It is a book of contemporary author of Camilo Castelo Branco, Rebelo da Silva.

It is a historical portrait of a society disintegrated by the Napoleonic Wars, the writer, Rebelo da Silva, author and scholar, tries to show through the storyline a universe covered of shadows and ghosts, hence the title. What the reader has to figure out is who are these lost souls who roam the shadows of an invasion that turned Portugal into a stage of war and I say no more. In terms of writing, the prose is delicate and has the "ticks" of the era in which it was written, which does not imply that the language is complex, it is accessible and it end up to be so detailed that we immediately created a mental image of all scenarios, the physical appearance of the characters and even what they are wearing such is the care of the writer. It is curious that Rebelo da Silva has had so much attention in this type of detail, a rare feature in most Portuguese authors. Another curiosity if you can call it is his romantic style, not as exaggerated as Camilo Castelo Branco, his contemporary and friend to whom this book is dedicated, but that leaves no room for doubt of his influence, which is natural. My objective with this suggestion is that you enjoy delicious reading of an author often overlooked, but very talented. Have a nice reading.

Atma was born in 2007 a result from a fusion of different musical styles. A sound that takes us to different cultures and environments that do not want to be cataloged, only heard and felt.

How did Atma appear?

Hugo Claro: I already knew Jorge, and then after some time we found ourselves in this band.

Jorge Machado: It started in 2007 in duet format, more people started to enter, first as guests, Berta as vocals and a friend of ours, Luke, in the design, until we reached the quartet.

When you began the duet was the idea to make fusion music? Or did it appear later with the addition of other members?

HC: There was already this fusion and we had already made some songs, the styles were different and yet we started to merge. Jorge and I started using other instruments, which suggested other sounds, but it was not forced, it was natural.

JM: I play the percussion and he the guitar, accordion and vocals. At the beginning we started to gather sounds and timbres that worked. And it was continuing to happen with the addition of more people, but also with the addition of more instruments. After Hugo began playing the Portuguese guitar and I extended my range of percussion, it also turned out being a sound fusion. But not only, also we let other cultures influence us, whether European, Arab world, Latin or African. It was our search so the project would not be cataloged with a certain style. We played what we played and we let ourselves be influenced by many things, among them the instruments themselves.

Does the fact that you both use the Portuguese guitar extensively not cause any discomfort among purists?

HC: First, I believe that music is Portuguese, it is made in Portugal. I started using a mandolin and only then passed on to the Portuguese guitar. My basic instrument, if you can call it that, is the classical guitar. I use a technique on the Portuguese guitar that is from the classical guitar and that that is not the same as Fado. Though I like that genre, I do not intend to make this kind of music or something more traditional that already exists. I like to explore other things, but I think it is important to have purists to keep the basics pure, but I 'm not that kind of musician, I like exploring new things. Personally I only started playing the Portuguese guitar three years ago. Today it is the instrument that I like more; it also has to do with our spirit of not focusing only on what exists. Sometimes it is important to make a bridge between what people are used to hearing and something more commercial or not, that is our musical approach which rises spontaneously, we don't do it on purpose. We ended up being cataloged by someone who claims it is world music.

Do you think you should not be cataloged like that?

Berta Azevedo: I think so, we've been discussing that right now, we have many influences both in terms of instruments and even the experiences each of the members bring to the project. Indeed that is typical of the Portuguese, is not, this melting pot? And I indeed think, we do not have to be cataloged other than a Portuguese music group, which is important for us.

JM: Those are terms which I think are very physical. It does not seem seems to be assertive, cataloging a band like us. This project is so wide and so vast, it is ethnic and eclectic too, and it covers a lot.

BA: The cataloging is worth what it's worth, but we have no trouble being cataloged.

Carlos Carneiro offers a unique insight into the people behind the non-governmental organization "Surfers Against Sewage", with the backdrop of the wild coast of Cornwall where SAS combine their passion for surfing with campaigns for better coastal environment that can benefit everyone.

