Claudio Garrudo is producer and photographer and also co-founder of "the arts to neighborhood cultural rentrée of the seventh hill of Lisbon" a contemporary art association "This is not a pipe and" I love the high district". His last exhibition, is open in the House of Plants in Calheta, until October 31st and features five works that were inspired by the island of Madeira.

Tell me a little about this series that focuses on nature. Why the choice of this theme?
Cláudio Garrudo: It was a need I had to go back to the roots, because I feel that with this crisis environment that we live in Europe and in Portugal people are depressed and with serious problems. So I wanted to do something that came to them and give them some pleasure, even for me to shoot and create work. Has this side of contemplation that serves a little to alleviate the heavy burden of those who have suffered thru this recession that plagues us.

It is curious that say that, when it is a work light and shadow.
CG: Yes, but it is work that takes us to a nature, at least that's what I want, that transmits peace, tranquility and serenity.

So why chose black and white?
CG: The photos are all colors.

Are they? But I does not look like that.
CG: It has no post-production. What happens is that I photograph when the sun is in the backlight the images appear to be black and white, but are in colors, the contrasts are generated by the light from the opposite side. And I say that there are photographers who are frustrated painters, I assume my share without problems. What also wanted to show with this work is to be coherent in relation to previous exhibitions, create a strong relationship with painting, What I tried to do is to paint with the camera. I choose a shaft in which I place myself under the trees and make several consecutive shots. Are almost as strokes.

It is the first flora guide on these areas in the south of Portugal, in a bilingual edition, Portuguese and English, by Ana Luisa Simoes and Ana Carla Cabrita.

It is a work that aims to introduce the Portuguese Southwest flora, addressed to the general public, and featuring 200 of about 1000 existing plants on the southwest coast. A natural choice because it is one of the last and most important stretches of unspoilt coastline of southern Europe, with an immense wealth, flora and fauna recognized thanks to the Natural Park status, national and European level, with the inclusion in the List of Sites of Community Importance as Special Area of Conservation.

The guide has scheets with the photograph of each plant, the scientific name of the species, the botanical family, common names in Portuguese and English and a brief description. It also includes all the information about the plant height, flowering time, the growing cycle, habitat and protection status. The records are organized by flower color, facilitating the identification in the field.

This book by Ana Luisa Simoes and Ana Carla Cabrita results of research and compile all the information abouts these plants over two years. To add, that the housing project's Guide to the "200 Plants SW Alentejo and Costa Vicentina" arose from a gap as to the supply of representative popularization publications flora of this territory, it will able to assist the tourism industry, animation and environmental education, and promoting convergence between the inhabitants to natural areas.

Aline Frazão was born in Angola, but since the release of "Clave Bantu", her first album, she is being touring the more recent work "Movement", that has taken her words and her sweet, quiet voice at various stages all over the world.
Let's talk of “movement” and in what way is far from the previous album?
Aline Frazão: First the "clave bantu" was made with many little means, it was not a big production, the formation was lower, it was a first experience in studio and "movement" is a record with other conditions that allowed me to somehow make a search for musical languages, a mixture of sounds, which is what I am.

It has more of an urban drive or not?
AF: It's a little less wild, "clave bantu" is a more visceral drive. It is works that as the years go by I have more and more affection because it is very screamed and authentic album. There is no limit and are feelings in the rough and in "movement" is a more worked and melancholic album has more fog. I often say that Luanda is my city, which is present in many of my songs is an invisible character, is not the city of euphoria and economic growth, is a lonely Luanda, upon a building terrace, an observer, a subject who observes what is this happening and this look can involve positive feelings or not, and it is often that the opposite happens. It is a grayer album, just yet colorful that has very sound movement and has color by African rhythm, as much as I tell a tragic story you always want to dance. But it is a more coherent record, were songs written in a shorter space of time, I made a compilation of four years writing it, there were many variations, the first were simpler and the last were very complex, as the "southern way "with a compass and a half apocalyptic strain, it's like the first book by a writer who has many things to say in every sentence in which it place all with a great eagerness.

It is curious that you say that, although your first album was done with little means, you had a lot of reputable people who wrote for you, writers. You give much importance to the word? Because it is also been seen in the second album, "movement".
AF: I give all the importance the word. I cannot think of my work on the albums that did so far without the weight of words. Increasingly see myself as a songwriter, because of this connection that I have with writing, with the literature since childhood. I see the word independent of music, so it is one of the riches of musical language is that it is universal, a person that can hear a Vivaldi does not need poetry to feel, but in my case, I see music as a way to communication and I am a person of that area, I like to communicate specific ideas.

