The CETbase is the largest database on the country for theater studies. It is an online network open to researchers, artists and the general public where you can see over a million and a half information related to the arts of the stage. It is a repository of knowledge coordinated by Professor Maria Helena Serôdio, from the classic college of Lisbon and a little group researchers working for the common good.

In that context arises CETbase?

Maria Helena Serôdio: It appears fundamentally linked to two realities, the existence of this center for research studies in theater in this college and on the other hand, a post-graduate study for theater where students and teachers have realized that there was some lack of working tools and the need to move forward not only for writing but also creating an online platform that would allow more rigorous collection of performances and the possibility that we are always producing actions, additions, relationships between various data etc.

How do you do the selection of data, the collection of these elements is distinguishing what is essential and important to be preserve from the superfluous?

MHS: Nothing is superfluous. The fundamental question that might interest realize is that records like these are huge shows we have registered over 23 thousand people characterized by their career have over 44 thousand institutions between theater companies, or who financed the theater are 11 000 thousand, texts taken to scene almost 15 000, where introduced to characterize these performances more than 3000 events, festivals or celebrations involving the theater over 1500 records and also a principle we had a great care to introduce that was not to impose the reality of theater in Portugal in a single formatting. Explaining, it is true that the word stage manager for some companies it is important to know, but in the history of theater that word was not used, was the director or leading actor who had this function, we do the exact registration of the term used by the company which mean that we have a network that allows equivalences when we want to know who is the figure of the stage manager, also in the form of the show appear as directors. There are networks of concepts that are well reasoned and allow us to understand together, but at the same time each, seeing the differences in terms of nomenclature. Another aspect is also important to note is that whether we give greater care and do a more complete record of the professional companies, we also have records of performances of schools, universities, amateur theater, we have much more safely recorded other than the leading companies. From the chronological point of view it is clear that we will not lose the information that is currently been done this day, but we also need to adapt. There are now records the shows of the nineteenth century and some of the XVIII. This is because the study center of theater develops various programs, we had over two years on a project of the eighteenth century supported by the Foundation for Science and Technology where he held both collection of original documents, parts, notes of censorship or institutions that allowed bring the texts to the stage, some of these reality of these documents are passed to the CETbase. This is a platform as inclusive as possible; it depends on the research we do.

In terms of the records themselves, come in various formats? In photography, video, pdf files is that it?

MHS: There is a network. There is a research project which has now ended, which gathers together a very appreciable scene photos, publications of books, called Opsis, also funded by FCT and in some cases we refer to the data obtained in photography. It's easier to network, although it may have access to other databases that not only the very CETbase, for example, those who study the eighteenth century also has access to this data page of the History of Theatre in Portugal (htp) online where you also get access to scanned documentation and promoted in more contemporary way. What we do is distribute the network, write down all transversalities that allow a person who is outside can browse through the internet.

Who are the people who consult this database?

MHS: As far as we are given to understand, especially in CETbase are the actors themselves, for example, when they want to know whether a play was represented in Portugal, how often a particular author was presented in our country, they are likely to have a more immediate interest in this information. Relatively to Opsis and HTP online many are teachers, researchers are paying such access and feel the need to collect this data online. All this, the fact of being on the internet and an open access does not allow us to have exactly a number, but we know the consequences, appear thru masters theses, doctoral, although not all in the area of ​​theater requiring the consultation of these areas.

Daniel Oliveira became one of the most familiar faces of Portuguese television. The program "High Definition" has earned its recognition from audiences and critics, intimate conversations with various national and international personalities who can now be enjoyed in a book.

Regarding the "high definition" and others shows you already present on television, what is your working method? How do you prepare the interviews?

Daniel Oliveira: I have a personnel file that I keep from 14 years of age with all the interviews that came out about the more relevant personalities of the world media and not so relevant from the viewpoint of time, then I have access to a clipping service of the group has roughly ten years ago with all the things that went on the market about the person who I will interview and then there is the empirical knowledge of that person. I Seek to know all there is about that person in order to know what type of keywords and topics that I can enter without that knowledge mining the interview, that is, I can know what to say to this particular guest, where to go with a particular subject, but not undermine this conversation with my knowledge. I give a practical example, if I know that a guest had a great love in Madera, ostensibly I could ask, I know you had a great love in Madera tell me about it, so I was putting the guest in a position of weakness, if I ask why Madera is special? The guest knows that I know what I am referring to and I put it two levels, two roads, to choose from, it rather opens the door or not. The research is mainly used for that. Open paths to be followed.

