Maria Bruno Néo is a young Portuguese designer who never selfimpose limits to her professional horizons. She was Tord Boontje apprenticed in this studio after that was in Eduardvanvliet in Amsterdam, interior design, products and patterns in terms of graphics for textiles and wallpapers. And now she is currently director of design in two brands belonging to the same company, Munna, upholstery and Ginger & Jagger, furniture and lighting, where she makes the management of a team from product stands and strategy and still has a studio in her own name.

When you draw a product, what factors do you have in mind?
Maria Bruno Néo: It depends on the product. If it is inserted in a brand, I try to enhance the aesthetics, it is argue in terms of vision and I give a little of me
while to my cultural experience. If it is a product that enhances the design of the author is more free, as it reflects my heritage and what I find interesting in terms of materials and patterns, because I work so much these two aspects, materials and the graphics, work with the memories in the projects.

For your projects, you have specific environmental concerns or not really?
MBN: Overall I have, I try to use materials that come from nature. I argue rather that it's not just throw away and is biodegradable, but the materials are noble in the sense that last and age with people thru time and they tend to not throw these objects because they create an emotional bond and can be, for example, solid wood and metal, which I think are not ugly as they age.

What others materials you employ reflect the brand Maria Bruno Néo?
MBN: I have no brand is more an individual studio. In some projects I have used ceramics and textiles. Made partnership with Gonçalo Campos and decided to subvert the ceramic technology, creating ephemeral molds, plunged tissues, always natural composition, such as flax and cotton and these molds were burned during the process of ceramics and became only the form.

The products you drew, there is some that defines you as a designer?
MBN: I think all define me in any way, because all comes from my head. Everyone has a little bit of me and show different stages of my life, from my memory and it is an invitation to address the world. I do not consider that there is a classic of my thinking.

She is a journalist and published her chronicles in the magazine of a daily newspaper, which depict the various stages of her life, throughout her 40 years of age in an alley in the Orangery, in the city Funchal.

What led you to write about your childhood in a city like Funchal?
Marta Caires: These things do not happen from one day to another. When I started writing it was October, we were at the height of "Bread for God," I saw everything with images of Halloween and thought it was time, it was not our tradition, it was something imported and started there. Gradually, without realizing it, I comprehended it was what readers wanted to know, what I felt, what I had seen, from the perspective of memory, of nostalgia, of which no longer existed and was just in our heads. People wanted their past, their history and somehow I cannot explain, because these things do not have a logical explanation, I discovered that it was my voice and a lot of people, maybe several, because before the time did not run as fast as today. There are several generations of islanders who have the same experiences, everyone had an alley, a heath, a mother and father and then it all turned into a book.

Yes, but how you got this feedback from people? How you realize that's what the readers wanted given that it is a daily newspaper?
MC: It was also what I wanted, it was not just what readers wanted. I ventured, reaching the hearts of people do not know how and touched them. Today we live in a time where there is no past and this is not good. To be well you need to know where you come from and what people need to remember, because it was a past that was not bad, nor sad, nor ugly, had not been rich, nor flourish, or full of stuff, but it was a good one, this was the life that people had lived and it was very important.

Did you felt any doubts, because you were exposing what you felt?
MC: It is very important that we should all do that, we can only talk about what we know, we can only write about it and then I lay the part that is public. Your life will also have similar things to the next door neighbor, people say that to me, it looks like I grew up with it, I've lived in the Orangery. It's a kind of place where everybody lived. Do not think it's anything too revealing or intimate, we were not rich, but they all had this kind of problems.

One of the people who speak more is your mother, you approach the discussions, your generational differences. What does she tell you about it?
MC: The book is dedicated to the memory of my mother. When I started writing she had been dead for ten years. Was about my mother, it was like bringing her back alive and I not know what she would think about. But, what I write, I owe to her, having arrive here.

Rui Vieira Nery is one of the leading names in music in Portugal. Doctorate in musicology, is a researcher at the Institute of Ethnomusicology (Center for the Study of Music and Dance and the Center for Theatre Studies), as well as perform duties as associate professor at the New University of Lisbon, is above all a man linked to culture in our country.

