not affect the native ecosystems.

The waxbill, a species of the sub-Saharan Africa was the target of two studies that concluded that the environmental impact on native biodiversity is residual, as this exotic bird has come to occupy an ecological niche very different from most native specimens. Both investigations led by scientists Helena Batalha and Carlos Carvalho, researchers of CIBIO (Research Centre in Biodiversity and Genetic Resources, University of Porto), show r "encouraging" results about the species and its presence in Portugal. Although it is an exotic species introduced two decades ago, coincides in time with the return of ex-colonists, the flocks of waxbills do not compete with the other birds, although they can also be found in agricultural areas, riparian and rice paddies, the fact that only eat seeds of certain gramineae, which seems to be less eaten by other specimens causes that this animal does not exert environmental pressure on the endogenous. Another factor to consider in this equation is the long reproductive period of these birds that generates less pressure on remaining native species. However, their choice of nesting sites eventually has an impact on a small local bird, the reed-bunting classified as "vulnerable" because it also lay eggs in the same wetlands that the waxbill.

articles:
- A successful avian invasion Occupies the marginal ecological niche ("Acta Oecologica»)
- Personality traits are related to ecology across the biological invasion ("Behavioral Ecology")

They are the new suggestions of young Portuguese designers for autumn-winter 2013/14.

Carla Pontes is one of the new faces of Portuguese fashion. The clothes reflect the conceptualization of textures develop volumes and create silhouettes in blocks, as in the case of her collection "stone" which itself defines a micro scale vision, which appears in "block" the broken rock, polished or chipped that gained a momentum in the third dimension. Textured Blocks develop volumes of crimped denim and knits in wool with a rough exterior but soft and warm touch.

It is a comedy program that aims to satirize the present Portuguese.

The dolls are the cutest of the Portuguese television that everyone remembers from previous programs, such as "counter information" and "crazy newspaper." The SIC news and SIC Radical shows daily for five minutes, the funny reality of the social, political and sports events that happens in our country and that delights the viewers. It is always a program with broad audiences, because the dolls eventually reflect the most caricatured situations and features of the most iconic personalities of Portuguese society. It is above all a moment of pure fun and it deserves my highest score by its refined sense of humor. In good time they come back and hopefully they stay for a long period.

Johan Rodrigues was born in Stockholm but grew up in Portugal, the son of a Portuguese father and Swedish mother, began writing songs at age 15 when he learned the first chords. He has no formal musical training, writes, composes, plays, sings and produces all the songs from his debut EP "One". In Portugal he won two first prizes in two contests, New Talent Fnac Coimbra 2009 and in 2011 with the Creative Incubator project 'Aboutowake'.

Tell me about this new musical work, "One" and why these songs?
Johan Rodrigues: The title "One" appears for several reasons, the first of which is because it is a solo work, so despite having an EP with producer Björn Öqvist that was recorded in Sweden. The songs were written while I was in that country at Christmas and then when I came here I recorded them. On the other hand, chose April 1st to launch this work, available on the internet.

Have written songs in English and none are in Portuguese why?
JR: I also write songs in Portuguese, for this work I decided it would be in English to cover the greatest number of people, not only the Portuguese. It is a five-song EP, also wrote in Portuguese, but I will include them in the next album.

Why you chose these five songs, is there any point in common between them? If it not why?
JR: I started this EP at the end of last summer. Moreover, the first theme that I put on the internet is a demo of the song "so is love" and then started making recordings. When I returned to Portugal was supposed to continue that work, but while listening to the recordings of what I had done in the late summer, I thought it was not it, I went through a learning process of music production and there is the difference between a demo and a final product. So I decided in January start all over again, because I felt that songs that spoke of personal experiences I went through had passed and had nothing to do with the work that I was developing, so there was a waiting period of rewriting the EP. What they have in common is that is a period of time where I experienced many things while traveling; it's sort of a diary.

A travel diary?
JR: Yes, and we are talking only of the part of the writing. The production itself was an evolutionary process, has changed between summer and early winter.

Paper mill is mainly a workshop for conservation and restoration of graphic documents, but not only her mentor, Regina Vieira, likes to create more creative bookbinding's, handcrafted and personalized. From miniature books, albums and calendars all is possible to this restorative full of taste.

Paper Mill has emerged as restoration workshop, but that is not all.
Regina Vieira: It is my primary function. The project began four years ago and was the result of a formation of conservation and restoration. Since the course I specialize in books, had several internships and when I finished I decided to open a space in my parents' house, where I meet the customers and works. I like, on the other hand, do more creative work and this is where enters the creative bookbinding

So this type of project is more creative when it appears?
RV: A year and a half ago, almost two years. First I only made restoration of books, but a part of the process is binding from the root, is a big part of the training. Who was in the arts and likes that aspect always comes to give vent to their imagination and create their own books, notebooks, diaries and miniatures that I love to do. I feel sad when I sale them. I like everyone.

So how did it all start? You started to make them for you and then you started offering to your friends is that?
RV: Yes, people were asking when they saw the ones I had done for me. Then I started thinking I could sell something. I put pictures on facebook pieces on site and actually sold. Today is not my main function, but I really like to do it, so I accept orders, because I have very full-time job of restoration and I cannot devote 100% in most of this craft.

What kind of memories people want to save?
RV: its notebooks, diaries, photo albums especially for children. For weddings, the honor books, because they want something more customized and made by hand has another value, mainly because people can choose what they want, the colors, size, materials, everything is adaptable to suit every taste . No matter the age it pleases me to help everyone.