This is how you start by writing the lyrics and then offspring melodies?
AF: Yes, 90% of the time I begin with the word. It creates an environment, a pace that I explore in my guitar. I'm not a very virtuous guitarist and then the musical paths pass through the exploration of many things, sometimes, I follow my intuition. The word is the backbone of everything I do.
There are some songs of these two albums that define you as a songwriter?
AF: Yes, the "both", is a very geometric song, is very repetitive. I like that, a little of Chico Buarque, the repetition of verses, or the structure there is a symmetry in this song, an irony, a critical social message of contrast that defines my very concept of justice as long as this inequality, there is an injustice, are key idea of what I think, then works very well. It is a theme that has a strange compass that is not easy to understand the first and think it's one of the songs that define my work.

It is one of the most popular times of the year in some parts of the world.

More than a fad, Carnival turns out to be a reflection of the society we live in and follows an original dress code to say the least and if in some Latin American countries less is more, in Europe, on the other hand, this event acquires more subliminal contours, there is a greater underlying social criticism, are humorous reinterpretation of the times we live in and the "personalities" that mark the political, economic and social agendas characteristics of each country. With a few exceptions such as the Venice with their detail costumes and luxurious masks that transport us to a world of fantasy and dreamy consented depravity, the carnival period in the essence is marked by major festivities where you can eat, drink and leave in search of endless pleasures, disguised or not.

The word Carnival, which has its origin in Latin takes us to these excesses, "carnis" means meat and "valleys" means pleasures. So it is not surprising the lack of clothing in the countries south of the equator and some shamelessness in the world. To me, on the other hand, what most attracts and surprises every year is the originality and creativity of the ropes, the pageantry of the troupes and the commitment of the people to make the most of these three or more days of pure indulgent treat.

What amuses me even more however, are the classics that never go out of fashion in the carnival route, on top of the most popular disguises all over the world ... Tacham, you cannot miss the men dressed as women. True, it's just comforting to see them "suffer" for hours on top of her high heels, pulling down the hems of their shimmering dresses that cannot overshadow the tufts of hair that insist on jumping out of the necklines and other lower areas of their more or less muscular bodies and covering also their beautiful legs! Another essential masquerade Carnival is undoubtedly the religious, whether dressed as priest, or nun, bishop, or pope, anything goes when it comes to "bless" this festive occasion and eloquent interpretations is what abound the most. My third and last choice relapsed on the naughty nurses, no carnival corso worth its name, does not have a "professional", showing all its best features to stimulate the sudden improvement of the patients. And do not forget next year there's more!

The yellow star company is not limited to making dreams come true, it's also a cultural producer betting in theater, through tours that take place all over the country, as reported by the responsible Pedro Sousa Costa.

Not taking into account only the current national scene is hard to be an entity that promotes cultural events in our country? Or not?
Pedro Sousa Costa: Yes quite. But we want and we will continue to buck the trend of only producing theater in Lisbon and Porto. Everyone has the right to do theater and we have been contributing enough to it. Only between December 2013 and December 2014 had 122,533 viewers across the country. In the case of our coming to Funchal, had the privilege of a private entity to have believed in our shows and invite us here we come.

With the near absence of state support the future of culture comes from private?
PSC: It is not true that the state does not support the culture, just see the amount of one-off and annual support that DGArtes assigns per year, as well as other support of the Ministry of Culture. In fact there are not for everyone and there were many cuts, but support still exists. It is we who have never had the state help, but even so we do not stopped producing theater, because fortunately we have many brands that believe in our work and have supported us a lot. Anyway, I do not believe in the model in which the state has to support culture that often does not have public.

What is your perspective on the national theater? Since you are hosting two theater projects "boeing-boeing" and "beautiful monster"?
PSC: As I told you, within one year, we had over 120,000 spectators and was not only with the “boeing-Boeing” and “the Beauty and the Beast”, as we also produce the "Married by force" of Molière, the "Christmas Carol “by Charles Dickens and “Gisberta " and this only in 2014. As such, could not be more optimistic about the national theater.
How would you define the public that appears in the shows? Is there a generational gap?
PSC: Fortunately we have found new audiences and all ages.

Why choose "boeing boeing" to be adapted? What attracted you in this play?
PSC: We have adapted and produced other plays, such as "Night" by José Saramago. In this case I wanted a text that would make quite the public laugh, we are in need.
It is safer to bet on foreign drama than the national? If not because the choice of adapted plays in general?
PSC: There are very good national dramaturgical texts. The prove was the success of “Night” by José Saramago had, with more than 12,000 spectators.

