Podcasts about Caravaggio

Velika noč je pred vrati in ta nas vse vabi k ustvarjanju, risanju in barvanju. A pirhi niso edina likovna podoba, povezana s tem časom. Za vzdušje se bomo potopili med upodobitve evangelijskih besedil, ki govorijo predvsem o dogajanju na velikonočno nedeljo. Podobe vstalega so se pojavljale že v 4. in 5. stoletju, na zahod pa je motiv vstajenja prišel šele v 10. stoletju z Otoni. Esej je Miha Zor pripravil leta 2008. Slika (izrez): Večerja v Emavsu, ki jo je baročni mojster chiaro scura Caravaggio naslikal v letih 1600–1601. Gre za trenutek, ko se dvema učencema, ki sta se po Kristusovem pogrebu žalostna odpravila v Emavs, na poti pridruži Jezus, ki pa ga sprva nista prepoznala. Šele ko je med večerjo prelomil kruh, ga blagoslovil in jima ga dal, sta prepoznala svojega učitelja. On pa je izginil izpred njiju. Vir: National Gallery London in MMC

Guest Bio:  Dave Snowden divides his time between two roles: founder & Chief Scientific Officer of Cognitive Edge and the founder and Director of the Centre for Applied Complexity at the University of Wales.  Known for creating the sense-making framework, Cynefin, Dave's work is international in nature and covers government and industry looking at complex issues relating to strategy, organisational decision making and decision making.  He has pioneered a science-based approach to organisations drawing on anthropology, neuroscience and complex adaptive systems theory.  He is a popular and passionate keynote speaker on a range of subjects, and is well known for his pragmatic cynicism and iconoclastic style. He holds positions as extra-ordinary Professor at the Universities of Pretoria and Stellenbosch and visiting Professor at Bangor University in Wales respectively.  He has held similar positions at Hong Kong Polytechnic University, Canberra University, the University of Warwick and The University of Surrey.  He held the position of senior fellow at the Institute of Defence and Strategic Studies at Nanyang University and the Civil Service College in Singapore during a sabbatical period in Nanyang. His paper with Boone on Leadership was the cover article for the Harvard Business Review in November 2007 and also won the Academy of Management aware for the best practitioner paper in the same year.  He has previously won a special award from the Academy for originality in his work on knowledge management. He is a editorial board member of several academic and practitioner journals in the field of knowledge management and is an Editor in Chief of E:CO.  In 2006 he was Director of the EPSRC (UK) research programme on emergence and in 2007 was appointed to an NSF (US) review panel on complexity science research. He previously worked for IBM where he was a Director of the Institution for Knowledge Management and founded the Cynefin Centre for Organisational Complexity; during that period he was selected by IBM as one of six on-demand thinkers for a world-wide advertising campaign. Prior to that he worked in a range of strategic and management roles in the service sector. His company Cognitive Edge exists to integrate academic thinking with practice in organisations throughout the world and operates on a network model working with Academics, Government, Commercial Organisations, NGOs and Independent Consultants.  He is also the main designer of the SenseMaker® software suite, originally developed in the field of counter terrorism and now being actively deployed in both Government and Industry to handle issues of impact measurement, customer/employee insight, narrative based knowledge management, strategic foresight and risk management. The Centre for Applied Complexity was established to look at whole of citizen engagement in government and is running active programmes in Wales and elsewhere in areas such as social inclusion, self-organising communities and nudge economics together with a broad range of programmes in health.  The Centre will establish Wales as a centre of excellence for the integration of academic and practitioner work in creating a science-based approach to understanding society.   Social Media and Website LinkedIn: https://uk.linkedin.com/in/dave-snowden-2a93b Twitter: @snowded Website: Cognitive Edge https://www.cognitive-edge.com/   Books/ Resources: Book: Cynefin - Weaving Sense-Making into the Fabric of Our World by Dave Snowden and Friends https://www.amazon.co.uk/Cynefin-Weaving-Sense-Making-Fabric-World/dp/1735379905 Book: Hope Without Optimism by Terry Eagleton https://www.amazon.co.uk/Hope-Without-Optimism-Terry-Eagleton/dp/0300248679/ Book: Theology of Hope by Jurgen Moltmann https://www.amazon.co.uk/Theology-Hope-Classics-Jurgen-Moltmann/dp/0334028787 Poem: ‘Mending Wall' by Robert Frost https://www.poetryfoundation.org/poems/44266/mending-wall Video: Dave Snowden on ‘Rewilding Agile' https://www.youtube.com/watch?v=QrgaPDqet4c Article reference to ‘Rewilding Agile' by Dave Snowden https://cynefin.io/index.php/User:Snowded Field Guide to Managing Complexity (and Chaos) In Times of Crisis https://cynefin.io/index.php/Field_guide_to_managing_complexity_(and_chaos)_in_times_of_crisis Field Guide to Managing Complexity (and Chaos) In Times of Crisis (2) https://ec.europa.eu/jrc/en/publication/managing-complexity-and-chaos-times-crisis-field-guide-decision-makers-inspired-cynefin-framework Cynefin Wiki https://cynefin.io/wiki/Main_Page   Interview Transcript Ula Ojiaku:  Dave, thank you for making the time for this conversation. I read in your, your latest book - the book, Cynefin: Weaving Sense Making into the Fabric of Our World, which was released, I believe, in celebration of the twenty first year of the framework. And you mentioned that in your childhood, you had multidisciplinary upbringing which involved lots of reading. Could you tell us a bit more about that? Dave Snowden:  I think it wasn't uncommon in those days. I mean, if you did… I mean, I did science A levels and mathematical A levels. But the assumption was you would read every novel that the academic English class were reading. In fact, it was just unimaginable (that) you wouldn't know the basics of history. So, if you couldn't survive that in the sixth form common room, and the basics of science were known by most of the arts people as well. So that that was common, right. And we had to debate every week anyway. So, every week, you went up to the front of the class and you were given a card, and you'd have the subject and which side you are on, and you had to speak for seven minutes without preparation. And we did that every week from the age of 11 to 18. And that was a wonderful discipline because it meant you read everything. But also, my mother was… both my parents were the first from working class communities to go to university. And they got there by scholarship or sheer hard work against the opposition of their families. My mother went to university in Germany just after the war, which was extremely brave of her -  you know, as a South Wales working class girl. So, you weren't allowed not to be educated, it was considered the unforgivable sin. Ula Ojiaku:   Wow. Did it mean that she had to learn German, because (she was) studying in Germany…? Dave Snowden:  She well, she got A levels in languages. So, she went to university to study German and she actually ended up as a German teacher, German and French. So, she had that sort of background. Yeah. Ula Ojiaku:  And was that what influenced you? Because you also mentioned in the book that you won a £60 prize? Dave Snowden:  Oh, no, that was just fun. So, my mum was very politically active. We're a South Wales labor. Well, I know if I can read but we were labor. And so, she was a local Councilor. She was always politically active. There's a picture of me on Bertrand Russell's knee and her as a baby on a CND march. So it was that sort of background. And she was campaigning for comprehensive education, and had a ferocious fight with Aiden Williams, I think, who was the Director of Education, it was really nasty. I mean, I got threatened on my 11 Plus, he got really nasty. And then so when (I was) in the sixth form, I won the prize in his memory, which caused endless amusement in the whole county. All right. I think I probably won it for that. But that was for contributions beyond academic. So, I was leading lots of stuff in the community and stuff like that. But I had £60. And the assumption was, you go and buy one massive book. And I didn't, I got Dad to drive me to Liverpool - went into the big bookshop there and just came out with I mean, books for two and six pence. So, you can imagine how many books I could get for £60. And I just took everything I could find on philosophy and history and introductory science and stuff like that and just consumed it. Ula Ojiaku:  Wow, it seemed like you already knew what you wanted even before winning the prize money, you seem to have had a wish list... Dave Snowden:  I mean, actually interesting, and the big things in the EU field guide on (managing) complexity which was just issued. You need to build…, You need to stop saying, ‘this is the problem, we will find the solution' to saying, ‘how do I build capability, that can solve problems we haven't yet anticipated?' And I think that's part of the problem in education. Because my children didn't have that benefit. They had a modular education. Yeah, we did a set of exams at 16 and a set of exams that 18 and between those periods, we could explore it (i.e. options) and we had to hold everything in our minds for those two periods, right? For my children, it was do a module, pass a test, get a mark, move on, forget it move on. So, it's very compartmentalized, yeah? And it's also quite instrumentalist. We, I think we were given an education as much in how to learn and have had to find things out. And the debating tradition was that; you didn't know what you're going to get hit with. So, you read everything, and you thought about it, and you learn to think on your feet. And I think that that sort of a broad switch, it started to happen in the 80s, along with a lot of other bad things in management. And this is when systems thinking started to dominate. And we moved to an engineering metaphor. And you can see it in cybernetics and everything else, it's an attempt to define everything as a machine. And of course, machines are designed for a purpose, whereas ecosystems evolve for resilience. And I think that's kind of like where I, my generation were and it's certainly what we're trying to bring back in now in sort of in terms of practice. Ula Ojiaku:  I have an engineering background and a computer science background. These days, I'm developing a newfound love for philosophy, psychology, law and, you know, intersect, how do all these concepts intersect? Because as human beings we're complex, we're not machines where you put the program in and you expect it to come out the same, you know, it's not going to be the same for every human being. What do you think about that? Dave Snowden:  Yeah. And I think, you know, we know more on this as well. So, we know the role of art in human evolution is being closely linked to innovation. So, art comes before language. So, abstraction allows you to make novel connections. So, if you focus entirely on STEM education, you're damaging the human capacity to innovate. And we're, you know, as creatures, we're curious. You know. And I mean, we got this whole concept of our aporia, which is key to connecting