The marine park of Professor Luiz Saldanha is a success in sustainable conservation of species that interact with humans over its 12 years of existence.

The impact of overfishing on marine biodiversity has been a major concern of the scientific community. The issue has sparked heated debates in the global world, since it is necessary to implement responses bio sustainable, effective and timely measures in view of the human needs by one of its major food source that until recently it was said that was inexhaustible. After all, the scenario is much more dramatic than previously thought. However, there is always a light at the end of the tunnel, and that is where the project bioseas took place in the marine park of prof. Luiz Saldanha, between the beach and Figueirinha Foz, north of Cape Espichel. The objective was to "create marine prairies, once located on the coast of Arrábida, by planting three different species of seaweed very important from the standpoint of maintaining the fish population, water quality and retention of sand and marine biodiversity" as the lay report from Bioseas refers.
"We replanted over three years 60 installments between the area and Portinho and Galapos. Marine plants were collected in the Ria Formosa and the Sado Estuary for this purpose. A scientific experiment has not had the expected result, due to external constraints, motivated by natural storms that occurred in this area and the ability of herbivores salema fishes. Despite the drawbacks, there by counting the existing fish larvae, in addition to the 28 species that reside in this marine park, thanks to the project at this site were introduced 220 new specimens to the catalog of Luiz Saldanha. It is noteworthy that 37 of these marine animals are sharks and rays. The dogfish and smooth shark girly leg are two cartilaginous with a status of vulnerable and therefore appear in the red list of endangered species. It is also worth noting the white streak, which is also registered as in danger of disappearing from the seas and already one can see these in the marine prairies. It was also concluded that the number of fish increases if monitoring is constant and there is greater protection of a coastal area designated for that purpose "as concludes. The results show that partially protected areas allow the recovery of biodiversity that contributes to sustainable fisheries and greater awareness of future generations for these marine areas.

http://www.projetobiomares.com/

With over more than 20 years of career, Doio Kaosos, heteronym of Fernando Santos, worked with reference names of Portuguese music as Lena D'Agua, Lara Li, Candida Branca Flor, Carlos and Raul Paião Indipwo and was part of the bands Doyo, Davinci, Zanzibar and even the German band Waveband, who considers his favorite until his current project with Claudia Vau. Now, he conquered millions of global fans worldwide with his music that has reached the top of the list of ReverbNation.

Why you decided to follow a musical career in London when in Portugal you cemented a career, you were part of several national bands, work as a composer in the fields of documentary and publicity?

Fernando Santos: The main factor for this change was falling in love with a person who resides in London, Claudia Vau. At that time I still lived in Portugal, had a young daughter but knew I had to stay away for long, because it was difficult to be separate from her. From the moment, after a few years I went to London I could promote my original music, because in Portugal never found answer for the things I do, in fact, there is not answer, it is simply ignored. Most radios only air a type of music and the ones I got some feedback they told me no, because I played on an acoustic piano at the time and had to work quite successfully, "Aragon, el Griffin", so answers were silly, while relying on radio playlists, based on that identity, the answers are weird. That is my kind of perception.

But in London the picture is different.

FS: Yes, also the way they criticize, are more objective, although they are not experts, they notice that there it is very good, there is something. I think in general the type of culture we have in Portugal, in musical terms, it is difficult for people to realize if the music is original or not, because we are only exposed to a specific type of sources in the case of London, the exposition is the world because it has many communities, more cultures, in schools, in their daily lives. The community Shik, the Pakistani, the Chinese and many other countries have always brought with them their culture and Londoners live surrounded these artists of all genres and this influence has weight on what is presented to them, when they hear a different work. I think they easily understand if it is or is not a copy. In Portugal, we are witnessing the copy of original musical genres of others countries. Even in pop music we heard versions, there are singers whose work is being plagiarized and that analytical mind to unravel if it is or not an original, does not exists. I always worked with my music, was in New York that I first was discovered and then come to London, at the time the American table was the largest now it is "ReverbNation". Everything always varies. My instrumental music has been in the first place and is now third in the classic area in a highly competitive world, people who hear has a great capacity for analysis. For sure I may not be the greatest pianist in the world, but on the whole they gave value to what they heard, the balance of the technique. The internet has a problem that are copies it is true, but people perceive when they hear a certain theme that may not be the musician's original, it may seem that the network is a friend of the pirates, but it is not, although it seems, is more Vampire friendly.