According to the Eurobarometer Portuguese are the people of Europe that fewer go to cultural events. What you think of that?
Rui Vieira Nery: This is due to several factors, one of them is the deficiency of the education system. Children as part of their schooling, are not accustomed to the idea of going to concerts or to the theater, they go to the movies if it has an specific technical effects and where lots of people die, but there is an initiation of culture film and so naturally when they grow up have not having a taste of cultural consumption as children that it is difficult to acquire later. Secondly, many of these events are expensive, however, we cannot overstate the issue of price, we have the example of rock concerts whose tickets have high prices and are bursting with thousands of young people who get the money for it, and never in their wildest dreams would spend it in a cultural activity of another kind. Also in many cases has to do with supply, as in the case of large cities, Lisbon and Porto in particular and the rest of the country there is no regular structures of artistic production, things happen in a festival that has good reception, but the throughout the year there is no resident artists, there are companies and there is no support and therefore would be important to create a more effective network of cultural artistic production in proximity with people.

However, there have been former ministers of culture and munipalities, who promoted up ambitious programs in cultural events with the same high quality for free, and people still do not go.
RVN: Not true, one can not generalize it that the population does not attend. In many cases, the music festivals there are often very strong, as you know if the 5th festival of organ Madeira, the churches are full and there was even a small conference with a packed room. So it's not as serious as this, as systematic as this, there are many success stories. Now, it also has to do with the inadequacy of the artistic proposal that does if for a population that has no often cultural habits and if you present a show of cutting edge, very complex, is required an initiation of prior training, clearly, it is very difficult to do a concert with contemporary music for those who are not accustomed to such language. There is also a teaching job that is needed, but it has to do mainly with a proximity policy, to ensure that the population has a regular supply and that things do not happen again from time to time and it has continuity and is what creates this habituation.

That is why there is this gap as noted among rock festivals and classical music?
RVN: This is a general problem, notice no mistake, there are kinds of cultural products which by definition are not very accessible to a very wide audience, experimental works, avant-garde, a complexity that is difficult to access and to public not used is difficult, even for the public the rest of the world, even in countries of the former Eastern Bloc that had a very systematic practice of attendance by school children, yet a concert of popular music fills a football stadium and a concert of symphonic music would not fill.

But do not think that distance of the Portuguese towards classical music is due to the fact that they do not feel very close to this style of music and they do not know the composers.
RVN: Of course, what I say is that is not a Portuguese is an international phenomenon.

Three documentaries, directed by Diogo Pessoa de Andrade, from a total of five that aimed to show the work of the project Algarve 2020.

The young algarvians is a series of five documentaries, three of which are available which address three different scenarios of life of young people who live and work in the Algarve region, including the route of a musician in an urban environment, a fisherman along the coast and the day to day of a girl who is dedicated to agriculture. The first episode entitled, "big dream", focuses on the journey of the young Rabica rapper and record producer who speaks about his professional and personal goals he want to accomplish within the community. "I even get lucky", is the second part of this journey that follows the daily life of Emanuel, the fisherman of shells and the difficulties he faces in this very demanding environment and finally "plant to grow," which follows Margarida, who works in agriculture, in a successful company dedicated to the production of plants. They all have several things in common, apart from age, do not intended to emigrate and try contribuirde positively to the development of their region. Are portraits in the first person from a reality that is not limited only to a locality but to the whole nation. Testimonies which mainly make us think.

https://www.youtube.com/watch?v=e9OPS1ltync
https://www.youtube.com/watch?v=3KMzCSs2yHM
https://www.youtube.com/watch?v=IkK0ilC28iQ

The university parties are an environmental concern, the Portuguese municipalities, together with more proactive citizens and private entities find sustainable solutions to the problem.

