Through the Department of Modern Languages at the University of Southampton I was able to translate various texts ranging from marketing to basic medical documents.
In addition to translating on a part-time basis I completed my full-time studies in Spanish & Portuguese. My degree was multidisciplinary, incorporating studies in Translation, Interpreting, Literature, Cinema and History. Please see below a few examples of modules that I studied:
– Translation: Theory and Practice
– Public Service Interpreting
– Syntax: Studying Language Structure
– History and Politics of the Hispanic World
– Cultural Identity in the Portuguese speaking world
– Gender, Race and Nation in Modern Latin America
While studying Cinema and Philosophy at USFC (Brazil), I completed a 8,000 word dissertation in Portuguese titled “Gender Representation in Children’s Literature”.
In recent months I have translated various short articles for the Portuguese wine producer, Esporão. To see an example of my work on their website, click here.
Below follows a sample of one of my pieces of work:
Esporão no TOP 50 dos Grandes Vinhos para os EUA
A convite da ViniPortugal, o crítico norte-americano Joshua Green, provou mais de 600 vinhos portugueses e visitou pessoalmente vários produtores para identificar os 50 Melhores Vinhos Portugueses para os EUA. A lista divulgada inclui dois dos nossos vinhos: Esporão Reserva tinto 2010 e Herdade do Esporão Verdelho 2012. A lista dos 50 Grandes Vinhos para os EUA teve como critério principal o “caráter tradicional e distintivo dos vinhos portugueses”. Para Joshua Green, “o que faz diferença é a concentração de diferentes terroirs, climas e castas que não se encontram em mais nenhum lugar no mundo.”
Esporão in the TOP 50 Great Portuguese Wines for the USA
At ViniPortugal’s invitation, the North American critic, Joshua Green, tasted over 600 Portuguese wines and visited a number of producers personally to select the 50 Best Portuguese Wines for the USA. The list, which was recently published, includes two Herdade do Esporão wines: Esporão Reserva Red 2010 and Herdade do Esporão Verdelho 2012. The main selection criteria for the 50 Great Wines for the USA “was based on the distinctive and traditional character of Portuguese wines”. For Joshua Green, “what makes the difference is the concentration of diverse terroirs, climates and grape varieties that you can’t find anywhere else in the world.”
My work with One Hour Translation has included website translation, journalism, marketing, management consultancy, academic and technical/customer support in both Spanish and Portuguese. Below can be found samples of recent translations that I have done for this agency.
The first translation listed below was for the website of a Lisbon based management consultancy firm; the second for Porto and the North, a website that promotes tourism in the northern regions of Portugal; and the third sample is taken from a technical report that I translated for the Portuguese water company SM Loures.
I am more than happy to provide more information or examples regarding my work with these or any other clients.
Negócios / Representação de marcas / Equipas comerciais
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Proporcionamos a captação de novos negócios através de uma rapidez no contacto com os seus futuros clientes, permitindo-lhe assim ter um interlocutor profissional e privilegiado nos diversos países onde atuamos.
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Business Dealings / Brand implementation / Sales teams
Are you looking to export or increase your international sales?
Using our company and brand representation services you will be able to expand your business and have a more professional image in your future markets. We have sales and management teams based in various countries operating online.
We secure you new commercial opportunities through the speed of our contact with your future clients, ensuring that you have a professional and privileged representative in the numerous countries in which we operate.
Contact us to see how we can improve your business and increase your company’s sales.
O Porto é uma cidade cosmopolita famosa pela inovação de jovens criadores portugueses e que conta com a presença de grandes marcas multinacionais nas mais diversas áreas. Se procura produtos de design de moda, calçado, joalharia ou do universo mobiliário, irá encontrar no Porto uma oferta variada, criativa e original. Durante a sua estadia no Norte reserve alguns dias para conhecer a fama comercial do Porto e fazer algumas compras para recordação: uma boa garrafa de vinho do Porto ou do Douro, uma jóia de autor, um sabonete perfumado de uma casa centenária ou uma t-shirt alusiva à sua viagem.
Porto is a cosmopolitan city famous for its innovative young Portuguese designers, as well as being home to a range of big name brands. Whether you are looking for chic design products, footwear, jewellery or furniture, in Porto you are guaranteed to find a diverse, creative and original range on offer. During your stay in northern Portugal, make sure you set aside a few days to discover Porto’s shopping splendour and buy a few souvenirs such as an excellent bottle of Porto or Douro, hand crafted jewellery, scented soap from a period house or a t-shirt to remind you of your stay.
Pretende-se com este relatório quantificar a contribuição que a ferramenta Takadu representou para a diminuição de perdas de água no sistema de abastecimento no ano 2013. Pretende ainda analisar o volume de água aplicado a regas no decorrer do ano 2013. Face aos dados apresentados serão ainda sugeridas ações de melhoria. Através de uma análise baseada na comparação de comportamentos de consumos de dias/semanas/meses anteriores e os comportamentos atualmente registados são enviados alertas classificados de fuga/rotura/ consumo/falha de comunicação ou outros (Figura 1) distinguidas por padrões de gráficos distintos.