How you got the idea to make this film?
Carlos Carneiro : This was the result of a co-production between Daze &Confused and TOMs who created an online contest, my friend sent me the link of the competition. They were looking for ideas for films about an individual or a group who inspire people to change. I looked up, I found it funny, and I thought of a story linked to the Olympic Games in London, but I considered that it was too obvious. Then I remembered my friends in Porto, where I grew up, I'm from that town, they always surfed and now decided to unite to form an organization to protect their beaches. I found it interesting that they were doing something for society, their community and not just a selfish search for waves. I was happy for them and for that effort, and then I remembered the contest, I thought this was the story, but the idea of the film would have to be centered in the UK, so basically I looked for the equivalent. I thought there should also be this kind of organizations in England, I researched and found the "Surfers Against Sewage" ( SAS ) in Cornwall which is an isolated location and interesting for a movie. And then I submitted the idea to the competition, I won and they gave me the opportunity to make a movie. Then I got in touch with the SAS who were a bit apprehensive, obviously they did not know me, I convinced them to open the doors to me and Bruno Ramos and we went there and spent a week. It was in October 2012. Cornwall is a beautiful place where the SAS spoke of their campaigns, their objectives and what is the importance of their work. Explained that these are not environmental battles to be won, but rather an ongoing effort for many generations.

What was the most challenging thing on this movie?
CC: Finding the story. I had a week of interviews and a week of filming, the challenge was to summarize everything in 6 minutes so it was captivating and interesting. And in a way that I and other people liked and approved. When I left there and arrived in London I thought I was in trouble, because I had to find the thread. And after months of post -production with my editor, I found this balance, of liking it and not finding it too long.

You mentioned that there was some suspicion when you approached the SAS. Why? Is it typical of surfers?
CC: It's natural, they did not know us, and they didn't know who we were. I bet if there were other people who wanted to make movies with them, of course they did not want to be misrepresented. After a few days near the end of the week there was a mutual feeling that we knew we were friends, we still have much contact and were pleased with the film. This hesitation was perfectly natural. And anticipating that situation, I planned to stay a week and not a few days, because only after some time good things started to appear. At first it seemed like a script, they just said the right things, the ones that should be told and only then more personal stories appeared and that's what's interesting.

The true cinema them?
CC: Yes, we are talking about people here, and it was the same as in any village, you cannot just arrive and say: hello is everything ok? And now we would like to make some pictures? They are suspicious at first, but then begin to open. It is natural.

Mobile home is an independent nomadic project of artistic training, which has as its main objective opening discussions, makes operative question and central concepts to art education. A concept developed by curator Nuno Faria, which is now in its fifth year and aims to grow beyond the borders of the Algarve.

What was the genesis of "mobile home"?
Nuno Faria: The mobile home is also the English and French word for caravan. It came up when I went to the Algarve in 2007, and as I knew the territory there well, I decided to live there. I discovered that there were very strong deficiencies, at the level of institutions and structures linked to contemporary art and training. With the particularity of having a very extensive group of interesting artists without any structure that could somehow assist them from an artistic point of view. I think a critical structure is very important for artistic development, so together with other people we assembled the "mobile home" concerning the area of the Algarve. It is a very important symbol, because it is a region with a very nomadic character, people come and go, is less sediment. These features are important to be able to understand how the artists there work. On the other hand, the Algarve is a very appealing site for projects of this nature; it has year-round sun and a very good energy. What we did was create a partnership with the association educational workshop, and the Loulé Municipal Council. Loulé has a very dynamic councilor of culture, which immediately understood the project. The idea was to be a nomad school without walls, without a physical building, operating only by the necessity of meeting each other and the energy between the participants. From this point of view walls were not necessary, are anti university and invited a group of people with a very great value national and international in terms of contemporary art, critics and artists. We set up a structure of workshop and training advanced seminar. The participation was extraordinary. Artists came from all sides and then it went on, and this year we are in the fifth edition that will have some changes.
Is it limited only to the Algarve?
NF: Yes, does not have a physical area. This year we will begin to shift to Castro Marim, in the eastern end of the Algarve, in partnership with the company of cultures, which is a structure that has a broader scope, including cuisine and rural tourism.