How the “yellow star company” does intend to evolve in the coming years?
PSC: Betting on the quality of the texts, the casts and the teams we work with. Success ultimately appears naturally.

Daniel Pinheiro is a young photographer and filmmaker of the wildlife. Recently stood out for a movie entitled "Wild Portugal" that showed images captured in the country that rushed world and delighted the Portuguese who for the most of times were unaware of the wealth of its natural areas.

The most obvious question is why did the video with the compilation of your works?
Daniel Pimenta: This work is the resume of my four years of work, has pictures of three films I made for TV and other ongoing work I have so far. It is a portfolio.
Why did you do it now? Is there a particular reason or not?
DP: Every year I do the "real show" and will accumulate. This video has pictures of four years and this more complete compared to others I did in previous years.

The fact that you have been highlighted by "Vimeo" brought some recognition to your work? Any projection or not?
DP: I think so, it is a very good platform, not as much as the "YouTube", but is a site more for small producers and companies in the audiovisual and of course gives some visibility this recognition.

Now I wanted to talk about your work, you do photography and documentary films about nature, I noticed that there are images that you accelerate. How do you prepare a film like this?
DP: That's a technical component, but has footage in its normal majority who are accelerated. The "time-lapse" is a clearer scenario has the clouds passing by or you see the Milky Way, or even stars, whatever it is, is a scenic component that the film takes and what is done for the most part with images of both animals and landscapes. To summarize in a few words, I make documentaries on the environment, I have my personal projects, and I try and see if there are other possible partnerships with universities, with research groups linked to nature, and work with them always. If it is possible and has been with the films I've done so far "Mondego", "between heaven and earth" and the "Alentejo-the corner of the earth" were local partnerships with the Institute for Nature Conservation, with non-governmental organizations and universities, this is the first stage. Then do a search of the potential of a given site, that has enough animals or species to the story, then we moved to the part of the funding and only later filmed.

The two Iberian lynx that were released in a surrounded by soft loose on the last 17th December in Mértola, already live freely.

The moment marked the beginning of the reintroduction of the species in Portugal for the reversal of extinction situation in which were the cats. In the coming months, eight lynx should be delivered to their natural "habitat".
The couple of lynx, Kathmandu, Spanish male, and Rosewood, Portuguese and a female born at the National Center of the Iberian Lynx Reproduction in Silves now "are free to walk the land, scattering the place of acclimatization, situated on a private property and area of hunting tourism, says the National Association of Landowners Cinegetics and Biodiversity Management (ALCB), in a statement sent to Lusa agency.

ALCB welcomes the "historical moment" the "actual release in nature" of the first two Iberian lynx bred in captivity and released in Portugal, in connection with the reintroduction of the species in the country.According to this association, it is the "first two of several" Iberian lynx that "will be introduced in Portugal over the coming months," after they have been released in Spain "several dozen" of species of lynx.

The ALCB praises "the way the process has been being conducted" by the Institute for Nature Conservation and Forestry (ICNF) and PNVG team with the involvement of several technicians and experts who follow the two lynx released in Mértola and are "looking for a territory to settle."
"There is still hope that the female may have gotten pregnant during the acclimation period, which coincided with the beginning of the breeding season, and the first litter of born lynx in Portugal in nature, after several decades without any confirmed registration can be within reach, "said the ALCB.

The dead hand almost need no introduction, being a alternative admittedly, over the years, has built a distinguished career in terms of longevity and quality music, which added a new album, "by my watch is time to kill."

The new album "by my watch is time to kill" has been controversial because of the launch video. But then it's time to kill what?
Adolfo Luxúria Caniba: This question should have been done before the controversy. The album title is a line from a realistic Portuguese poet, José Antonio Forte, who lived in Lisbon on 40 and 50 but is Santarém. It is a very strong sentence he employs twice in two different poems. The second time you use it is the way of love poems and found fit to use it. "In my clock is time to kill" is this connection to António José Strong and crease that was diverted using a phrase. It has everything to do with the narrative, with history and fiction that is the entire disk, is a character of modern times, the lone unreality who suddenly realize that their welfare is concerned and finally notices that do not living alone in the world and that other lonely, the other individual, are also called into question. There is a kind of solidarity between solitary, which has a growing, a kind of collective consciousness, which turns out to be a narrative story and once again provides individual solutions. In the background is the substance, is the personality of the characters I tried to find blame for the degradation of this way of life and give them a purpose. This killing is fisício say, over a situation.