that, which is creating a state of deliberate confusion, or a state of paradox. And the essence of a paradox is you can't resolve it. So, you're forced to think differently. So, the famous case on this is the liar's paradox, alright? I mean, “I always lie”. That just means I lied. So, if that means I was telling the truth. So, you've got to think differently about the problem. I mean, you've seen those paradoxes do the same thing. So that, that deliberate act of creating confusion so people can see novelty is key. Yeah. Umm and if you don't find… finding ways to do that, so when we looked at it, we looked at linguistic aporia, aesthetic aporia and physical aporia. So, I got some of the… one of the defining moments of insight on Cynefin was looking at Caravaggio`s paintings in Naples. When I realized I've been looking for the idea of the liminality. And that was, and then it all came together, right? So those are the trigger points requiring a more composite way of learning. I think it's also multiculturalism, to be honest. I mean, I, when I left university, I worked on the World Council of Churches come, you know program to combat racism. Ula Ojiaku:  Yes, I'd like to know more about that. That's one of my questions… Dave Snowden:  My mother was a good atheist, but she made me read the Bible on the basis, I wouldn't understand European literature otherwise, and the penetration guys, I became a Catholic so… Now, I mean, that that was fascinating, because I mean, I worked on Aboriginal land rights in Northern Australia, for example. And that was when I saw an activist who was literally murdered in front of me by a security guard. And we went to the police. And they said, it's only an Abo. And I still remember having fights in Geneva, because South Africa was a tribal conflict with a racial overlay. I mean, Africa, and its Matabele Zulu, arrived in South Africa together and wiped out the native population. And if you don't understand that, you don't understand the Matabele betrayal. You don't understand what happened. It doesn't justify apartheid. And one of the reasons there was a partial reconciliation, is it actually was a tribal conflict. And the ritual actually managed that. Whereas in Australia, in comparison was actually genocide. Yeah, it wasn't prejudice, it was genocide. I mean, until 1970s, there, were still taking half -breed children forcibly away from their parents, inter-marrying them in homes, to breed them back to white. And those are, I think, yeah, a big market. I argued this in the UK, I said, one of the things we should actually have is bring back national service. I couldn't get the Labor Party to adopt it. I said, ‘A: Because it would undermine the Conservatives, because they're the ones who talk about that sort of stuff. But we should allow it to be overseas.' So, if you put two years into working in communities, which are poorer than yours, round about that 18 to 21-year-old bracket, then we'll pay for your education. If you don't, you'll pay fees. Because you proved you want to give to society. And that would have been… I think, it would have meant we'd have had a generation of graduates who understood the world because that was part of the objective. I mean, I did that I worked on worked in South Africa, on the banks of Zimbabwe on the audits of the refugee camps around that fight. And in Sao Paulo, in the slums, some of the work of priests. You can't come back from that and not be changed. And I think it's that key formative period, we need to give people. Ula Ojiaku:  True and like you said, at that age, you know, when you're young and impressionable, it helps with what broadening your worldview to know that the world is bigger than your father's … compound (backyard)… Dave Snowden:  That's the worst problem in Agile, because what, you've got a whole class of, mainly white males and misogynism in Agile is really bad. It's one of the worst areas for misogyny still left, right, in terms of where it works. Ula Ojiaku:  I'm happy you are the one saying it not me… Dave Snowden:  Well, no, I mean, it is it's quite appalling. And so, what you've actually got is, is largely a bunch of white male game players who spent their entire time on computers. Yeah, when you take and run seriously after puberty, and that's kind of like a dominant culture. And that's actually quite dangerous, because it lacks, it lacks cultural diversity, it lacks ethnic diversity, it lacks educational diversity. And I wrote an article for ITIL, recently, which has been published, which said, no engineers should be allowed out, without training in ethics. Because the implications of what software engineers do now are huge. And the problem we've got, and this is a really significant, it's a big data problem as well. And you see it with a behavioral economic economist and the nudge theory guys - all of whom grab these large-scale data manipulations is that they're amoral, they're not immoral, they're amoral. And that's actually always more scary. It's this sort of deep level instrumentalism about the numbers; the numbers tell me what I need to say. Ula Ojiaku:  And also, I mean, just building on what you've said, there are instances, for example, in artificial intelligence is really based on a sample set from a select group, and it doesn't necessarily recognize things that are called ‘outliers'. You know, other races… Dave Snowden:  I mean, I've worked in that in all my life now back 20, 25 years ago. John Poindexter and I were on a stage in a conference in Washington. This was sort of early days of our work on counter terrorism. And somebody asked about black box AI and I said, nobody's talking about the training data sets. And I've worked in AI from the early days, all right, and the training data sets matter and nobody bothered. They just assumed… and you get people publishing books which say correlation is causation, which is deeply worrying, right? And I think Google is starting to acknowledge that, but it's actually very late. And the biases which… we were looking at a software tool the other day, it said it can, it can predict 85% of future events around culture. Well, it can only do that by constraining how executive see culture, so it becomes a self-fulfilling prophecy. And then the recruitment algorithms will only recruit people who match that cultural expectation and outliers will be eliminated. There's an HBO film coming up shortly on Myers Briggs. Now, Myers Briggs is known to be a pseudo-science. It has no basis whatsoever in any clinical work, and even Jung denied it, even though it's meant to be based on his work. But it's beautiful for HR departments because it allows them to put people into little categories. And critically it abrogates, judgment, and that's what happened with systems thinking in the 80s 90s is everything became spreadsheets and algorithms. So, HR departments would produce… instead of managers making decisions based on judgment, HR departments would force them into profile curves, to allocate resources. Actually, if you had a high performing team who were punished, because the assumption was teams would not have more than… Ula Ojiaku:  Bell curve... Dave Snowden:  …10 percent high performance in it. All right. Ula Ojiaku:  Yeah. Dave Snowden:  And this sort of nonsense has been running in the 80s, 90s and it coincided with… three things came together. One was the popularization of systems thinking. And unfortunately, it got popularized around things like process reengineering and learning organization. So that was a hard end. And Sanghi's pious can the sort of the, the soft end of it, right? But both of them were highly directional. It was kind of like leaders decide everything follows. Yeah. And that coincided with the huge growth of computing - the ability to handle large volumes of information. And all of those sorts of things came together in this sort of perfect storm, and we lost a lot of humanity in the process. Ula Ojiaku:  Do you think there's hope for us to regain the humanity in the process? Because it seems like the tide is turning from, I mean, there is still an emphasis, in my view, on systems thinking, however, there is the growing realization that we have, you know, knowledge workers and people… Dave Snowden:  Coming to the end of its park cycle, I see that all right. I can see it with the amount of cybernetics fanboys, and they are all boys who jump on me every time I say something about complexity, right? So, I think they're feeling threatened. And the field guide is significant, because it's a government, you know, government can like publication around effectively taken an ecosystems approach, not a cybernetic approach. And there's a book published by a good friend of mine called Terry Eagleton, who's… I don't think he's written a bad book. And he's written about 30, or 40. I mean, the guy just produces his stuff. It's called “Hope without Optimism”. And I think, hope is… I mean, Moltman just also published an update of his Theology of Hope, which is worth reading, even if you're not religious. But hope is one of those key concepts, right, you should… to lose hope is a sin. But hope is not the same thing as optimism. In fact, pessimistic people who hope actually are probably the ones who make a difference, because they're not naive, right? And this is my objection to the likes of Sharma Ga Sengi, and the like, is they just gather people together to talk about how things should be. And of course, everything should be what, you know, white MIT, educated males think the world should be like. I mean, it's very culturally imperialist in that sort of sense. And then nobody changes because anybody can come together in the workshop and agree how things should be. It's when you make a difference in the field that it counts, you've got to create a micro difference. This is hyper localization, you got to create lots and lots of micro differences, which will stimulate the systems, the system will change. I think, three things that come together, one is COVID. The other is global warming. And the other is, and I prefer to call it the epistemic justice movement, though, that kind of like fits in with Black Lives Matter. But epistemic justice doesn't just affect people who are female or black. I mean, if you come to the UK and see the language about the Welsh and the Irish, or the jokes made about the Welsh in BBC, right? The way we use language can designate people in different ways and I think that's a big movement, though. And it's certainly something we develop software for. So, I think those three come together, and I think the old models aren't going to be sustainable. I mean, the cost is going to be terrible. I mean, the cost to COVID is already bad. And we're not getting this thing as long COVID, it's permanent COVID. And people need to start getting used to that. And I think that's, that's going to change things. So, for example, in the village I live in Wiltshire. Somebody's now opened an artisan bakery in their garage and it's brilliant. And everybody's popping around there twice a week and just buying the bread and having a chat on the way; socially-distanced with masks, of course. And talking of people, that sort of thing is happening a lot. COVID has forced people into local areas and forced people to realise the vulnerability of supply chains. So, you can see changes happening there. The whole Trump phenomenon, right, and the Boris murmuring in the UK is ongoing. It's just as bad as