How long it takes you to prepare for an interview?

DO: It depends on the person, but four to five hours.

There taboo subjects? That is, when you do this mental journey, this research on your interviewee, there are issues that you avoid because you know at advance that it will be difficult to get a response because it is a sensitive topic?

DO: No, the survey also serves to know what sensitivity is in a given topic, but I carry it with me always. This knowledge is part of that person's life, everything is public knowledge is relevant to me, because knowing a fact more delicate can help me to know that person is a certain way, or likes certain things, or enjoys certain gestures. Someone who has a loss in his family which does not speak about is very bitter, (I am speaking in the abstract) and probably all the bitterness comes from that loss in this sense that knowledge is key. If I did not know, during the interview can incur a serious failure not knowing why certain thing is so.

It is a kind of self-censorship?

DO: Everything on the contrary, I take everything with me.

The Azores Fisheries Observer Program (POPA) exists since 1998 in order to collect scientific data that curries aboard commercial fishing vessels. To achieve this objective, are integrated teams of observers whose function is the continuous collection of information on the ships dynamics and gather data on the target species of the fishery in the seas of the Azores.

In what context surfaces POPA?
Miguel Chancerelle of Machete: The POPA came in 1998, because at one point it was necessary to have a certified "dolphin safe" in the Azores. This is an initiative that began in the U.S. and came to Europe. In the Azores as there was intense fishing, they caught up sometimes dolphins with the tuna. These animals were also fish as a gastronomic delicacy, because people liked the meat, or as bait to live bait. The pool and line tuna fishing had this component, although the numbers were relatively low compared to other places, extra Portugal, these data were that precipitated the actions of ongs in this regard and therefore it was necessary to take this measure also in the archipelago.

Why the University of the Azores and the regional secretariat of the environment and the sea had the need to create an institute for this purpose?
MCM: Not created an institute. At the time, the institute of the sea, the structure existed, the University of the Azores had conditions in terms of personnel and know-how to be able to manage this program, all entities understood so, including the regional government. The origin was a "dolphin safe" but then people who are on board either collect a lot of data on fisheries or on associated fisheries. We have a base of over 2 million registrations at this time, the only genus in Europe that can be leveraged by the regional administration, the researchers and industry.

Tell me a little about the work of volunteers in the boats.
MCM: Observers you mean, nowadays we do not have volunteers. We have two modes, one for workers hired so to speak for a few months and volunteering, but in recent years we have not even had a lot of volunteers, because we are interested in having a permanent team throughout the six months season. Observers are important because they will increasingly gaining experience, collecting better data and we are interested in having this quality. This only works with specialized personnel in the boat to monitor, track and make the coverage of the fishery.

So they count the fish is caught, is that it?
MCM: Basically a stern observer collects data throughout the day and sometimes overnight. What kind of information they collect? What concerns the fishing operation, the technology used, which appliances they use, where they fish, how they fish, what they capture and quantities for species. Make a comprehensive collection on the fishery. In addition, throughout the day they are collecting data on species associated with fishing, sea birds, turtles, or whether there is interaction of cetaceans with fishing event.

Elsa Ferreira is the only woman producer, bottler of table wine in Madera, the stone of fire. Has a production of 1.5, which corresponds to 15 square meters of vines. Two gross acres of land in the agricultural park of Caniçal, producing 11 tons of grapes annually for harvest. There are ten thousand bottles of a soft wine with an aftertaste of the Atlantic.

How you put together project stone of fire?
Elsa Ferreira: I installed myself as the farmer's in the agricultural park of Caniçal, a space built for young people in the area of ​​viticulture. The aim was to create a red table wine. I ran through a public contest, I and two other colleagues, and was then assigned us a lot.

Why winemaking?
EF: I have training in this area and then came the agricultural park, which it presented as a path, and for personal taste.

What is so special about that area of ​​the island?
EF: It has good weather, is a lower level, closer to the sea, between 40 and 50 meters high, and has a good after sun exposure that promotes ripening of grapes and a bit windy. The wind is not very harmful unless it is in the period of flowering and somehow helps to aerate the vines.

Water scarcity is not a problem?
EF: No, because the culture of the vine is not very demanding in terms of water. The vines have a very deep root system. It is demanding in the planting of vines, but after a rainy winter is enough. There are days when the temperatures are higher and there we have to be watered, but in general it is not necessary.