You call your music different, but it seems more fusion. It is important to deconstruct these different sounds that permeate your music?

FS: It is and it is very natural, part ethnographic you may say so, world music, has always existed in my work. Always carried it inside, when I was a kid. I started playing when I was eight and lived in front of the Casino of Figueira da Foz, in summer feasts in general there were communities of various countries who came to spend holiday in this place, Iberian music happening in the streets. People left the house and heard the clapping of the Roma community. So this is my relationship with these sounds, my openness to other aesthetic cultures has always been very natural. Also, I am of a generation that in the 70s had many influences of Orientalism, we had the introduction of Buddhism in our culture and my opening starts with that feeling. I do not researching music of other countries to enter into my compositions, I never do it, I do research, ideas, feelings, sensations and sensibilities that later appear in my music, so it has plenty of universalist world music.

Walk me thru these lists of global music, what is the importance of a ReverbNation?

FS: It's a list that lets us know directly who is listening, what it interests them and how they download. If on one hand has a very diverse audience, we also find people connected to the music, in the case of "ReverbNation" is a community of musicians, my work is heard by half a million, of between 2 million projects throughout world, is a community that is always alive. In 2006 when I have noted when I discovered this movement, it is a space that people can see and check my progress over time. Its importance goes beyond the idea of ​​the CD that I have to send to radio, spending money on contacts and mail, and in most of the cases as I said, they do not give you an answer, still governed by the old system of music sales in Portugal. The internet, on the other hand, is immediate, allows me to reach a wider audience, globally.

Mikkel Solnado gained fame in Portugal with a song that took thirty minutes and 20 seconds to write, "We can do anything" opened the doors to the musical universe for a national and international career. A success that also attributes to his surname and he feels like being a blessing.

When you initiated your music career you played dark metal and hard rock, as you change from one register as heavy to another musical strand completely different?
Mikkel Solnado: I started by listening to metal, maybe it was my way of rebelling against the world. But when the band nirvana appeared I began to realize that there was also strength in melody and they opened my mind to other styles of music and now I listen to everything, I prefer to hear music that I do not write, I love electronic music, but not I have no way to do it.

You were living in Denmark when the theme "we can do anything" began to be played in the Portuguese radios, was a surprise for you to start your career in this manner in your fathers country?
MS: Yes, it was very intense, because my father died and I went back to Denmark. I was there living, suddenly my sister calls me and tells me: you are playing on commercial radio. I thought she was lying, I had no idea. But, someone had submitted the song to the radio, they liked was that feeling that nobody knew I existed, that Raúl Solnado had a son and I think all that helped push that too. It was a surprise to me, because it I was not even supposed to do an album, but as "we can do anything" was so successful, I thought I should make a record, also to honor my father, then fell in love with a Portuguese woman and this inspired me a lot to write music and suddenly after one year I had an album in hand done.

It's the album you craved to do?
MS: No, but that was because it was the album that could do at the time. Maybe it was a very chaotic for me, because the record was done at several sites in Denmark, Portugal and England. The sounds of the album and the songs are very different from each other, because it was recorded in different locations. I do not know if it was done in haste, but I hurried me a little, because "we can do anything" came out and I there was not an album, it is usually the opposite, you have a CD and throws up a single. This song came out and I had no more music's, it hurried me, I produced the album and was launched quickly.

Deolinda is a musical group that broke away from the boundary between Portuguese popular music and fado. The songs are a reflection of various musical influences and the upcoming album promises something new is the result of the wanderings thru the world of this unique band.

The sound of Deolinda is associated with fado, a musical aspect that became more apparent in your second work "two stamps and a seal", are you already thinking about a third album?
Ana Bacalhau: Yes we are already implements it. We have new songs and we waited to enter the studio later this year and launch new work next year.