the Trump phenomenon. It's the institutionalization of corruption as a high level. Right? Those sorts of things trigger change, right? Not without cost, change never comes without cost, but it just needs enough… It needs local action, not international action. I think that's the key principle. To get a lot of people to accept things like the Paris Accord on climate change, and you've got to be prepared to make sacrifices. And it's too distant a time at the moment, it has to become a local issue for the international initiatives to actually work and we're seeing that now. I mean… Ula Ojiaku:  It sounds like, sorry to interrupt - it sounds like what you're saying is, for the local action, for change to happen, it has to start with us as individuals… Dave Snowden:  The disposition… No, not with individuals. That's actually very North American, the North European way of thinking right. The fundamental kind of basic identity structure of humans is actually clans, not individuals. Ula Ojiaku:  Clans... Dave Snowden:  Yeah. Extended families, clans; it's an ambiguous word. We actually evolved for those. And you need it at that level, because that's a high level of social interaction and social dependency. And it's like, for example, right? I'm dyslexic. Right? Yeah. If I don't see if, if the spelling checker doesn't pick up a spelling mistake, I won't see it. And I read a whole page at a time. I do not read it sentence by sentence. All right. And I can't understand why people haven't seen the connections I make, because they're obvious, right? Equally, there's a high degree of partial autism in the Agile community, because that goes with mathematical ability and thing, and that this so-called education deficiencies, and the attempt to define an ideal individual is a mistake, because we evolved to have these differences. Ula Ojiaku:  Yes. Dave Snowden:  Yeah. And the differences understood that the right level of interaction can change things. So, I think the unit is clan, right for extended family, or extended, extended interdependence. Ula Ojiaku:  Extended interdependence… Dave Snowden:  We're seeing that in the village. I mean, yeah, this is classic British atomistic knit, and none of our relatives live anywhere near us. But the independence in the village is increasing with COVID. And therefore, people are finding relationships and things they can do together. Now, once that builds to a critical mass, and it does actually happen exponentially, then bigger initiatives are possible. And this is some of the stuff we were hoping to do in the US shortly on post-election reconciliation. And the work we've been doing in Malmo, in refugees and elsewhere in the world, right, is you change the nature of localized interaction with national visibility, so that you can measure the dispositional state of the system. And then you can nudge the system when it's ready to change, because then the energy cost of change is low. But that requires real time feedback loops in distributed human sensor networks, which is a key issue in the field guide. And the key thing that comes back to your original question on AI, is, the internet at the moment is an unbuffered feedback loop. Yeah, where you don't know the source of the data, and you can't control the source of the data. And any network like that, and this is just apriori science factor, right will always become perverted. Ula Ojiaku:  And what do you mean by term apriori? Dave Snowden:  Oh, before the facts, you don't need to, we don't need to wait for evidence. It's like in an agile, you can look at something like SAFe® which case claims to scale agile and just look at it you say it's apriori wrong (to) a scale a complex system. So, it's wrong. All right. End of argument right. Now let's talk about the details, right. So yeah, so that's, you know, that's coming back. The hyper localization thing is absolutely key on that, right? And the same is true to be honest in software development. A lot of our work now is to understand the unarticulated needs of users. And then shift technology in to actually meet those unarticulated needs. And that requires a complex approach to architecture, in which people and technology are objects with defined interactions around scaffolding structures, so that applications can emerge in resilience, right? And that's actually how local communities evolve as well. So, we've now got the theoretical constructs and a lot of the practical methods to actually… And I've got a series of blog posts - which I've got to get back to writing - called Rewilding Agile. And rewilding isn't returning to the original state, it's restoring balance. So, if you increase the number of human actors as your primary sources, and I mean human actors, not as people sitting on (in front of) computer screens who can be faked or mimicked, yeah? … and entirely working on text, which is about 10%, of what we know, dangerous, it might become 80% of what we know and then you need to panic. Right? So, you know, by changing those interactions, increasing the human agency in the system, that's how you come to, that's how you deal with fake news. It's not by writing better algorithms, because then it becomes a war with the guys faking the news, and you're always gonna lose. Ula Ojiaku:  So, what do you consider yourself, a person of faith? Dave Snowden:  Yeah. Ula Ojiaku:  Why? Dave Snowden:  Oh, faith is like hope and charity. I mean, they're the great virtues… I didn't tell you I got into a lot in trouble in the 70s. Dave Snowden:  I wrote an essay that said Catholicism, Marxism and Hinduism were ontologically identical and should be combined and we're different from Protestantism and capitalism, which are also ontologically identical (and) it can be combined. Ula Ojiaku:  Is this available in the public domain? Dave Snowden:  I doubt it. I think it actually got me onto a heresy trial at one point, but that but I would still say that. Ula Ojiaku:  That's amazing. Can we then move to the framework that Cynefin framework, how did it evolve into what we know it as today? Dave Snowden:  I'll do a high-level summary, but I wrote it up at length in the book and I didn't know I was writing for the book. The book was a surprise that they put together for me. I thought that was just writing an extended blog post. It started when I was working in IBM is it originates from the work of Max Borrasso was my mentor for years who tragically died early. But he was looking at abstraction, codification and diffusion. We did a fair amount of work together, I took two of those aspects and started to look at informal and formal communities in IBM, and its innovation. And some of the early articles on Cynefin, certainly the early ones with the five domains come from that period. And at that time, we had access labels. Yeah. And then then complexity theory came into it. So, it shifted into being a complexity framework. And it stayed … The five domains were fairly constant for a fairly long period of time, they changed their names a bit. The central domain I knew was important, but didn't have as much prominence as it does now. And then I introduced liminality, partly driven by agile people, actually, because they could they couldn't get the concept there were dynamics and domains. So, they used to say things like, ‘look, Scrum is a dynamic. It's a way of shifting complex to complicated' and people say ‘no, the scrum guide said it's about complex.' And you think, ‘oh, God, Stacey has a lot to answer for' but… Ula Ojiaku: Who`s Stacey? Dave Snowden:  Ralph Stacey. So, he was the guy originally picked up by Ken when he wrote the Scrum Guide… Ula Ojiaku:  Right. Okay. Dave Snowden:  Stacey believes everything's complex, which is just wrong, right? So, either way, Cynefin evolved with the liminal aspects. And then the last resolution last year, which is… kind of completes Cynefin to be honest, there's some refinements… was when we realized that the central domain was confused, or operatic. And that was the point where you started. So, you didn't start by putting things into the domain, you started in the operatic. And then you moved aspects of things into the different domains. So that was really important. And it got picked up in Agile, ironically, by the XP community. So, I mean, I was in IT most of my life, I was one of the founders of the DSDM Consortium, and then moved sideways from that, and was working in counterterrorism and other areas, always you're working with technology, but not in the Agile movement. Cynefin is actually about the same age as Agile, it started at the same time. And the XP community in London invited me in, and I still think Agile would have been better if it had been built on XP, not Scrum. But it wouldn't have scaled with XP, I mean, without Scrum it would never have scaled it. And then it got picked up. And I think one of the reasons it got picked up over Stacey is, it said order is possible. It didn't say everything is complex. And virtually every Agile method I know of value actually focuses on making complex, complicated. Ula Ojiaku:  Yes. Dave Snowden:  And that's its power. What they're… what is insufficient of, and this is where we've been working is what I call pre-Scrum techniques. Techniques, which define what should go into that process. Right, because all of the Agile methods still tend to be a very strong manufacturing metaphor - manufacturing ideas. So, they assume somebody will tell them what they have to produce. And that actually is a bad way of thinking about IT. Technology needs to co-evolve. And users can't articulate what they want, because they don't know what technology can do. Ula Ojiaku:  True. But are you saying… because in Agile fundamentally, it's really about making sure there's alignment as well that people are working on the right thing per time, but you're not telling them how to do it? Dave Snowden:  Well, yes and no - all right. I mean, it depends what you're doing. I mean, some Agile processes, yes. But if you go through the sort of safe brain remain processes, very little variety within it, right? And self-organization happens within the context of a user executive and retrospectives. Right, so that's its power. And, but if you look at it, it took a really good technique called time-boxing, and it reduced it to a two-week sprint. Now, that's one aspect of time boxing. I mean, I've got a whole series of blog posts next week on this, because time boxing is a hugely valuable technique. It says there's minimal deliverable project, and maximum deliverable product and a minimal level of resource and a maximum level of resource. And the team commits to deliver on the date. Ula Ojiaku:  To accurate quality… to a quality standard. Dave Snowden:  Yeah, so basically, you know that the worst case, you'll get the minimum product at the maximum cost, but you know, you'll get it on that date. So, you can deal with it, alright. And that's another technique we've neglected. We're doing things which force high levels of mutation and requirements over 24 hours, before they get put into a Scrum process. Because if you just take what users want, you know, there's been insufficient co-evolution with the technology capability. And so, by the time you deliver it, the users will probably realize they should have asked for something different anyway. Ula Ojiaku:  So, does this tie in with the pre-Scrum techniques you mentioned earlier? If so, can you articulate that? Dave Snowden:  So, is to