Nuno Morna is one of the most dissonant voices of the regional art scene. He created COM.TEMA (Theater Company of Madera) with the intention of doing what it pleased him, also to tread the boards of his dining room, now seriously, to do theater and spread his "insanity" by the various nooks of the Madeiran archipelago and abroad.

You have a career as an actor, in Portugal and still you live on an island.
Nuno Morna: For my sins are the one thing I cannot live from. That is, I cannot be an actor 100% so I can't be a professional in what I consider to be my main activity. I have a job like everyone else has, that allows me to pay the bills, raise the children and on the other hand, I perform in this activity in the professional way, so I like people who collaborate with me and everyone receives a payment, but not is sufficient to empower the point we consider it our primary profession. Unfortunately this is so, but I always say that I am an actor.

With a career spanning of almost 30 years ...
NM: I'll be thirty years next year.

It was the career you crave when you began? Is there a delusion?
NM: I do not know if it is a disappointment, there was maybe in the beginning until I realized that my career in the theater could never be, nor as an actor, since I made the decision to stay in Madeira, because I do not see myself living in another place. Since taking this option, there was some bitterness when I realized I could not live from it, to have the career and them thought, after all I'll have to find something else to do, that eventually caused a stoppage for 3-4 years, I ended up not being an actor, if I thought I cannot make of this my life. However, things kept coming, I was being enticed with a project here and there and I was returning with a certain dynamic that I had ceased to have. Soon after, I participated in shows with other companies such as TEF and MADS. From that moment on, I thought the time had come, and in this respect I am very slow to make decisions, to do what I felt like it and not just what I was proposed to do. That's when we founded com.tema, ten years ago, on the 25th November, to do what I really felt like it and secondly to develop my small experience as a director, virtually all plays we show up until today were staged by me and also gave the first steps as a set designer. People associate me and com.tema with comedy, but it's not the thing I like most to do.

The "monster models" is a place where you can freely express who you are, be yourself without prejudices, without causing controversy, where you are unique even being one more of a minority of people who believe that we do not live in a world with a single vision . It is a platform where you can plot your peculiar route positively.

Explain me in what context monsters models arise?
Daniela Sousa: The Monsters Models emerged around the idea of ​​an alternative style. It's a whole subculture surrounding Gothic, cyber industrial metal, the fifties, i.e. around different people, be they painters, photographers, models or tattooists. We are already preparing a website to unite all these Portuguese to create a page that can also catapult employment opportunities for people of this subculture.

But first began with the photographs?
DS: Yes, it was a first step, just to give the idea of ​​what we considered to be alternative. Right now our main monstersmodels.net is not yet public, so we use the facebook as a mechanism to share what we thought is beautiful inside of our subculture, whether photography, sculpture, or tattoos.

You created such carefully images, take us back to a certain time, because there was nothing like that in the Portuguese market?
DS: Exactly. Our idea is not original in the global world, but it is a new concept in Portugal, is unique, there is nothing unique in the genre. In fact it is a very clean appearance, which refers to a certain alternative lifestyle, said outside the normal.

That is, if a person intends to do different photo shoot, you have a whole team that prepares this environment?
DS: At the moment not yet, we are finalizing the site and made a first version with the model Francisca Ribeiro where we tried to show what we sought. Then we will show our services to anyone wishing to experience this, being a "monster" sort of speak.

A current larger discussion worldwide is food, mainly what we eat throughout the day. This is a question that becomes relevant when we see that there is a cause and effect relationship between what we digest and public health with an indirect impact on the environment. So what to eat? Or not? And why? The responses come from biological medicine specialist, Ana Moreira.

One of the most debated issues about food is flours. Many experts argue that the refined are harmful to health. Do you agree with this statement?
Ana Moreira, True, besides having a treatment with chemicals mainly excluding organic farming, the conventional uses pesticides in soils that are subject to a process of extreme exhaustion, because they do not respect the culture times as before. Corn is the most transgenic food for example. In wheat the question is refined in appearance involving chemicals and acids that are used to obtain the white color society asks. This cereal should be integral in English is more interesting because they say "whole", which means all, has the grain and the cover. But even considering an integral wheat we have the problem of been transgenic and has pesticide that comes from our cultivation.

So what is the solution?
AM: The solution is to have foods that respect the rotation of cereals, i.e., buckwheat, rye, oats and the older ones like, quinoa, amaranth and Mile. Ideally eat whole wheat and with organic farming methods. Thus diminish greatly the risk factor and the names I mentioned we note that there are many cereals which are advertise on television and in magazines and that is why people do not know them. The one I recommend the most is the Kamut, spelled and oats that is not transgenic.