In musical terms this third album what will differ from others?
AB: Well, first of all will have miles and miles of road. We are a different band than when we recorded the first album and the second also. These differences will be reflected in the music, lots of countries we have already visited and certainly the influence of these trips will be there. In this third album we want to try new formats of song we want to play more, we'll certainly be Deolinda, but a new record.

When you talk about influences you also drink other musical styles?
José Pedro Leitão: Everything around us eventually interferes with the writing of Peter and any influences are welcome.

Pedro da Silva Martins: The fact that we contacted with other musical realities and just to give an example, Luis ordered an instrument here, from Madera the machete and so there is this demand to seek new sounds, new instruments and ideas. All this brings new charges for what we are now at this time and when recorded other albums we’ll be different people with different maturity and other experiences.

This new work will have more songs of revolt or not, since "a fool that I am," became almost an anthem of Portugal?
JPL: I think this is part of our way of being, of the four of us, and long before "a fool that I am," the first record already had this burden and will continue.

AB: And unfortunately there are many reasons why we are still talking about it.

It is a festival of alternative music, avant-garde, between 30th of November and the 3 of December, with roots in experimental soundscapes, digital and audiovisual that translates into an alignment unique in world terms. The ninth edition promises a balanced schedule, with major national references, as are the case of Carlos Zingaro and the participation of one of the record labels references in these artistic areas, Touch.

In that context arises Madeira Dig?
Rafael Bicoito: It starts in 2004 on the outreach program of innovation and communications technology. At the time we drew up a project for the regional office of education called digital timber, which had several strands, one of which was the application of such ICT in the arts. This was the genesis Madeira Dig.

The MadDig is not merely a festival with bands, where it distinguished itself in terms of music?
RB: Essentially began as a demonstration of what could be done in terms of music with computers and software, purporting to show a strand more avant-garde and experimentalist of this sector. Doing the analysis of this event, taking in account the quality of the international artists and the media exposure it had, we realize that this whole event had ideal conditions to assert itself as an event on its own, not just directed at a local audience, being in the island, but also be able to capture other public especially outsiders, from northern countries of Europe. Since then the project has gained its autonomy, we the Atlantic culture promotion agency, kept the rights of the brand and concept. In 2005/06 the festival was held in Funchal exploring the aspect of the music made by computer and also under the audiovisual field, through projections. We can say that was first step. In 2008 we took a leap and decided to explore cultural tourism. Hence arose the partnership with the Museum House of Seedlings in the end is the natural place for such an event, is a reference by its avant-garde building recognized worldwide, by being alternative and experimental facade also suited the festival. It was a natural marriage. The other vertex of this new phase of Madeira Dig, of its implementation, has been the partnering with Inn of Ponta do Sol. We have gathered all what makes the festival different in these areas.
It is currently the only nationally.
RB: There is other, although sporadic. With regularly only in Madeira Dig, that enters its ninth year and another event in Braga "Semibreve" which recently held its 2nd edition. But this is unique worldwide, because it brings together avant-garde culture in terms of music and video, along with tourism because people come not only for concerts, but also to enjoy the island, good weather in early December, while the rest of Europe, particularly in the North, people live with negative temperatures. This entire concept in terms of international panorama makes the festival a unique event and fortunately more and more foreigners come to watch the shows in parallel the regional public has been adhering more.

who is this audience that likes Dig?
RB: In general I can say that are people related creative industries. By their training, are more sensitive to this kind of cultural offerings. They are designers, photographers, are persons connected with the arts, cinema, producers and this is true both in the public that comes from outside, as for the island.

Kimi Djabaté was already a musical prodigy at the age of three. His parents knew that he was born for music and the whole village of Tabato recognized his innate talent. The music runs in his veins, a genetic trait that has its origins on the giots, an ethnic group of African musicians, whose ancestral heritage he passes through thru the sound of his balafón and other traditional instruments that he translates into a unique and personal sound with African flavor.