No ano de implementação desta ferramenta (Abril 2013) já é possível avaliar a contribuição da mesma na estratégia para controle de perdas, que passa não só pela diminuição de volume de água perdido no sistema como também contribuiu para a proximidade com a população, melhoria de imagem pelo facto de a população saber que o trabalho desenvolvido poderá ter consequências na diminuição de tarifas e ainda a deteção de fugas (não visíveis), as quais normalmente passam a roturas visíveis, associadas impacte negativo.
The aim of this report is to quantify the contribution made by the Takadu system towards a decrease in water loss in the supply network in 2013, in addition to analyzing the volume of water used for irrigation over the course of the same period. The data is then used to make recommendations for methods of improvement. Through an analysis based upon a comparison of consumption behaviors of previous days, weeks and months and current behaviours, alerts classified as either leaks, faults, usage, communication break or other are sent and identified using different symbols (Figure 1).
Within a year of the system’s implementation (April 2013) it is already possible to evaluate its contribution to the waste management strategy. This has not only resulted in a decrease in the volume of water loss in the network but has also contributed to an improvement in public relations owing to the fact that the public are aware that such developments could lead to lower rates and a more efficient detection of (non-visible) leaks. These leaks normally evolve into visible faults with negative impacts upon the service.
Below is a translation that I recently did for Global Voices in Portuguese. The interview was originally published on 9th January 2014 by Buala, a website that publishes articles about culture in Portuguese speaking Africa and beyond.
“Submundo Luso vs 12transfusons” is a new mix tape that features rappers from Angola, Mozambique, Brazil and Portugal. Released on New Year’s Eve after five months of preparation, the project brought together hip-hop promoters from the blogs Submundo Luso in Mozambique and 12transfusons in Angola. The two became acquainted over the internet with the former inviting the latter to collaborate on the project. In this interview for the blog Underground Lusófono, Astérix o Néfilim (Astérix the Giant, in English), rapper, producer and manager of 12transfusons, talks about the project which involved the participation of artists from around the globe and is now available as a free download. He also shares his views on the artistic scene in Cabinda – a tiny province in the north of Angola – and the challenges created by such isolation.
Underground Lusófono (UL): How did you get this project up and running?
Astérix o Néfilim (AN): By choosing the artists that suited our vision. We wanted to bring back the roots of hip-hop and to do something a little bit different, a bit “old skool”. Normally promoters only work with well known artists but we wanted to bring together a little bit of everything, from the old skool to the new. We also tried to give priority to female rappers and unknown artists, as well as artists who have already made a name for themselves in Portuguese-language rap.
UL: How did you choose the musicians featured on the mixtape?
AN: That happened after hearing the suggestions of everyone involved at 12transfusons and Submundo Luso. We worked together on making a list of artists who we then contacted directly, although we ended up not getting all of the artists we wanted.
UL: What level of interest was there in collaborating with you?
AN: In 2011 we released “Mixtape 12transfusons Ed. 2011″ with the same vision and through this we’d already worked with a few of the artists. This was the case with AKAM-M, MAC D O MURMURYO and ALKAPPA. I’ve got to say though that it hasn’t been easy working with MCs as it’s a constant battle. Some took no notice because they didn’t believe in our work. Some underestimated us and thought what we were doing wouldn’t go well with their image. Others agreed to take part but ended up dropping out. And then some proved RAF-TAG’s “Hip-hopcrites” idea right – you know, the really arrogant ones who in their lyrics say they are keeping it real, are loyal and are making rap music out of love for the culture and that everything they do is for rap but then don’t want to collaborate. We’re independent producers. Everything that we’ve done up till now we’ve paid for ourselves without any help. So I want to make a shout-out for all the effort, time, dedication and hard work of artists like Khris Mc, IKONOKLASTA, AKAM-47 from Poltersonnik, REDGOVEM, KARDINAL MC Mona Dya Kidi and many others. Also to the staff at 12transfusons with a special shout-out to Absinto and Tecla 6/4 and everyone in Mozambique, Brazil and Portugal.
UL: What has the public reaction been like?
AN: Listen, the response we’ve had has been better than I was hoping for. Every day I get compliments, encouragement and congratulations because of our work. This, without doubt, is the best reward for all the hard work.
UL: How long has 12transfusons been on the market?
AN: 12transfusons is an independent production company and has been around in Cabinda since 2010. It’s put out albums and put on shows and other activities to do with hip-hop. In the group are Astérix the Giant (CEO), Tecla 6/4 (producer), Sacerdote, Rezo-Luto, 02K63, Absinto (designer) and Akônituz e Vars (producer). These last guys are the ones that represent production in the capital. Absinto and Akônituz were part of the group Artigo 9.0 and together we are the collective LETAL.
UL: How do you view music – in particular rap music – in Cabinda?