The workshops and seminars are structurate how? It's about a topic, or enhances the locality where they fit? What kinds of people participate?
NF: This type of workshop is for people who have an artistic route already consolidated.
There is a selection?
NF: There is a selection that is made from the portfolio of people and their motivation for the workshop. There are different experiences, because they are advanced workshops, are experimental schools and independent, in the sense in which it is not for beginners.

An innovative technique that can prevent soil erosion.

The University of Aveiro (UA), through the Center for Environmental Studies and the Sea (CESAM) is studying the possibility of introducing an innovative technique, called mulching, that will drastically reduce soil erosion, due to the occurrence of fires. With the growing number of burnt areas in our country, an increase of soil loss in the order of 50 tons is estimated, upon arrival of rains. The erosion problem is even more acute when it affects the normal operation of hydroelectric dams, by the accumulation of thousands of tons of sediment in reservoirs. This leads to the need of dredging and cleaning of the dams. Taking all these factors into consideration, a team of researchers led by UA scientist Sergio Alegre, decided to introduce mulching technique, which consists of covering the burnt land with a layer of crushed forest remains. The technique has had very positive results, showing in 40% of the cases normal runoff of water on burnt land, thus reducing soil erosion by 90%.

There is no shortage of raw materials for shredding to make the mulching in Portugal. There is for example bark, that is not used by pulp mills, which is a very good material for this. It has long fibers that form a cape in the soil retaining water and sediments. There are also the leaves, that once fallen provide a natural protection. In the case of pine, the pine needles themselves are as effective in mulching as crushed forest debris.

A Celebrations of a quarter century of existence with a flavor of salt.

Completing 25 years of existence as a nature reserve is a huge accomplishment. Especially in view of the many difficulties they had to face the ecologists, scientists, nature guards, volunteers and even politicians throughout this period of time where they did everything to turn these islands almost barren and inhospitable into a sanctuary for marine life. And suppressible they succeeded? Today the Deserts islands are an example of success and for all the good reasons. On its anniversary the natural park of Madeira invited numerous anonymous and personalities for a day full of sunshine which aimed to mark the occasion and by just looking around we can spot the results...

He is a nature's keeper of the natural reserve of the Desert islands since August 14th, 1988. Alamberto Silva works for the environment for more than 25 years, the same amount of years of the anniversary of this successful protected area. A work that he develop with great passion, especially when it has to do with the poisonous tarantulas of these isles.

How did you start these activities as a guard of nature?
Alamberto Silva : I'm one of nature's oldest guards, I've been here since it started as a reserve . Its 25 years I came here . I was always interested by animals, even before coming to the park, especially insects and plants . It was what I liked most. In the beginning this was a novelty for me because there are different species that are common to Madeira, but others are unique in these islands. I liked spiders since a young age and already picked them up, in the Deserts I began to notice their behavior, experiment about their way of live, how they fed and then compare with the ones from Madeira. Another thing I found fascinating were the tarantulas at the time were considered the world's largest scientific Hogna gender and from the family of the licosides. I had some specimens in captivity, every year I make a presentation and I always choose the tarantula –of- the -deserts, which is the largest of all .

But , there are three species of tarantulas as I understood.
AS: Yes , there are three species in the Deserts island, but in the archipelago of Madeira, there are 53 spiders . Two tarantulas are common to Madeira, or are endemic to the archipelago. The smaller is brown that appears in Madeira and Porto Santo is the " Hogna Islander" . Then we have the " Hogna Aerica " that also exists in the two islands and finally the " Hogna inges" which is endemic to the Deserts island, is very large and are only visible in the Valley of Castanheira . During the day this species hides under rocks and at night go out hunting . This tarantula feeds on small insects and is very aggressive.

What is their size in terms of diameter ?
AS: With the body in the case of females who are more corpulent, they measure 5 to 6 cm with the legs stretched reach up to 12 cm in length.
In terms of behavior how do you distinguish them?
AS; They differ only in terms of color and size, because the morphology of these spiders is more or less identical.