You said once that your first record, Tereké, was not as you wished, because it was too commercial.
Kimi Djabaté: I would not say it was commercial, I think it was an experience, did well at the time I thought it was what I should write for that record, I do not regret it, despite not having had a great international projection I made the record with love and affection.

The second album Karam was an evolution?
KD: Yes, in this second album put what I wanted and also in my first work. I was very happy to manage two completely different things.

Both works are of African music, Guinea Bissau, but they differ?
KD: I think there was an evolution, because I became more mature, in fact the person is gaining experience as a musician. I recorded the first album and after four years and I thought well, it is time; I had time to idealize the second. I think the difference is this, though, Karam speak much of Africa and has suffered feelings, I think in that context are different. This latest CD shows the difficulties of my country, I'm not happy, because I see that they are not dealing with the political situation, I see it as an emigrant.

In Karam you introduce new musical instruments that also happened in the first work?
KD: In Karam I played more African instruments than in Tereké.

It is essential for you to create new sounds? You feel the needs to build new instruments, because they are not producing the sound you want?
KD: No, I do it because I'm griot; I come from a family that since the thirteenth century makes music. The griots are people who make music for the rest of Africa. They created their own instruments and then I have those roots. From small boy I play the balafon, the kora, the Gumbe, the Guimbé are instruments that I have always played.

The "snailorganic" is a sustainable concept, an ancient life form that allows reuse everything that is given by the earth and recycle the existing efficiently. It is a biological project of Sandra Lopes Santos covering food, decor and everyday utensils. It is a way of being more environmentally friendly, in harmony with what surrounds us. Without any pressure, or rush.

What is the project snailorganic?
Sandra Lopes Santos: This project is organic, i.e., started with the dry bathrooms and exploring all that the earth provides us. Use all that the animals can provide for us, in a good way, to reuse. Is not living in a tent, is to use the less noble materials and give them a new look.

It is a concept that you apply in your house, or can also be used other?
SLS: In my house and everywhere. Recently I changed the home of some Belgian friends who live in Ponta do Pargo, rolled everything and they were a bit in shock when they returned. What I did was rearrange everything in the right direction, is not that the house was messy, but a person outside of this environment can see everything clearly. The aim was to make a more efficient the daily actions, for example, they have cacti in terms of irrigation was not effective, it adapted so as to be more efficient.

But the decor is not your single strand. Also your cook your own organic biscuits, sweets, cheese etc... Withdraw all of the land?
SLS: Yes, mostly. Except the silver bananas, but are certified, comes from a producer friend in Ponta do Sol. I take advantage of all that the island offers. It is a wonderland. People sometimes do not enjoy all it has to offer. The Madera fabric is great, for example. It was so exploited that the standard it is difficult to remove it from that context, but it is interesting and we must be open to other types of clothing, from there have done a few belts, I think it has changed and is cleaned. I like to mix and people have sent me good feedback accordingly.

Recently you showed your work at a fair. Do you think the public is very aware of these new concepts?
SLS: Very attentive. Of course, that some people may not accept, there is always a but, or an if. There is always a question mark. We now have more ways to be ourselves, and we are sure to disclose what we are saying. Twenty years ago, nobody knew what it was a dry bathroom, but we do now. The way is this; however, I am aware that this is not a path for everyone, of course. Moreover, why? These way of life goes back to what we always did, fishing, hunting, planting and harvesting. The society is dehumanized, including myself in this crazy life. When I stopped, I tried to see what was around me, I tried to convey to the other good things, even if it is only pleasing to the eye. Even though my project stopped here, I felt I had achieved something.

The name of Guida Scarllaty will forever be etched in the collective memory as one of the mythical travesty's of Portugal. A legend of the Lisbon nightlife that dazzled audiences who watched her performances and costumes full of glamorous gloss that garnered her also the international fame. After ten years of absence, Carlos Ferreira is back to the country that never really forgot his unique alter ego

You began your career at age 16, where was your debut?
Carlos Alberto Ferreira: I was in fine arts, but at the same time I was doing theater in the Portuguese youth and then I was invited by the master Ribeirinho to the popular theater company. When it comes the time to go to the army, it force me to a stop, but at the same time was useful as a reflection of what I had done so far and it was not really what I liked. I wish I had more opportunities and greater roles in the theater, which at that time were very difficult and so I decided to continue studying. I finish the course in architecture and start to work immediately. I left the theater altogether. Although I did a film with 19 years old, participated in "the crime of the old village," of the master Manuel Guimarães and did some other small roles.