News recently publish the initiative of a young windsurfer, Jorge Fernando Paiva, who proceeded with a group of volunteers of the collecting at the bottom of the river Mondego of 214 supermarket trolleys, a total of 3 tons of plastic and metal. Over three days, with a motorboat and a platform donated by Academic Association of Coimbra (AAC), 64 of these objects were collected in the river bed and 150 more were located in the river bank, that were simply abandoned after the academic celebrations. To resolve the situation Fernando Paiva, together with the local municipality and the hypermarkets, offered students an alternative solution, more environmentally friendly, so that such behavior is not repeated, were released in various parts of the city 6 parks for the voluntary surrender of grocery carts. But that's not all, this year alone, 18 tons of solid waste were produced, only on the day of the procession of the burning the capes of Coimbra. Unfortunately this and other scenarios are not the only case of the central region, the university parties, all over the country are one of the biggest logistical nightmares of several Portuguese municipalities, who has been finding more sustainable solutions to the problem, through partnerships with private companies linked to the recycling industry and environmental organizations. But, here's the numbers. To the north, the city hall of Oporto joined LIPOR within a multimaterial recovery strategy and undertook selective separation of waste produced by students throughout the academic week which handled 35, 000 000 students, 45 tons of trash were collected to recycle. Of which 56% were timber, followed by glass that was around 28%, 8% of plastic and metal, 5% plastic and finally 3% paper. To the south, in Lisbon, for the first time this year, thanks to an environmental initiative of the green dot society, the welcoming mega party of the freshman allowed to collect 1.5 tonnes of glass packaging and 700kg of wastes that were sent to energy recovery.

http://www.lipor.pt/pt/residuos-urbanos/valorizacao-multimaterial/noticias/45-toneladas-de-residuos-reciclaveis-recolhidos-na-queima-das-fitas-do-porto/

It is an adaptation of a text of Alfred Jarry for Theatre, entitled "Ubu Roi Ubu Cuckold" by "teatro bolo do caco" who want to satirize the Madeiran society, by the hand of the director, playwright and actor, Miguel Xavier.

I took this piece of the Alfred Jarry Theatre, because the author has a number of plays with this character, it is a corrupt king, Machiavellian, nasty and that only makes things worse. I took at this character and adapted it to the Madeiran context, using local political figures who somehow I decided to satirize. It's a play, that makes a comparison and transformed people into "dolls". We also used the fairs-divers that animate the region, as the fiasco of the low marina, the power struggles in the "dolphinarium" and addressed the issue of local trade dominated by Chinese ... So, let us begin without any fear.

"It is the year 2014, under the reign of that-whose-name-must-not-be-even-be-pronounced. Lord of aventesmas-pink-orange strip a few days off and will visit a great friend of his party on the rose farm, hoping to find a little rest, and summer usually enjoys in Porto Santo. But, as you would expect from a story told by us soup would spilled out! "

The biggest challenge of this play was to make it short, because the "Ubu Roi Ubu Cuckold" has some forty pages, which covers the history of a corrupt that messes with the wife of his best friend. For our play I created the opening scenes of witches, the monologues of two narrators who explain the birth of the little corrupt, and the most disparate incidents occurring over the acts, since working with a certain surrealism. My biggest work was to make the text clear, with a coherent narrative and it was all logical. But let's move on that it is already late ...

Former musician and current producer Ricardo Alves, he is dedicated to the production of computer music. "Broken Dreams" is a conceptual album of music that arises from the need to express himselves creatively as a composer, an escape to a virtual freedom towards the stars.

"The passage to the stars-broken dreams" from which springs this project?
Ricardo Alves: Years ago I'm imac user, so I like computers and started focusing on music production, through the Apple Logic X and samples.

Why the English title?
RA: This title is inspired by a series of history channel , I liked and it seemed easier to use.

This record work is a very personal project.
RA: Yes, it's very intimate, relates to the present, even the titles of the topics are related to the space and the stars. It's an album that can be set to enroviment music, to chill out. It is also cinematic, but I do not know.

What was the guiding line of this album?
RA: This CD was composed of subjects who were ready at the time.

Why "broken wings"?
RA: Previously I was a musician and played bass and guitar, but I cannot play anymore, so I dedicated myself to the production computer. Are shattered dreams, which means that I do not want my limitation to define me.

The next album that adds to this new album?
RA: Adds more realistic virtual instruments, is closer to rock. On the site have already several themes, one of them is "old photographs", this related to my childhood, which may already be included in this next work. I intend to have it there ready for January 2005, to be released in March or April.

Is ti worth still edit a CD?
RA: It is a means of personal fulfillment. It's hard to brake broundies, I realize that. Even on the internet, I already put at the disposal of my themes on itunes, but it is difficult to sell even abroad.

http://www.apassagetothestars.com/audio/

Is coming striding as one of the colder seasons of the year

And at a time when climate change can mislead us in terms of what to wear for the day I'm approaching nothing better than two completely different and disparate proposals, Ricardo Quaresma adorned his bodies with jewelry and leather pants that defy the lower temperatures, but heat environments.