It is also about an increasingly lonely society, because it speaks of the lonely brothers?
ALC: Exactly. It is a particular type of order civizacional shall we say, a type of economy, interpersonal relationships, a commodified relationship and spends a lot of the image rather than the colloquial, goes through mediation and not by direct, in the background is that I search this character. I want to end, kill this type of situation, the life you have.

In 1998, Charles Mason, also spoke "to stop the clock and go to the revolution" and now in 2014 we returned to the same theme. If we take this thread there is a certain incongruity.
ALC: "The stop the clock" is a different song of "the hours to kill," although both refer clocks and time. "The stop the clock" is a kind of escape from time, which is a theme that is always present in the songs of the dead hand, this anguish of always running away, we are unable to change our present, our daily lives in order to have a more fulfilled life, so that the time is always us to flee, moving and we can not change, then "stop the clock" in this sense of the stop time to change things, because time not in this to give time. It is a cry of distress, stop the clock! Here "it is time to kill" has a different meaning, it's time to do something.

This 13th disc, with a randomly connected number was on purpose or not? Or just had more material for a cd in work?
ALC: I did not know it was the 13th, or I am sure, because we have a lot of records that depend on the way we counted. If we include the studio albums this is not the thirteenth, if we count with the original disks is also able to not be the same, so it was not in our accounts, these recenseações made by media things vary and is difficult to know which disk is.

The "Mutant S21" was considered one of the best albums made in Portugal in the 90s, this is also your best work? What defines as a band?
ALC: It's one of our great records actually, that brought us to an underground level and difficult survival to another, to be more comfortable in terms of career and we felt like doing, without having the hassle of finding eco, or visibility . So it's a very important album for us, within the rock genre was the first time we did something with that splendor and so was considered such a remarkable record of 90 years, but do not think it our best work. Later we discographic work that I believe not being better and are different and I am remembering for example, "For a long time this latrine air became unbreathable", which is a fabulous drive, is our best conceptual work and many people consider our best album. I am also remind me of the "spring of debris" which is a concept without issue and without disc, is a work with loose songs and funcinou very well and a lot of people also consider to be our best. Basically, there are many good records of the dead hand later to "Mutants S21" and even earlier, I now remember the "fluffy hearts" which is very different, much more with guitars. But in fact this has become the most popular, the fault of "Budapest", the theme extracted from this album, but by far was not the album that sold more was the 27 of the top sales.

It is the new work of the young writer Jorge Ribeiro de Castro, it is a crime novel about a castle overshadowed by a secret that the author did not uncover.

You written "by arcane paths I roam" when you were twenty-one years. And just after several years you decided to edit it. So I ask, did many changes?
Jorge Ribeiro de Castro: When I started writing the book did not know what was going to happen. Started only the first chapter, but then I thought as thought the world of Sir Conan Doyle, why not write a story in the form of police novel? The drama is passed in a castle with hundreds of years.

Tell me about the thread of these police lnovel? What were the first characters that come about?
JRC: The first was John, after Marius, the Earl and his daughter, Kirsten, Isabella working at the inn which later we know and the dutch who has gone through various surnames.

Which of the characters was a challenge in terms of construction?
JRC: The driver who works at the castle, is an employee. When I started to describing this character I thought it would be one thing, but in the end turned out to be another, I will not say what.

You picked a certain castle because it has a particular connotation?
JRC: I like castles, since child always felt a great fascination for this type of constructions, because of the secret passages and fancy stories that might have happened in these spaces perhaps love affairs, betrayals, fights and moreover they are a kind of strongholds. I live near the Pico fortress and see this architectural beauty every day, then like to know it better through documentaries and films, is fascinating. So Wolkenasnacht castle, well, is just in my imagination.

Writing was a difficult process throughout this year? There were times when you thought you had breaks and give up?
JRC: I've been writing the book constantly and finished it in 1998. I decided to improve it, because it was time to edit it in ebook and thought why not improve it substantially? That is it, come with an epilogue explaining the strange attitude of a certain character throughout the novel. But, I've been writing many other stories, thru the 90's, which will now go on Paper "poetic and ancient relics," will be released in February, has 17 stories and 12 poems, so I was not stopped by this book, or waiting to continue anything, just had other ideas that wanted to write. In June 2014 I edited "the procession of virtuous solemnities", which has eight stories. In all the time I've been to improve the writing, I wrote other things also lyrics to bands, collaborated with several magazines, I had this book in hibernation, because there were several ideas that I decided to move forward.

What are your favorite characters? Or one of you has a very special affection?
JRC: I cannot speak of either, because as you read the book is that you discover the character, but John has a lot to do with me.