Then comes the 25 th of April ...
CAF: Came the Revolution of April when I was working in a building company, which was practically over, the CEO's fled to Brazil, I was the chief architect in the field of decoration and felt abandoned. I thought it had no place there, there were committees of workers, every day was a new story, there was always a new problem and I could not stand it anymore. I decide then to collect all my things and people asked me: Are you leaving? I said, I going out for a bit and be back in a zip until today! I spent about seven months without work; I began to worry so I had a cash reserve and decided to open a bar, the Scarllaty Club. At that time I hired some theater friends to do the night of cabaret, but there is a famous night that one of the actors decides not to participate and I said: That is not a problem; the show must go on any way. I went to the dressing room and all his clothes were fine I did all the numbers. It was the New Year's Eve of 1975 that Guida Scarllaty was born professionally in Portugal. Before I had done abroad transvestite shows. In our country at that time were bad and I shielded myself a little. After April 25th, I assume this aspect fully.

Why the name Guida Scarllaty?
Guida Scarllaty: My first name is a diminutive of Margaret, is the name given to the girls of the neighborhood, and is popular. The surname was inspired by the character Scarlett O'Hara in the movie "gone with the Wind" is a woman of great character, I wanted the character to be associate to a person with guts, an adventuress. In terms of marketing was very important because it resulted in all these years.

The Scarllaty Club is a success. All the beautiful people of Lisbon are there, it's always crowded and yet you decide to sell, why?
GS: I did it due to fatigue at the time while I had the bar, was in vaudeville and made all five shows of the day. It began with matinees at four o'clock in the afternoon, another session at eight o'clock in the evening and at eleven o'clock at night and then I still went to the bar to do a show at half past midnight and another at half past one in the morning. Achieve such a degree of exhaustion, that I said to myself it is enough. I had a good opportunity to pass the club was at its height. Interestingly, but it was not nice that it happened, the bar did no profit without me. Four years after leaving the club people still seek of Guida Scarllaty. The entrepreneur who keeps it went bankrupt and today the space is an antique shop. Imagine!

Pedro Macedo Camacho is a young man who divides his life between engineering and music composition for concerts and games. Indeed, it is this latter activity that has earned him some recognition and awards internationally. Recently he wrote a Requiem for Inês de Castro, played by the Classical Orchestra of Coimbra for chorus, soprano and baritone.

I noticed that your music career began with soundtracks for games, how these opportunities have arisen?
Pedro Macedo Camacho: I studied classical composition for many years and enjoyed many games as I thought fit to create a soundtrack for more complex games that require more than just one track, because it involves a production team with more than 100 elements. These are very big projects. Basically we sent our music, qualified people hear us, choose and them from a panel of 10 composers around the world , the ones with great quality make a presentation, they hear it again and they make a decision.

How you apply, you research and then you send your work?
PMC: No, is thru an email invitation. Or because somehow I contacted them to show my portfolio or because and today happens like that, they already heard of me and decide whether to hire me or not.

What is the challenge you faced in terms of music to compose a soundtrack for a game? It is different from writing for a movie, for example?
PMC: It's the same, I've done some soundtracks for movies and advertising, but I dedicate myself more to concerts and games. The only thing different is composing for a film is linear, for a scene I know perfectly where it begins and ends the song. For games I never know what will happen and what the player will do, because it is an open system, then we have to compose music for each possibility and created mechanisms for the music suits the player. We never know how it will begin and how it will end. We need to write each variable and for what it may happen.

You got to play the game to understand this dynamic?
PMC: Depends on the project, some I have to play , others the just add a description, a video so you can see what is the environment and with the experience you already earn you know how everything works.