All hunt at night?
AS: Yes, all . They vary in size, coloration, in genetic terms when studies are done in this direction, or by the genitalia of the female and male , these are the only ways to distinguish the different species.

It is an African soap opera in the early afternoons of RTP1.

In my rest period one of my favorite hobbies is zapping, an almost obsessive behavior that annoys a lot of people, but from my point of view is a very useful habit because I end up discovering very unusual television formats. It is the case of Windeck, one African show that has all the essentials of a well-planned plot, love, death, violence, betrayal, and a lot of ambition. Although not very fan of the genre, I like to enjoy some of these episodes for the quality of work of some of the actors and especially the wardrobe. Nothing is left to chance in Windeck, the intense colors of the garments, the makeup and hair, and I speak about of both the male and female characters, is a luxury that is worth seeing, if only for the visual spectacle. It is also a good bet in the programming of RTP1, since it directed to the audience of African origin living in Portugal, but not only, is also a way for Portuguese get to know a different culture.

The Samuel does not like labels, does not like to be predictable, and does not like to live up to the expectations of his own audience. What Úria want is to be creative, baffling, direct, live and let his songs reflect his youthful side, who does not take himself too seriously.

After 13 years since your first album in 2013 and now with this new record," great fear of the little world " , making a retrospective do you think you evolve and grew as a musician ?
Samuel Úria: I like to think and review this path that went by and conclude that I did not matured that much. I think music has to have a primary side even childish of not correspond to the expectations , because if we do we eventually get formatted and take the form of what people want now that we pass on the next album. In that period that distant from the two albums I think I tried not to become too adult as a musician, despite my music is not juvenile , i.e., not the type of sound for a teenage audience. On the other hand, in terms of sound , I always like to think I'm doing an album in the studio with the same attitude that I'm doing it at home, lots of recreation, not to fall into temptation and become too formal.

And the lyrics? You normally tell stories in your songs. Are always very personal, but the writing has changed over time or not ?
SU: Yes, in a way that when I want to make records I do them very quickly. I isolate myself somewhere and then write about what inspire me, or grieve at that time. And I am different in 2013 of who I was in 2003 is normal that the lyrics are different from those times, although in structural and stylistic terms things may be close between the two records. In conceptual terms the message has to be different because I 'm different, also it changed the way I react to the world.

The album " In raw " not only for music critics, but also for the public who follows you is considered to be one of your best work, although it is an EP , how do you look upon this record ? It is also in this manner? Consider it one of your best works or not ?
SU : " In raw " has a special feature, most of the tracks were recorded at home and have that very primary side of songs being recorded at the time . Of not been filtered by the most hygienic process of the studios, as the sound. No, it arose, was recorded and so it goes directly to the EP. I love this formula that always have the will to follow of immediately after recording on studio a album to make a homemade soon after, to get back all this informality of things happening right now. Being recorded as if it were a live but not being , i.e. , it happens and is unrepeatable. And so, this freshness can only be beneficial the music and therefore does not fall into the excesses of forms of things.

That coolness was also an aim in "undistiction" .
SU: That was almost a circus act , because it was recorded and mixed all in one day . Then had an email where people sent suggestions.

The Portuguese designers bet on leathers for next autumn- winter.

With the heat dissipating from the atmosphere we start to think of the next season already approaching and national catwalks are the best place to take a look at trends in the next autumn - winter. Black as always is the color of choice for Portuguese designers abounded in several coordinates, but one of the key elements that definitely stood out in the collections presented in Portugal Fashion were the leathers. The pelts of exquisite finishes were present in many of the garments that paraded through the old building of the customs of Porto, from skirts, to jackets, pants, or just as occasional applications in some of the clothes. I must say that in terms of accessories, the long gloves fascinated me the most, either in leather or satin, my fascination for this very chic piece comes mainly from American film noir of the 50s. A must have. The same can be said of some of the most collections of most acclaimed designers from our country, with particular emphasis on Luis Buchinho, Fatima Lopes and Felipe Oliveira Baptista , respectively , a man from the north, a Madeiran and a Azorean, a brutal combination I must say !