It is the hopeless romantic?
JRC: Yes, he falls in love with someone who, in his view, has a way of being, an intellectuality that he cannot find in other women he knows in England.

João Pina is a young photojournalist who addresses on his personal projects images from the documentary point of view, collective memory, which seeks to portray the history of societies socially and politically in the form of pictures, is the case of the Condor operation, a remarkable book about a black episode of South America, which will be presented next February 4th at the Calouste Gulbenkian Foundation in Lisbon.

Why from all the wars you choose South America and the operation Condor?
JP: My grandparents were political prisoners in Portugal and it made a start to collect evidence and to address people who had been political prisoners in Portugal. All this led to my first book, "for your first thought" which came out in 2007 only in Portuguese. While I was finishing this work, I developed between 2001 and 2004, and was subsequently difficult to produce and publish, while holding, I went to work for South America, when I realized that the project had developed in Portugal was important and that should not stop there. The idea was, I could continue to do in this area. This is a thematic unspool photographically and that's when I came across this operation. For those who do not know, Condor was a military plan, designed to late 70s, more precisely in 1975, which resulted from a secret meeting held in Chile, where some the leaders of the countries in the region that were commanded by military dictatorships meet. They sat at the table in order to architect a plan to end their respective political opposition and by 1992 there were evidence that all was true. I took this concept, this story and went to see what I could do with it. This idea of the Condor was somewhat pilgrimage, because I had already made Portugal and now make all South America took nine years. Being that it was not obvious where to start, what to photograph and spent most of this time trying to realize what had happened, where and see the differences between one country and another. That was the original theme of this book.

You just say it was a nine-year journey, then where did you start? What was the first country visited and where you obtained the information?
João Pina: I discovered the existence of Operation Condor in 2005. I had to know how it was in each country, because the fact that it existed did not imply that had worked the same way in all dictatorships. For a practical reason I started by Brazil, my sister lived there and I already had been there, I went to Recife, in the Northeast, where there was and there is an important file that belongs to a non-governmental organization called "torture never again" and I spent a month looking for this estate, the macro to realize the micro. Then needed to understand what had been broadly how Brazil had repressed people to understand the specificity of repression of the Brazilian dictatorship, to be able to see something and do it from country to country. After, I moved to Argentina not only because this story was much closer to me, but also it was not ended. Today there are still trials and a lot going on in some of these countries and that allowed me a look at these more closely events. I started basically to answer your question, to go to Recife investigate, did some interviews and there was a little opening the range. After this project coincide with the first elections in Bolivia that I cover as a photojournalist. In between was taking time to talk with former prisoners Bolivians, realizing what had happened and it was starting to build this puzzle that took a long time because it is a very large area and I had very limited resources. Was making all the range of other works, devoting much more time to places, talked to people and began to see what images I wanted to do. This is broadly. In 2010 I went from Argentina to France, where I am now and I could not go and come from South America, thankfully were beginning the crowdfunding platforms, in this case used the "emphasis" that was dedicated to photojournalism and documentary photography, then presented the project and the amount raised could fund my last trip to Brazil where he produced work, then pulled on his return with a second and third campaigns that allowed me to make a trip to six countries and end the photographic production of this work.

You talked of the specifics of these countries, what you mean? What differentiated the Brazilian, Bolivia and Argentina dictatorship? Although the latter is still recent and as you mentioned is still very current.
JP: Historically and that is clear in all of them is the involvement of the Catholic Church. In Brazil roughly with exceptions, was created a platform called "clamour," under the authority of the Archbishop of Sao Paulo, which protected a number of people who were being persecuted and so is the church that offers them protection advertising to its causes so much more difficult to be arrested and tortured and that worked very well. In Argentina, by contrast, clerics delivered directly that came looking and this was one of the most radical differences and that I realized from the start, while there was Dom Paulo Evaristo Arns, in Brazil, to protect people and to write letters to dictators to ask for missing people, their whereabouts, in Argentina, on the other hand, there is at least one priest who is in jail, Christian Von Wernich, who called the military to arrest people who came with the intention of asking for shelter and help find your family. This is obviously a much briefly to address the "Condor", however, just to get an idea are estimated 60,000 victims of this operation, only in Argentina there are 30,000 people who were arrested, tortured and murderer and whose bodies have disappeared, as easily can deduct almost 50% of victims are Argentine. Which does not invalid to have more or less brutal dictatorships, the Uruguay which is very little talk about, it is estimated that the world has been the one with the largest number of political prisoners, so the whereabouts of these missing persons produces much pain and this is still very visible today, the trauma to the long-term, so we needed to get closer and shoot.