However, there is a significant economic factor associated with these products are always more expensive in the current climate it is difficult to eat well.
AM: That I cannot justified, a family that can barely feed themselves do not want to know about organic farming, in which case there's nothing you can say, no money period. Speaking from a range of people who can buy, even if not 100% can prioritize the vegetables and fruits, because there's already a good slice it prevents. We do not eat money literally speaking, is that we must value the organic farming, because obviously it has to be more expensive, it does not exhaust the soils, do not use pesticides or product that makes the plants grow more and more weight. The organic apple, for example, are smaller, they do not have such a bright aspect, are more stumps so to speak, who had contact with the rural areas in the childhood the fruit had that aspect. So there are two very interesting cases, on the one hand there are people who are very alert to the kind of life in resonance with nature and with their body and that we must seek not convince them, they are people who do not have health problems, but bet on preventive medicine. The other cases are families with health problems and then we advised organic farming, because we understand that in fact we're helping people stay healthier.

Another of this battles are sugars, because they cause diabetes, are associated with obesity and other cardiovascular diseases.
AM: Right, white sugar and refined salt are the greatest enemies we have at present, it is not the crisis, not the troika are these two ingredients, because sugar has undergone a process of chemical transformation that causes the ingest is a series of reactions that begin in the intestinal mucosa and end in the extracellular matrix, thus the connective tissue. The problem is that we can relate sugar to obesity with diabetes worldwide, but the level of osteo articular diseases this is not as scientifically clear, the cause and effect relationship between the digestion of sugar and pathology, from day to to-day work with people I notice that they improve greatly in this type of diseases when they cease to eat sugar.

Rosa Pires is one of the biologists at the service of the natural reserve of the desert islands. One of her and the team gold's is to monitor and track the various species that reside in this set islands, especially the nun of the Bugio, the shearwaters, the monk seal and also study the sustainability and evolution of the seabed.

In what year you began to work in the natural park of these uninhabited islands?
Rosa Pires: I started working here in 1993, at the time I came to do a final course internship in the field of marine biology on the monk seal.

At that time a colony of monk seals was very small.
RP: Yes, the colony was already in recovery, had 5 years of work in this field, but at 1988 was estimated between 6 to 8 animals only. At this moment the breed, there are between 1 to 3 births per year, the population is around the 40 animals distributed between the reserve of the Deserted Island and Madera. On the island, we already know that they reproduce well. Right now we have cameras that shoot from hour to hour and if there are monk seals we catch them. Following from these images we tried to identify them, see what kind of behavior they have with each other, and if there are offspring so we get much information that will help us better understand the behavior of this species.

In the area of ​​Santa Cruz there is the appearance of huge male as well as other specimens in other areas of the island. The fishermen go complain that the animals eat the fish on the fishnets
RP: The fishermen are not very pleased with the monk seals because of the pots. It's a complicated situation, okay we are preserving a species, but we cannot overlook the fishermen. Here, the problem is that if there is someone who can make a difference is not the monk seal, since it is a wild animal, but man. If I'm fishing in a place where they appear systematically maybe I'll do it in another place so animals don't get used to going to the pots. But, not all fishermen are willing to change, because they say that's their area and will not change.

But you could not change the materials used in the construction of pots to avoid such situations?
RP: Yeah, I know for example that the pots in Caniçal have a system that keeps the monk seals can't break and eat the fish. This is an attitude that comes from the fisherman and whether to make this investment or not. If fishermen come to us in order to ask for support maybe we made an effort in this direction, but sometimes what happens is that there is a conflict and communication becomes difficult. A few years ago we contacted the fishermen and offer to replace the destroyed traps for fish, but they thought that the situation was partly our responsibility, when it is not. We can raise awareness and support to some extent, but my position is to try to make a difference, however, is complicated. When there is conservation of nature and man to be harmed, there must be a good sense of both parties, not from the monk seal, which is an irrational being.

The confederation core theatrical research is an association with various cultural and recreational areas of intervention that aims to provide a different view on the Portuguese culture and beyond. It is mainly a vehicle for citizenship since 2009, and which aims to create a critical and attentive mass throughout the universe of the arts.

What is the context of the confederation? When and how was created and its objectives as a cultural entity?
Miguel Ramos: Do not know whether there is context for the Confederation appearance. There is a gradual onset accompanied by constant making, which has helped us realize what really interests us as citizens.