say different methods in different places. And that's again, my opposition to things like SAFe, to a lesser extent LeSS, and so on, right, is they try and put everything into one bloody big flow diagram. Yeah. And that's messy. All right? Well, it's a recipe, not a chef. What the chef does is they put different ingredients together in different combinations. So, there's modularity of knowledge, but it's not forced into a linear process. So, our work… and we just got an open space and open source and our methods deliberately, right, in terms of the way it works, is I can take Scrum, and I can reduce it to its lowest coherent components, like a sprint or retrospective. I can combine those components with components for another method. So, I can create Scrum as an assembly of components, I can take those components compared with other components. And that way, you get novelty. So, we're then developing components which sit before traditional stuff. Like for example, triple eight, right? This was an old DSDM method. So, you ran a JAD sessions and Scrum has forgotten about JAD. JAD is a really…  joint application design… is a really good set of techniques - they're all outstanding. You throw users together with coders for two days, and you force out some prototypes. Yeah, that latching on its own would, would transform agile, bringing that back in spades, right? We did is we do an eight-hour JAD session say, in London, and we pass it on to a team in Mumbai. But we don't tell them what the users ask for. They just get the prototype. And they can do whatever they want with it for eight hours. And then they hand it over to a team in San Francisco, who can do whatever they want with it in eight hours. And it comes back. And every time I've run this, the user said, ‘God, I wouldn't have thought of that, can I please, have it?' So, what you're doing is a limited life cycle -  you get the thing roughly defined, then you allow it to mutate without control, and then you look at the results and decide what you want to do. And that's an example of pre-scrum technique, that is a lot more economical than systems and analysts and user executives and storyboards. And all those sorts of things. Yeah. Ula Ojiaku:  Well, I see what you mean, because it seems like the, you know, the JAD - the joint application design technique allows for emergent design, and you shift the decision making closer to the people who are at the forefront. And to an extent my understanding of, you know, Scrum … I mean, some agile frameworks - that's also what they promote… Dave Snowden:  Oh, they don't really don't. alright. They picked up Design Thinking which is quite interesting at the moment. If you if you look at Agile and Design Thinking. They're both at the end of their life cycles. Ula Ojiaku:  Why do you say that? Dave Snowden:  Because they're being commodified. The way you know, something is coming to the end of its life cycle is when it becomes highly commodified. So, if you look at it, look at what they are doing the moment, the Double Diamond is now a series of courses with certificates. And I mean, Agile started with bloody certificates, which is why it's always been slightly diverse in the way it works. I mean, this idea that you go on a three-day course and get a certificate, you read some slides every year and pay some money and get another certificate is fundamentally corrupt. But most of the Agile business is built on it, right? I mean, I've got three sets of methods after my name. But they all came from yearlong or longer courses certified by university not from tearing apart a course. Yeah, or satisfying a peer group within a very narrow cultural or technical definition of competence. So, I think yeah, and you can see that with Design Thinking. So, it's expert ideation, expert ethnography. And it still falls into that way of doing things. Yeah. And you can see it, people that are obsessed with running workshops that they facilitate. And that's the problem. I mean, the work we're doing on citizen engagement is actually… has no bloody facilitators in it. As all the evidence is that the people who turn up are culturally biased about their representative based opinions. And the same is true if you want to look at unarticulated needs, you can't afford to have the systems analysts finding them because they see them from their perspective. And this is one of one science, right? You did not see what you do not expect to see. We know that, alright? So, you're not going to see outliers. And so, the minute you have an expert doing something, it's really good - where you know, the bounds of the expertise, cover all the possibilities, and it's really dangerous. Well, that's not the case. Ula Ojiaku:  So, could you tell me a bit more about the unfacilitated sessions you mentioned earlier? Dave Snowden:  They're definitely not sessions, so we didn't like what were triggers at moments. Ula Ojiaku:  Okay. Dave Snowden:  So, defining roles. So, for example, one of the things I would do and have done in IT, is put together, young, naive, recently graduated programmer with older experienced tester or software architect. So, somebody without any… Ula Ojiaku:  Prejudice or pre-conceived idea... Dave Snowden:  … preferably with a sort of grandparent age group between them as well. I call it, the grandparents syndrome - grandparents say things to their grandchildren they won't tell their children and vice versa. If you maximize the age gap, there's actually freer information flow because there's no threat in the process. And then we put together with users trained to talk to IT people. So, in a month's time, I'll publish that as a training course. So, training users to talk to IT people is more economical than trying to train IT people to understand users. Ula Ojiaku:  To wrap up then, based on what you said, you know, about Cynefin, and you know, the wonderful ideas behind Cynefin. How can leaders in organizations in any organization apply these and in how they make sense of the world and, you know, take decisions? Dave Snowden:  Well, if there's actually a sensible way forward now, so we've just published the field guide on managing complexity.  Ula Ojiaku:  Okay. Dave Snowden:  And that is actually, it's a sort of ‘Chef's guide'. It has four stages: assess, adapt, exert, transcend, and within that it has things you could do. So, it's not a list of qualities, it's a list of practical things you should go and do tomorrow, and those things we're building at the moment with a lot of partners, because we won't try and control this; this needs to be open. Here's an assessment process that people will go through to decide where they are. So that's going to be available next week on our website. Ula Ojiaku:  Oh, fantastic! Dave Snowden:  For the initial registration.  Other than that, and there's a whole body of stuff on how to use Cynefin. And as I said, we just open source on the methods. So, the Wiki is open source. These… from my point of view, we're now at the stage where the market is going to expand very quickly. And to be honest, I, you know, I've always said traditionally use cash waiver as an example of this. The reason that Agile scaled around Scrum is he didn't make it an elite activity, which XP was. I love the XP guys, but they can't communicate with ordinary mortals. Yeah. It takes you about 10 minutes to tune into the main point, and even you know the field, right. And he (Jeff Sutherland) made the Scrum Guide open source. And that way it's great, right. And I think that that's something which people just don't get strategic with. They, in early stages, you should keep things behind firewalls. When the market is ready to expand, you take the firewalls away fast. Because I mean, getting behind firewalls initially to maintain coherence so they don't get diluted too quickly, or what I call “hawks being made into pigeons”. Yeah. But the minute the market is starting to expand, that probably means you've defined it so you release the firewall so the ideas spread very quickly, and you accept the degree of diversity on it. So that's the reason we put the Wiki. Ula Ojiaku:  Right. So, are there any books that you would recommend, for anyone who wants to learn more about what you've talked about so far. Dave Snowden:  You would normally produce the theory book, then the field book, but we did it the other way around. So, Mary and I are working on three to five books, which will back up the Field Guide. Ula Ojiaku:  Is it Mary Boone? Dave Snowden:  Mary Boone. She knows how to write to the American managers, which I don't, right… without losing integrity. So that's coming, right. If you go onto the website, I've listed all the books I read. I don't think… there are some very, very good books around complexity, but they're deeply specialized, they're academic. Gerard's book is just absolutely brilliant but it's difficult to understand if you don't have a philosophy degree. And there are some awfully tripe books around complexity - nearly all of the popular books I've seen, I wouldn't recommend. Yeah. Small Groups of Complex Adaptive Systems is probably quite a good one that was published about 20 years ago. Yeah, but that we got a book list on the website. So, I would look at that. Ula Ojiaku:  Okay. Thank you so much for that. Do you have any ask of the audience and how can they get to you? Dave Snowden:  We've open-sourced the Wiki, you know, to create a critical mass, I was really pleased we have 200 people volunteered to help populate it. So, we get the all the methods in the field guide them. And they're actively working at that at the moment, right, and on a call with them later. And to be honest, I've done 18-hour days, the last two weeks, but 8 hours of each of those days has been talking to the methods with a group of people Academy 5, that's actually given me a lot of energy, because it's huge. So, get involved, I think it's the best way… you best understand complexity by getting the principles and then practicing it. And the key thing I'll leave us with is the metaphor. I mentioned it a few times - a recipe book user has a recipe, and they follow it. And if they don't have the right ingredients, and if they don't have the right equipment, they can't operate. Or they say it's not ‘true Agile'. A chef understands the theory of cooking and has got served in apprenticeship. So, their fingers know how to do things. And that's… we need… a downside.. more chefs, which is the combination of theory and practice. And the word empirical is hugely corrupted in the Agile movement. You know, basically saying, ‘this worked for me' or ‘it worked for me the last three times' is the most dangerous way of moving forward. Ula Ojiaku:  Because things change and what worked yesterday might not work Dave Snowden:  And you won't be aware of what worked or didn't work and so on. Ula Ojiaku:  And there's some bias in that. Wouldn't you say? Dave Snowden:  We've got an attentional blindness if you've got Ula Ojiaku:  Great. And Dave, where can people find you? Are you on social media? Dave Snowden:  Cognitive. Yeah, social media is @snowded. Yeah. LinkedIn, Facebook and Twitter. Two websites – the Cognitive Edge website, which is where I blog, and there's a new Cynefin Center website now, which is a not-for-profit arm. Ula Ojiaku:  Okay. All these would be in the show notes. Thank you so much for your time, Dave. It's been a pleasure speaking with you. Dave Snowden:  Okay. Thanks a lot.