AN: I would be lying if I said that things are good because they really aren’t and there’s still a lot of work to do before people accept our culture and pay more attention to it. In Cabinda, it’s not only rap that’s finding it tough. The situation is reflected in all musical styles, everything from kuduro, kizomba and samba to kintueni and mayeye. The truth is that the music being made in Cambinda doesn’t get enough promotion. We have a completely non-existent culture secretary with next to no local promotion. Nothing justifies the fact that in a province with so many talented artists only two albums a year get released and there are only a handful of radio stations that support projects like ours. Rap is least requested for governmental rallies and events even though it’s what is most representative of the population. This is thanks to the efforts of all of the comrades in arms: Cabmusic and Miller Team, for example. Everyday there are new ideas, new MCs and new producers wanting to join the movement. This makes me very happy.
UL: In your opinion, what needs to be done to change the situation in Cabinda?
AN: Firstly, our music needs to be valued. It’s also important to get people used to hearing our music. The people of Cabinda are known as “prudes” and for not going to shows or buying albums. We have to encourage them to come to our concerts and to buy our CDs. But we can’t act alone. The culture secretary for this province needs to play this role through local promotion by using radio stations and TV channels to change the situation, however Cabinda doesn’t even have any public or private television stations. We need to create programs that help promote local music and support local musicians, and we need to stop employing musicians just for political campaigns and governmental events. The fee for local musicians should be the same as for musicians that come from Luanda or from any other part of the world so they feel valued. Also, a local television station would help promote the image of local artists. The truth is, Cabinda lacks private radio and television stations that can mix things up and break the routine of local news. While this doesn’t happen, we’ll continue fighting. We know what our battle is and we won’t back down.
UL: What projects are on the cards for this year?
AN: 12transfusons doesn’t stop. I have a fantastic team that loves working and is always willing to get its hands dirty. After this mixtape we’re going to launch Ruaportagem [a play on the words “street” and “report”] from the group Artigo 9.0, which is an EP that we have been working on and only this year finally able to get out on the streets. We hope people like it because we’re putting a lot of energy into it.
UL: What is “Ruaportagem”?
AN: It’s a way of looking at how thing are on the street, the problems people have, the different ways of surviving, and the daily sacrifices people make.
If you enjoyed this interview, then why not check out the mixtape? Download it for free here.
A very interesting article that promotes the exciting Puerto Rico music scene.
Video and text translation by Tiago Miller.
Imagine a space that is at once a hackerspace, a place for coworking, an initiator of art and digital culture projects and a transmitter of all manner of ideas of a collaborative and technological nature. This space exists and it is called Diferencial CAC.
In May 2013, I had the opportunity to meet Juan Carlos León, the creator of Diferencial, and find out more about the initiative. Created in 2011, the project continues to develop at its new home at the Contemporary Art Center in Quito.
The project’s original blog explained that Diferencial Media Hub (as it was then called) would be an “independent, non-profit space, dedicated to the connection, promotion and production of projects that favor the development of a digital culture by means of productive dialogue and creative learning about art, technology and culture.” They went on to add that:
- The Diferencial Media Hub’s main objective is the circulation, investigation, archiving and presentation of cultural practices and products that are linked to technological developments in contemporary society. The focus will be on collaborative practices and the creation of links with other spaces and projects in the region with similar aims.
Since then the project has been through a number of changes, such as moving from the city of Guayaquil to the capital Quito and having a more active participation in the development of technological ideas that have greater public reach out. Click on the link below to hear what Juan Carlos had to say about Diferencial’s journey:
Despite these changes, the project maintains much of its original concept but has managed to evolve in such a way that, although remaining loyal to that concept, allows for the flourishing of new ideas. Its current aims, for example, include:
- Strengthening and consolidating alliances through working groups that allow for exchanges at local, regional and international level with public and private institutions who are interested in developing educational programs that recognize the productive, diffusive and creative purposes of projects that seek to democratize access to technology and information science.
- Creating a users’ group consisting of artists, programmers and entrepreneurs in general in order to share skills and develop interdisciplinary projects.
Juan Carlos also showed us the space used to house the Diferencial CAC library and told us about the presence of coworking at the organization:
As explained by Juan Carlos, Diferencial CAC is currently housed by and funded by the Contemporary Art Center (CAC) in Quito, with Diferencial CAC in turn offering space to other initiatives. One example of this is the online radio station BOOM BAP HC. Our visit to Diferencial CAC coincided with the presence of one the organizers of the station and we were able to talk to him about the project:
The Contemporary Art Centre’s support of Diferencial CAC is mutual with Diferencial collaborating on various activities and functions at CAC, while participating in other group based projects. Juan Carlos showed us the spaces used for workshops and hackathons and told us about his plans for what remained of this year. He also recounted a (happy) anecdote that reflected the project’s open spirit:
This year, Diferencial has undertaken various interesting activities, most notably a Free Software Seminar with Richard Stallman, a hackathon to promote the neighborhood of San Juan, Platform Futugrama, a round table discussion about future projects and its support and involvement in Quito’s edition of SlutWalk, alongside numerous workshops, collaborations and other activities.
To hear more from them in 2014 you can follow them on Facebook.
My latest translation for Global Voices:
Click the link below to read my latest translation for Global Voices