The Confederation has various aspects of art, theater, music and cinema, how did all these vectors combined? In the form of entertainment? Or just in training?
MR: We have a plural team, which means we have to constantly treading paths not stride before. Forcing new points of view, which somehow we turned out every step we take. If the context creator or new features we want a transformation in the individual experiencing, we believe that the experienced must also be transforming. Thus becoming more fair and generous.

What is the balance that you make of the activity of the Confederation since you are ahead of this institution? The positives and negatives aspects, if any.
MR: It's funny speaking of an institution. I'm not sure what the Confederacy is, still. For me it has been a tremendous school. I feel that every day is an exam without clauses numbers.

One of your bets is the auteur cinema, you feel that there was a gap in this area then so you organize several cycles of cinema?
MR: Ethically is the film that most interests us. This followed what I mean by auteur cinema. Actually our bet is Portuguese cinema, because we like the Portuguese cinema. The national cinema is from auteur.

Tiago Pereira has created a project with no end in sight that celebrates the pleasant variety of Portuguese music, entitled "Portuguese music liking itself" and now he embarks on a new visual memory of the country through the "cycle of wool in real time" and soon intends to produce a video collection on the Campaniça guitar.

How you came up with the idea of ​​"Portuguese music liking itself?
Tiago Pereira: I was born into a family of musicians and was always so close to the traditional music because my father played the ukulele as a child, saw the instruments builders and I always deal with this reality. Before start making videos and films, I recorded sounds, had a "mini disc" and walked down the street to capture sounds and conversations. In 1998 I recorded a gentleman who imitated the sound of accordion and it woke me the idea of ​​recording musicians, and then started filming street musicians too, did many ethnographic collections also recorded people singing in the countryside. In 2008 I made a film with B Facade singing in Tras-os-Montes, in the roof, and at the foot of the bells and in 2011 while watching the movies in "blogotec" I began to realize everything I already had done that was very good without giving it a name, also I had a file and found that I liked to do something that had to do with the state of our culture. As I had done a documentary on "the significance of Portuguese music liking itself" I decided to create a video channel where I could film people on the street as if they were on a stage and showed all kinds of music that exists in Portugal, more Portuguese.

Hence the name? You think we do not value the Portuguese music?
TP: It is not a matter of not valuing, a intellectual had an equation stating that the Portuguese music did not have any self-esteem and that there was a gap in our study that had been lost, i.e. there was a time of collecting but that had not been studied, had never been deepened or become publicized in a given time. We've always been very permeable to influences from other musical cultures ever since. The big question of "Portuguese music liking itself" is to debate why we are culturally closer to a black man who sings in the U.S. in the middle of nowhere, rather than a man who sings while digging potatoes in Maçainhas? We have always been closer to a musical Anglo-Saxon culture opposite to a Portuguese popular music, in a country as small as ours, is not understandable. The Portuguese music does not know itself, it is not known what is done at other sites and for such cannot like itself, in this sense was born the concept and terminology. I do not mean by this that I considered that Portugal has less self-esteem in relation to popular culture, for more years after April 25th, the prejudice against fascism somehow have not be forgotten by the people, is a kind of subconscious collective, that applies the idea that the country is poor and as such is there is a poverty of spirit connected to these issues, such as handicrafts, manufacturing, and this extends to music. Increasingly we live in a world where this is not synonymous with poverty, but wealth of culture and real economy that can develop from there. Therefore, we witnessed the emergence of contemporary craft, because people are turning to these sources, but the older ones of a certain social statement, think this is poverty. We live in a country where the blankets made in Minde in many of the looms that existed in the village, everyone back in the day had a loom at home, currently there is only one, has suddenly an order from Germany who want 300 a month, but there are no looms and people to do them. It's nonsense, prejudice and popular music follows the same route, it could have gone out, but we only hear about fado of Amalia and there is nothing more beyond that.

It is an open project? Will you continue to tape these musicians or are you going to stop at some point?
TP: Yes, the project does not intend to stop. In Portugal we must be resilient and so we resist.

In parallel, you have another project that is "the cycle of wool in real time."
TP: Yes, I have it with Rosa Pomar and basically have documented cycles wool in Portugal and we traveled to various places to see people reeling, in Madera we film a lady doing some caps, in the Azores recorded another woman spinning with a supported distaff and went to see in Fernão Joanes how they make the ornaments for sheep for the feast of May where animals are blessed by a priest.