Queridos Radioescuchas…Hablemos del CAOS que fue la vida de uno de los hombres más talentosos de la historia…¿Quieren acción, arte, espadas, pr0stituc10n y drama?Llegaron al episodio correcto…Hiii hiii

I denne episoden snakker vi om to bilder, som begge illustrerer et kapittel av påskens drama, nemlig langfredag. Bildene er "Peter Nekter" av Caravaggio og "Den angrende Peter" av El Greco.  Har du spørsmål eller ønsker til temaer jeg skal ta opp i podcasten, skriv til info@kristinetghardeberg.no. Vil du lære mer om kunsthistorie, finner du informasjon på kunsthistorier.no Mine bøker finnes i bokhandler over hele landet og på nett. Her kan du kjøpe signert utgave av boken Kunsthistorie for alle: https://art.kristinetghardeberg.no/kunsthistoriebok

Trump rilancia la guerra commerciale con nuove minacce di dazi su tech e semiconduttori, dopo un'apparente tregua. La Cina risponde bloccando l'export di terre rare e magneti critici per l'industria, introducendo un sistema di licenze ora sospese, con possibili impatti gravi su settori strategici come auto, aerospazio e difesa. Il commento è di Giuliano Noci - Professore ordinario in Ingegneria Economico-Gestionale, insegna Strategia & Marketing presso il Politecnico di Milano. Dal 2011 è Prorettore del Polo territoriale cinese dell'Ateneo milanese.In tempi di dazi Aponte investe sui portiGianluigi Aponte (Msc) è il principale investitore in un'operazione da 23 miliardi per acquistare 43 porti del gruppo CK Hutchison. L'accordo, ostacolato dalla Cina e sotto scrutinio a Panama, vede coinvolti anche BlackRock e GIC. TiL, la divisione di Aponte, gestirà quasi tutti i porti tranne due a Panama. L'operazione è geopoliticamente delicata, ma resta in fase di approvazione. Ne parliamo con Alessandro Plateroti direttore di Newsmondo.it Al via l'Expo 2025: l'Italia presenta le sue eccellenze e il suo futuro al mondoAperto a Osaka l'Expo 2025, dove l'Italia si presenta con il Padiglione “L'arte rigenera la vita”, progettato da Mario Cucinella come una moderna Città ideale del Rinascimento. Esposte eccellenze italiane, arte, design, tecnologia e cultura. Presenti opere di Caravaggio e Leonardo. Inaugurate anche le torce olimpiche di Milano-Cortina 2026, alla presenza del ministro Tajani. Interviene Carlo Marroni, Il Sole 24 Ore.

Roberto Rossi Precerutti"Il bestiario o corteggio d'Orfeo"Guillame ApollinaireNeos Edizioniwww.neosedizioni.it“Il bestiario o corteggio d'Orfeo” di Guillaume ApollinaireCura e traduzione di Roberto Rossi Precerutti Tavole di Giorgio Enrico BenaDivertito e divertente atlante zoologico compilato come elegante divertissement intellettuale, la raccolta coniuga sapienti suggestioni classiche al meraviglioso di ascendenza medievale attraverso un linguaggio in cui la raffinatezza della cultura antica si coniuga alla moderna visione del reale propria delle avanguardie artistiche del primo Novecento.Roberto Rossi Precerutti nasce l'8 giugno 1953 a Torino, dove vive, da famiglia lombardo-piemontese di antica origine, al cui ramo fiorentino appartenne Ernesto Rossi, insigne figura di antifascista, politico ed economista. Presso l'editore Crocetti, per il quale ha curato Le più belle poesie di Stéphane Mallarmé (1994) e Le più belle poesie di Arthur Rimbaud (1995), è stata pubblicata la raccolta,  Una meccanica celeste (2000). Sulla rivista “Poesia” sono apparse sue traduzioni da Arnaut Daniel e altri trovatori, Gide, Desnos, Góngora, Yourcenar, Sully-Prudhomme, Claudel, Louÿs, La Tour du Pin, Mallarmé, Cros, Radiguet, Béquer, Péguy. Suoi inediti sono stati ospitati, tra l'altro, su “Nuovi Argomenti” e “Poesia”. Tra i suoi ultimi libri: Rimarrà El Greco,Crocetti 2015; Vinse molta bellezza , Neos Edizioni 2015; Domenica delle fiamme, Aragno 2016; Fatti di Caravaggio, Aragno 2016; Un sogno di Borromini, puntoacapo 2018; Un impavido sonno, Aragno 2019.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Linnar Priimäe uus kunstiraamat. Kes oli Bernardo Strozzi, kelle näituse pealkirigi ütleb, et ta on jäänud Caravaggio varju? Kui ohutu on Kagu-Aasiasse reisimine pärast Myanmari suurt maavärinat? "Neeme Raud. Siin" laupäeval kell 10-12.

Antonio Forcellino"Dipingere il sogno"Il miracolo dell'arte italiana da Cimabue e CaravaggioHarper Collinswww.harpercollins.itEsistono periodi straordinari durante i quali, in un unico luogo e tempo, in un solo campo del sapere, si succedono e si affiancano così tanti uomini geniali da far gridare al miracolo. È il caso dei poeti tragici e lirici nella Grecia del quinto secolo avanti Cristo, dei filosofi tedeschi del Settecento e dell'Ottocento. E, ovviamente, dei pittori italiani del Rinascimento. In poco più di due secoli, una fioritura mai vista prima di talenti rivoluzionò la pittura, creando una nuova visione del mondo che suscita, ancora oggi, stupore, estasi, meraviglia. Antonio Forcellino, uno dei più grandi restauratori e storici dell'arte italiani, molti di questi capolavori li ha toccati con mano, restituendoli al pieno splendore, dialogando con loro attraverso un'acuta ricerca e una profondissima passione. Passione e ricerca che gli permettono di raccontare questa storia miracolosa, intessendo legami e influenze tra generazioni di artisti che sembrano appartenere a un'unica straordinaria famiglia.Per la prima volta la storia delle immagini diventa una storia di relazioni anche sentimentali tra i protagonisti della scena artistica italiana del Rinascimento. La storia comincia con Cimabue, indicato da Dante come l'iniziatore della pittura moderna, e si ferma a Caravaggio, scandaloso e geniale innovatore della visione, passando per i meravigliosi affreschi di Giotto ad Assisi, la potenza vitale di Masaccio e le geometrie sublimi di Piero della Francesca, confluite tutte nella grande e terribile pittura di Michelangelo. Dipingere il sogno è un libro appassionante e illuminante, che spiega e racconta l'arte moderna come mai è stato fatto prima."L'arte italiana tra Cimabue e Caravaggio si può leggere come una storia di famiglia. L'Italia è la casa comune abitata dagli artisti, un'immensa casa ideale dove vive una famiglia che di generazione in generazione, da un certo momento in poi, persegue un obiettivo comune: rappresentare al meglio la realtà e il sogno."Antonio ForcellinoTra i maggiori studiosi europei di arte rinascimentale, ha realizzato restauri di opere di grande valore, come il Mosè di Michelangelo e l'Arco di Traiano. La sua attenzione si rivolge da sempre a tutta la ricchezza del fare arte, ai contesti storici, alle tecniche e ai materiali, alle radici psicologiche e biografi che dei grandi capolavori. È stato eletto membro del Comitato per le celebrazioni dei 500 anni della morte di Leonardo da Vinci, promosso dal ministero dei Beni e delle Attività Culturali e del Turismo. Per HarperCollins ha pubblicato la trilogia di romanzi Il secolo dei giganti, dedicata ai grandi protagonisti dell'arte rinascimentale: Il cavallo di bronzo: l'avventura di Leonardo, Il colosso di marmo: l'ardore di Michelangelo e Il fermaglio di perla: la grazia di Raffaello.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In dieser Folge reisen wir auf die Mittelmeerinsel Malta, die über Jahrhunderte hinweg ein Dreh- und Angelpunkt europäischer Machtkämpfe war. Wir beleuchten die entscheidende Rolle der Habsburger in der Geschichte der Johanniter und Malteser und zeigen, wie Karl V. die Insel 1530 dem Ritterorden überließ, um eine Bastion gegen das expandierende Osmanische Reich zu errichten.

RESPECT WOMEN! Jonny and Aileen talk about the Brazilian film, Medusa. A gang of young women in Brazil try to control everything around them, including other women, by roaming the streets and beating up those they deem too sinful and promiscuous. Jonny and Aileen also discuss director Anita Rocha da Sliveira's filming process, Caravaggio's Medusa and actress Mari Oliveira. Follow our redes sociales: BlueSky: @uyquehorror.bsky.social TikTok: @uyquehorror Insta: @uyquehorror Twitter: @Uy_Que_Horror Find all the películas we cover on our LinkTree. Join our Patreon! Learn more about your ad choices. Visit megaphone.fm/adchoices

TRACEY EMIN è arrivata a Firenze con tutta la forza della sua arte e ha invaso PALAZZO STROZZI. Con la retrospettiva annunciata dalla TATE per febbraio 2026, si conferma una delle più importanti artiste del panorama contemporaneo. Milano è invece galvanizzata dal MIART, ne parliamo con il direttore NICOLA RICCIARDI ospite della puntata, e dai tanti appuntamenti dell’ARTWEEK. Tra questi PARADISO, l’installazione visionaria di GIANMARIA TOSATTI, nei ex magazzini della Stazione Centrale. Mentre Roma propone CARAVAGGIO 2025, la straordinaria mostra che riunisce 24 capolavori, compreso il ritrovato ECCE HOMO.See omnystudio.com/listener for privacy information.