Aleksandar Protic is well adapted with his high collars to protect the necks from rigorouss winter. Necklines "V" or other rounder invaded the catwalks and are one of the trends for this season to recuperate approaching in large steps.

It is a short fiction film of the young Francisco Manuel de Sousa, produced under the chair of the project, the degree in Design Communication and Audiovisual Production, from the School of Applied Arts of the Polytechnic Institute of Castelo Branco.

Cool is based on the homonymous tale of Luís Paulo Gonçalves, with crypt for film signed by Francisco Manuel de Sousa and João Rodrigues, who describes the typical day-to-day life of a semi-reformed gangster who has to make his final somewhat difficult charge in terms of beers, passing the torch to the new generation of thugs. One of the main attractions of this short film is the text that is very interesting and well written, that straightaway leads us to other films of the genre. As is public knowledge I'm big fan of the work of Francisco Manuel Sousa, in particular "the last days", although this new film has once again an excellent photography, I like the descendants plans, in particular the scenes the comatose man. Also enjoyed the editing, the action is well narrated and commonplaced, there is no dead or superfluous moments loses just by being a banal story about bandits and thugs. But, do not stick to my opinion, see it and reflect on the subject.

http://www.franciscomanuelsousa.com/2014/10/cool-2012.html#sthash.OzcGV9zx.dpbs
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Ana Marta looks and make an inquiry to the landscape of Porto Santo, through its refined images. Lucília Monteiro, looks at the landscape and interprets it as a concept that has to be read and reflected. Both of these photographers with very different tracks show what contemporary photography, to be seen in the House of Culture of Santa Cruz.

Palm trees are not from here, why this title?
Ana Marta: The title is a metaphor for the occupation of the territory. The palm as an imported species that is a counterpoint to the dragon tree, which is endemic and is still the picture of Porto Santo, in winter. When is usually abandoned by the islanders, who only remember that the island exists in summer. Precisely I was in January, when there is not even a boat and unemployment rises further, because there everything is seasonal.

What were your concerns in terms of photographic work?
AM: I come from archeology and it is a work based on this scientific discipline and its methodology, to look for the territory. Before I went to Porto Santo, I was looking at the map of the island and divided it all by areas and days. Had a list of places to shoot and then there I was finding other things that made sense to me in terms of capturing images, I was photographing. There was an edition of months, this is a job that really interests me in photography is shooting objectively, but the issue is subjective, what is this in-between images.

In these images we see especially the work of humans on the landscape and the people who inhabit that space.
AM: As I began by saying the palm tree is a metaphor for the occupation of the land by humans, so I showed the mark of the man in that same landscape. It is also a mixture of landscape with life style portraits, but that conjugates. Porto Santo is also a memory space. For ten years I was not there and when I returned I noticed a big difference in terms of construction and made me want to make this work further. I think the island is often overlooked and is worth it. Has much potential at various levels and caution is required. This is a survey of the landscape.

What withhold this work as a photographer? This research, editing and selection?
AM: My journey in photography has several years, this is a landmark work, could add a little of archeology through photography, using a method of prospecting, the way it was photographed, but this subjective reading / capture / lens that comes from this science. We artifacts in archeology and I tried to get a picture of what might have been, but it is always subjective. This is a work that despite being on Porto Santo was not exposed on the island. It was a desire that had, before being shown the "silver arm" in Lisbon and here at home the in culture house of Santa Cruz, it would have been logical to introduce it locally. Unfortunately we were not able to make it happen and I participated in the biennial Porto Santo, I was invited, sent this work, but this year for various reasons not worth mentioning, there was no such event. I think some people did not understand it, maybe the public is not very used to seeing contemporary photography, are more accustomed to the setting of the sun and the happy family on the beach, this work only had one photograph of the sea. We always imagined that the island is the beach and I did a work turned inward. More realistic, in my view, unfortunately, at the time, people did not understand. However, I would liked that this exhibition went to Porto Santo for the people there who participated in the project could see it.