Močna kakor smrt je ljubezen, odmeva v svetopisemski Visoki pesmi. Besedilo, ki si ga pogosto izberejo mladoporočenci pri cerkveni poroki kot potrditev tega, za kar se odločajo. Ljubezen mi je vse razodela je naslov poezije Karla Wojtyle, ki si je kot papež nadel ime Janez Pavel II. in se mu danes priporočamo kot svetniku. Ljubezen je čustvo, ki ga v sebi nosijo poročeni in celibaterji, razvezani in osamljeni, vsi, nekateri pravijo, da tudi živali – že iz predkrščanske dobe je znan praznik gregorjevo, dan, ko se ptički ženijo. Lady Gaga, ena največjih pop zvezdnic 21. stoletja, je izjavila, da je bil njen največji strah v življenju, da bi ostala sama. Po koncertih in predstavah, kjer so se je ljudje dotikali, se z njo rokovali, pogovarjali, se je domov vračala in ostajala sama. Najsrečnejša je postala, ko je našla ljubezen svojega življenja. Obstajajo različne vrste ljubezni in morda najbolj nedolžna, najbolj zastonjska in tudi najdlje trajajoča je materinska ljubezen, po kateri hrepenijo otroci. Pomislimo samo na dečka Serjožo iz Tolstojeve Ane Karenine. Očetu in njegovi prijateljici, ki sta mu sporočila, da je mati umrla, ni verjel. Na sprehodih po parkih Petrograda se je zaziral v ženske obraze in v njih iskal enega samega – obraz svoje matere, ki se mu je na deveti rojstni dan kot sonce zasvetil, ko se je prebudil iz sna. Resnično je stala pred njim – njegova mati, ki mu je bila vse. Krščanskih cerkva, največjih svetovnih galerij ali pa številnih zasebnih stanovanj si skorajda ni za zamisliti brez ikonične slike Marije z Detetom. Botticelli, Caravaggio, Raphael pa tudi Leopold Layer z Brezij na Gorenjskem – vsem je skupna milostna podoba Marije z otrokom, ki se prižema k njenemu obrazu, prsim ali pa nogam. Michelangelo pa s svojo Pietà iz kararskega marmorja v baziliki Sv. Petra v Vatikanu pokaže še na eno, morda najtežjo podobo iz življenja: ko mati v naročju drži mrtvega sina. Prizor, ki je v postnem času živo navzoč ob premišljevanju križevega pota. Mati je poslanstvo, ki ne pozna upokojitve. To je beseda, ki je v vseh slovarjih napisana z zlatimi črkami. Hvaležni jim moramo biti, materam, ki so nas rodile v svet, ki so v prečutih nočeh in še velikokrat pozneje dajale prednost življenju otroka in sebe zatajevale. Vsem njim naj velja čestitka za materinski dan.

The second episode in our Enchantment season features artist Grant Foster whose solo show, Home to My Teenage Bedroom has just opened at the Phoenix Art Space in Brighton (and runs until 13 April 2025).  Grant's cultural artefact is a 'strange fossil' which he found on a beach while on holiday in the Quantocks in the west of England. We talk about animals, time, Philip Guston, Mike Kelley, Mike Nelson, Caravaggio and much more.

When you get a bunch of artistic types together into a community – aka, the art world – some intrigue and mystery are bound to arise. Listen in to this classic episode as Chuck and Josh cover strangeness around Van Gogh, Caravaggio, Raphael, and Vermeer – plus don’t miss Hilter!See omnystudio.com/listener for privacy information.

Versione audio: La Natura morta è un genere pittorico nato nel Cinquecento e sviluppatosi con grande successo nel corso del XVII secolo. Ebbe straordinaria fortuna non solo in Italia, dove trovò in Caravaggio un sostenitore convinto e un vero caposcuola, ma in tutta l'Europa. Le nature morte fiamminghe, olandesi, spagnole e tedesche sono di rara […] L'articolo La Natura morta nel Seicento. Seconda parte proviene da Arte Svelata.

Michelangelo Merisi, dit Caravaggio, est un peintre révolutionnaire du XVIIe siècle, dont l'art et la vie sont marqués par la passion et la violence. Né en 1571 à Milan, il connaît une enfance difficile, frappée par la peste et l'orphelinat. Après une formation à Milan, il part pour Rome, où son style unique, basé sur le clair-obscur, bouleverse l'art religieux. Soutenu par le cardinal Del Monte, il réalise des chefs-d'œuvre comme La Vocation de Saint Matthieu. Mais son tempérament impulsif et ses nombreuses altercations lui attirent des ennuis. En 1606, il tue un homme lors d'un duel et doit fuir, errant entre Naples, Malte et la Sicile. Malgré son talent, sa vie chaotique le conduit à une fin tragique en 1610, à seulement 38 ans. Aujourd'hui, il est reconnu comme l'un des plus grands maîtres de la peinture baroque. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

If you're struggling, consider therapy with our sponsor. Visit https://betterhelp.com/almanac for a discount on your first month of therapy.If you have questions about the brand relating to how the therapists are credentialed, their privacy policy, or therapist compensation, here is an overview written by the YouTube creators behind the channel Cinema Therapy that goes into these topics: https://www.reddit.com/r/cinema_therapy/comments/1dpriql/addressing_the_betterhelp_concerns_headon_deep/ Hello poison friends! I swear I am not making these this long on purpose! We are discussing art and history and poison and I just got too excited to leave anything out! We are discussing, in detail, toxic paints of the past and the artists that used them, including Vincent Van Gogh, Caravaggio and others. We also discuss a few famous musicians that may have been affected by lead poisoning. I may have gone pretty deep into the history of some of these artists, but they are fascinating. Vincent Van Gogh had many physical and mental ailments and they may very well have been exacerbated by the many toxic paints he was in contact with. Caravaggio had many an issue with anger and brawling and when researchers found and studied his bones, they were full of lead. Lead in wine may be why musicians such Handel and Beethoven lost their sight and hearing (respectively) and suffered other physical and mental ailments. We also go into more detail with dyes used in fashion as well as the mercurial process of hat making in the past. Deadly dresses (for many a reason), poisonous waistcoats, toxic wallpaper and toys. Let's not forget the uranium glazed kitchenware from the early-mid 1900s. Do we have any collectors here?I also made a promise to talk about epoxy and polyester resins so we do briefly discuss that as well. Thank you to all of our listeners and supporters! Please feel free to leave a comment or send us a DM for any questions, suggestions, or just to say, "hi."Support us on Patreon:⁠⁠⁠⁠⁠patreon.com/thepoisonersalmanac⁠⁠⁠⁠⁠Follow us on socials:The Poisoner's Almanac on IG-⁠⁠⁠⁠⁠⁠https://www.instagram.com/poisoners_almanac?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==⁠⁠⁠⁠⁠⁠Adam-⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@studiesshow?is_from_webapp=1&sender_device=pc⁠⁠⁠⁠⁠⁠Becca-⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@yobec0?is_from_webapp=1&sender_device=pc⁠

El programa de hoy arranca con 'The Sleeper. El Caravaggio desaparecido', un documental dirigido por Álvaro Longoria que cuenta la sorprendente historia de un cuadro subastado en la casa Ansorena de Madrid en abril de 2021. La obra fue catalogada como perteneciente al círculo de José de Ribera con un precio de salida de 1.500 euros. Sin embargo, en pocas horas, expertos en arte comenzaron a sospechar que se trataba de un Caravaggio auténtico. Ante el revuelo, el Museo del Prado elaboró un informe para evitar que la pintura saliera de España. El 6 de abril, la mayor experta mundial en Caravaggio confirmó su autenticidad y, al día siguiente, la obra fue declarada inexportable. Hablamos con el director del documental para conocer más detalles de esta fascinante historia.En la segunda parte del programa, Jesús Marchamalo nos invita a dar un paseo con Paco Roca, reconocido dibujante, creador de cómics como 'El abismo del olvido' o 'La casa'. En este recorrido, descubrimos más sobre su estilo, su inspiración y los temas que aborda en sus obras.Para terminar, exploramos una de las iniciativas culturales de RNE: el Premio de Poesía Joven. Este año, la obra ganadora será publicada y distribuida por la editorial Pre-Textos, con 25 ejemplares entregados al ganador. Un paso importante para dar visibilidad a las nuevas voces poéticas.Y nos vamos con la sesión musical de Leyre Guerrero, directora de NaNaNa de Radio 3. Escuchar audio

Remembering Joan Dye Gussow.  Spending Time in Raleigh.  London restaurant controversy.  Living over the Library.  Caravaggio 2025 in Rome.  College for All?  Maybe not.  Roberta Flack.  Buster Poindexter.  Rebel with a Clause.  Vinyl Wizard Chase Kassem. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff

durée : 01:28:21 - Toute une vie - par : Stéphanie Katz - Dans ce documentaire, explorons la vie tumultueuse et l'œuvre révolutionnaire de Michelangelo Merisi da Caravaggio, dit Le Caravage, à travers les récits de spécialistes. Né à Milan en 1571 et mort en 1610, ce peintre italien a marqué l'histoire de l'art avec son style unique. - réalisation : Gislaine David - invités : Marie-José Mondzain Philosophe, écrivaine et directrice de recherche au CNRS; Jacques Darriulat Ancien enseignant en philosophie en classes préparatoires au lycée Henri IV puis à la Sorbonne, auteur du site http://www.jdarriulat.net; Jean-Marie Touratier; Ernest Pignon-Ernest Artiste

En av konsthistoriens stjärnor tar plats i Palazzo Barberini Lyssna på alla avsnitt i Sveriges Radio Play. Caravaggio 2025 - så heter den stora utställningen som precis öppnat i Rom och som ger plats åt en av konsthistoriens stjärnor från Barocken. Caravaggio är en stjärna slår han fast.Caravaggio är en stjärna i Konsthistorien slår Palazzo Barberinis chef fast. Inte bara för att han revolutionerade måleriet utan också för att han var den första som målade det som var sant. Han skildrade verkligheten som den såg ut och de modeller han jobbade med hade en stark koppling till hans eget liv, säger Thomas Clement Salmon.24 målningar visas på Palazzo Barberini som en del av det pågående Jubelåret i Rom - och man får följa konstnären från genombrottet till de allt mörkare målningarna mot slutet hans liv. Med på utställningen är också ett par nyupptäckta målningar.

Crescenzo Notarile and Paris Chong discuss his work shooting nudes, with Paris acknowledging the potential for perversity and intrigue associated with the genre. Crescenzo emphasizes that all great artists start with nudes to study form, beauty, lines, and geometry, citing Picasso, Rembrandt, and Caravaggio as examples. He shares his own influences in nude photography, including Bill Brandt, Joel Peter Witkin, Helmut Newton, Robert Mapplethorpe, and Irving Penn. Crescenzo highlights the challenge of evoking emotion and avoiding cliché or vulgarity in nude photography, and mentions his own nude book and his use of infrared film to create a unique aesthetic. He also acknowledges the common observation that male photographers often shoot more female nudes than male nudes, offering reasons such as the perceived difference in beauty between the male and female form, as well as the difficulty in finding male models willing to pose nude.Show Clip from The Paris Chong Show with Crescenzo Notarilehttps://youtu.be/_vFzSFYdQLohttps://www.theparischongshow.com

(00:38) Für viele sind sie das Highlight an der Basler Fasnacht: Die Schnitzelbängg. In Versform werden aktuelle Themen auf die Schippe genommen und mit einer guten Pointe das gesamte Publikum zum Lachen gebracht. Eine Online-Datenbank macht diese nun zugänglich. Weitere Themen: (04:34) Fastenzeit im Wandel: Verzicht aus spirituellen oder weltlichen Gründen? (08:42) Eine seltene Gelegenheit: 24 Gemälde von Caravaggio sind in Rom zu sehen. (12:16) Der weltweit erfolgreichste Animationsfilm heisst «Ne Zha 2»: Warum boomt der chinesische Kinomarkt? (16:27) Die Hauptfiguren sind Tiere in María Ospina Pizanos Roman «Für kurze Zeit nur hier». (20:40) Kultur und Corona: Rückblick mit Jazzbassisten Luca Sisera.

Il tamburino di sabato 8 marzo, la rassegna sulla vita culturale di Roma. Al microfono Leonardo Zaccone, poeta, performer e musicologo. Sei candidati per la direzione del MACRO di via Nizza, entro marzo l'incarico ufficiale.Il ricorso di Mkt121 blocca lo stadio di Domiziano. Nigma Enigma, tra elettronica e medio oriente al MAXXIEnotica al Forte Prenestino, torna la rassegna annuale che unisce vino ad erosUna primavera che fiorisce di teatro sperimentale:Babilonia Teatri al QuarticcioloLemnos di Giorgina PI/Bluemotion all'Angelo MaiFettarappa/Minozzi sconfitti dalla vita al MonkGruppo U.R.O.R. a Carrozzerie N.o.T.CURA, performance sperimentali alla Recherche. Sveja è un progetto indipendente sostenuto da Periferiacapitale, il programma per Roma della fondazione Charlemagne.

Roma, città eterna, custodisce numerose opere del maestro Michelangelo Merisi, noto come Caravaggio. Meno noto invece, è il fatto che a Roma si può godere della maggior parte delle sue opere gratuitamente. Sono esposte in Chiese e Basiliche pronte per essere ammirate da chiunque voglia elevare la propria anima!

Luigi De Pascalis"Il buio e le stelle"La Lepre Edizioniwww.lalepreedizioni.comAndrea Sarra nasce nel 1895 a Borgo San Rocco, immaginario paese d'Abruzzo all'ombra della Majella, e fa parte di una generazione che più di ogni altra vedrà cambiare il mondo. Quindici anni fa Luigi De Pascalis ha già narrato parte della sua storia, dall'infanzia alle trincee infernali della Grande Guerra, nel romanzo La pazzia di Dio, incastonato nella parte centrale di questo libro. Ora – con una scrittura poetica e insieme di raro, potente realismo – affida alla voce di Andrea il racconto del “prima”, l'epica corale e senza tempo di Borgo San Rocco, filtrato dai ricordi familiari, e di un “dopo” a Zanzibar, dove il protagonista approda alla ricerca della donna africana che suo padre Filippo ha amato più di ogni altra. Si delinea così un viaggio che coincide con la vita, in continuo moto ondivago tra passato e presente, denso di incontri che, ognuno a suo modo, si riveleranno decisivi. Come l'Ulisse omerico Andrea è al tempo stesso tutti e nessuno, sospinto da ogni lancio di dadi del destino verso un'Itaca che resta indelebile in lui, malgrado ogni sua fuga più o meno consapevole.Luigi De Pascalis ha pubblicato molti racconti di genere fantastico, vincendo diversi premi (Montepulciano, Courmayeur, Tolkien tra gli altri). È stato il primo scrittore italiano di narrativa fantastica a essere tradotto negli Stati Uniti, in un'antologia ormai storica del genere a cura di Sprague De Camp, ed è presente in molte antologie italiane. Con La Lepre Edizioni ha pubblicato anche, nel 2010, Rosso Velabro, Il labirinto dei Sarra, La pazzia di Dio; la graphic novel Pinocchio (2011, Premio Carlo Lorenzini); Il nido della Fenice (2012); Il mantello di porpora (2014, candidato al Premio Strega); Notturno bizantino (2016, candidato al Premio Strega e vincitore del Premio Acqui Storia); Volgograd (2018); Il signore delle furie danzanti (2020); Il cavaliere, la morte e il diavolo (2021). Tra i libri pubblicati con altre case editrici: La morte si muove nel buio (Mondadori 2013); Il sigillo di Caravaggio (2019), Il pittore maledetto (2020) e La congrega segreta (2022), tutti e tre con Newton Compton; Odissea futura (già finalista al premio Urania, Tabula Fati 2024). Con Delos Book, tra il 2014 e il 2023, ha pubblicato in e-book La cena di Dumas, Il collezionista di sogni, La Chanson d'Antiochie, Il vaso di Pandora.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

20 Gemälde des Barockmeisters Michelangelo Caravaggio sind im Palazzo Barberini in Rom zu sehen. Von Lisa Weiß. Filmemacherin Katharina Pethke reflektiert im Dokumentarfilm Reproduktion, wie die Frauen ihrer Familie versucht haben, Mutterschaft und Künstlertum zu vereinen. Mit Marie Schoeß. "Curious Ruminant" - das neue Album der britischen Folkrockband Jethro Tull ist ein Alterswerk des Sängers & Flötisten Ian Anderson. Von Marcel Anders

Notes from between 1606 and 1607, the beauty of alternate takes, using notebooks to refine ideas, and why the pencil is a Zen object. Caravaggio essay, NYRBWilco, A Ghost is Born box setKafka's Diarieszen

EU und Deutschland planen Milliardeninvestitionen in die Verteidigung, Die Meinung, Sondierungsgespräche zwischen Union und SPD zur Migration, Weitere Meldungen im Überblick, Städte versuchen beim Klimafasten den kleinsten CO2-Fußabdruck zu hinterlassen, Ausstellung über Barockkünstler Caravaggio in Rom, Das Wetter

Den unga döden skapar teologiska problem, samtidigt dras vi till korta konstnärliga liv. Michael Azar funderar över livets och dödens längd. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vi vet inte, säger kyrkofader Augustinus, varför goda människor så ofta rycks bort av en förtidig död, medan de som inte alls borde ha fått födas tvärtom får leva ett långt och behagligt liv.Nej, konstaterar han. Vi människor kan aldrig riktigt förstå varför så är fallet. För Gud däremot finns det en mening bakom allt – också med det som för människorna framstår som grymt och orättvist. Utifrån den evige och allvetande gudens blickpunkt finns det nämligen ingenting sådant som en nyckfull död. Ingen träder in i dödsriket utan att Han vet om det. Det tycks rentav följa ur Guds själva väsen att han inte bara har förutsett, utan också förutbestämt hur och när var och en av oss ska lämna jordelivet.För Augustinus finns det uppenbarligen någonting trösterikt i tanken att döden inte slår blint, utan lyder som ett viljelöst redskap under den Evige Faderns nådiga plan. Ändå kan kyrkofadern inte undvika att – här och var – uttrycka sin oro över alla de svårigheter som en sådan gudsbild ger upphov till. Om Gud verkligen är allsmäktig och allvetande framträder ju människan som inte mer än en simpel marionett, utan fri vilja och förmåga att bestämma över sitt liv, sin död och sitt postuma öde.Så här skulle den engelske 1600-tals poeten John Milton säga om en sådan slutsats: ”Må jag hamna i helvetet för det, men en sådan Gud kan aldrig vinna min aktning”.Den som inkallar Gud som ett värn mot döden hamnar förr eller senare i frågan om hur vi istället ska skydda oss mot den makt som håller döden i sin hand. Man kan förvisso undra vad det finns för poäng med att tro på en Gud som låter till synes oskyldiga spädbarn gå bort i de mest plågsamma sjukdomar – medan skoningslösa tyranner får leva friska, tills de blir mätta på både dagar och nätter.Den inflytelserike muslimske tänkaren Abu al-Hasan al-Ashari – verksam i Irak några hundra år efter Augustinus – är inte lika pessimistisk vad gäller människans förmåga att förstå Guds avsikter. När Gud låter barn och ynglingar gå ur tiden, så är det i själva verket för att rädda dem från ett än värre öde.”Låt oss föreställa oss”, säger han, ”ett barn och en vuxen som båda dog i den sanna tron – men att den vuxne fått en högre plats i himlen än barnet.Barnet kommer därför att fråga Gud: 'Varför gav du den mannen en högre plats?' 'Han har gjort många goda gärningar', kommer Gud att svara.Och då kommer barnet att upprört invända: 'Men varför lät du mig dö så tidigt att jag hindrades från att göra gott?'På vilket Gud i sin tur kommer att svara: 'Jag visste att du skulle växa upp till en syndare; det var därför bättre att du dog redan som barn.'” Det är inte så att man direkt avundas Guds arbetsbörda. Tänk att behöva räkna ut det moraliska värdet av alla människors ännu inte genomförda synder – och sedan med alla upptänkliga medel, inklusive barmhärtighetsmord, försöka säkerställa att dessa synder inte ytterligare belastar våra skuldkonton.Abu al-Hasan al-Asharis resonemang för tankarna till en rad berömda exempel från västerlandets kulturhistoria. Jag tänker till exempel på kung Oidipus som uttryckligen förbannar den fåraherde som räddade Oidipus från döden när han var ett spädbarn. Om han hade låtit mig dö, klagar Oidipus, hade jag ju sluppit det fruktansvärda öde som väntade mig i livet.Men vad för slags tröst – om man nu inte nöjer sig med de himmelska makternas – kan vi annars uppbåda när vi står inför dem som ryckts ifrån oss i blomman av sin ålder?Jag tänker kanske särskilt på dem som vi idag betraktar som mänsklighetens befrämjare på grund av de djupa avtryck de satt i de sköna konsternas historia. En Masaccio, en Caravaggio, en Mozart, en Edith Södergran eller en Charlie Parker.Sorgen över deras alltför tidiga bortgång handlar inte bara om att de aldrig fick möjligheten att skapa allt det som de fortfarande bar inom sig när döden stal deras lyra från dem. Utan också om att många av dem tvingades lämna världen med känslan att deras namn var skrivna i vatten, ovetande som de ofta var om den enastående betydelse de skulle komma att få för eftervärlden.Somliga finner viss tröst i ett estetiskt perspektiv på dödens verk. Som när den danske tonsättaren Carl Nielsen skriver att Mozart ”måste dö tidigt, för att bilden av honom skulle kunna fullkomnas”. I en sådan vision är det just det intensivt levda och hastigt utbrända livet som möjliggör den förevigade skönheten. I samma anda har många säkert svårt att tänka sig Alexander den store, Arthur Rimbaud, James Dean, Janis Joplin, Che Guevara eller Bob Marley som gamla, modfällda och kraftlösa.Likt Akilles måste de möta den svarta gudinnan just när de befinner sig på höjden av sin skaparkraft.Eller tänk bara på den förkroppsligade – och mycket unga gudom – som Augustinus ständigt sjunger lovsånger till. Hur skulle vi ha förhållit oss till Jesus om han i stället hade dött på korset i samma höga ålder som den Job som lämnade jordelivet som 140-åring?En variation på samma tema finner vi i föreställningen om det så kallade romantiska geniet. Här antas den förmodade genialiteten just vara intimt förbunden med den snabbt framskridande liemannens gärningar. Varken Novalis, Schubert, Lord Byron, Keats, Shelley, Chopin, Stagnelius eller systrarna Brontë hann fylla fyrtio innan ödesgudinnorna klippte av deras livstrådar. Genikulten tillåter oss kanske att för ett ögonblick glömma deras dödsvåndor. Genikulten tillåter oss för ett ögonblick att glömma deras dödsvåndor. Livet må vara kort, men bara på villkor att konsten är lång – eller som det ibland heter: evig.”Den som gudarna älskar dör ung”, säger Lord Byron mot al-Ashari.Kanske är detta rentav en ganska vanlig fantasi bland unga musiker, skalder och konstnärer. Det sägs till exempel att Kurt Cobain redan i barndomen såg framför sig att han en dag skulle bli medlem i den så kallade ”Club 27” – det vill säga, att han skulle dö i samma unga ålder som till exempel Brian Jones, Jim Morrison, Jimi Hendrix och Janis Joplin.Det var tragiskt nog en föraning som kom att besannas.Så stark är den estetiska myten om den ungdomliga dödens skönhet, att den en dag också lyckades infiltrera mitt eget medvetande. För det var med all säkerhet den som låg bakom min förvåning när jag en dag vaknade och insåg att jag fortfarande var vid liv, trots att jag hade hunnit fylla hela fyrtio år. Mitt i glädjen över att ha fått leva så länge, kunde jag faktiskt ana en obehaglig strimma av narcissistisk missräkning.Det var som om min nyvunna ålder förvandlats till ett hånfullt tecken på att jag hade gått miste om chansen att höra till de unga dödas utvalda skara – som om jag hade låtit livet segra till priset av förlorad odödlighet.Michael Azaridéhistoriker och författareMusikMy my hey hey (akustisk) samt Hey hey my my av Neil Young med Crazy Horse, från ”Rust never sleeps”, 1979.

This episode originally broadcast on February 27, 2025, the original podcast post is here: https://pixelatedgeek.com/2025/02/binary-system-podcast-446-wtnv-262-the-man-who-is-not-tall/"That's a good question."  "Thank you!" "It's best to not ask questions. Especially good ones."If the title to the Welcome to Night Vale episode sounds familiar, we're seeing the return of a harrowing duo from Night Vale's past: The Man Who Is Not Tall, and The Man Who Is Not Short. And unfortunately The Man Who Is Not Tall is now...Steve Carlsburg. Yes, Cecil's beloved brother-in-law has taken on a dangerous new job, and Cecil has questions.After a recap were we discuss the rules of childhood games that scared the crap out of us, and also Cecil bemoaning the loss of decorum (I mean, Cloud Perverts? Really?), the Binary Podcast System team also talk about Season 3 Episode 7 of Beastars (which Kathryn hasn't seen), and the 2025 Oscar-Nominated Animated Shorts (which Elizabeth hasn't seen), and then take a brief digression to talk about The Menu, which we've both seen and talked about it at length already but come on, it just dropped on Netflix and how can we resist?This week's outro is a clip from CARAVAGGIO by hARITON zOE You can listen to our episodes about The Menu and the 2024 Oscar-Nominated Animated Shorts, we promise we didn't rehash too much about what we loved from those in today's episode.Looking for a present for that hard-to-shop-for person? Want to buy them (or yourself) a square foot of a castle in Scotland? Look no further! You can support the restoration of Dunan's castle, legally call yourself Lady or Laird, AND if you use this link to get there, you can support this podcast too! ScottishLaird.co.uk.For updates, fan art, and other randomness, come follow us on Facebook, Tumblr, Twitter, and Instagram! 

Arrivano dei dati incoraggianti dall'ultimo rapporto Erion WEEE per la racconta RAEE. In questa puntata andiamo in giro per l'Italia a scoprire come molte realtà stiano lavorando per migliorare e incrementare la raccolta di questo tipo di rifiuti, dalla trasformazione delle materie critiche, all'educazione al riciclo in un piccolo territorio del piemontese.Gli ospiti di oggi:Giorgio Arienti - direttore generale di Erion WEEEOmar Cescut - AD di Btt italia Srl, chief circular economy unitSilvia Orlandini - responsabile comunicazione e didattica ambientale per Società Canavesana ServiziAlberto Canni Ferrari - procuratore speciale del Consorzio ERP Italia.Mario Tozzi - Geologo, Divulgatore Scientifico e autore del libro "Prove tecniche di estinzione. Istruzioni per salvare il salvabile" Edito da Touring EditoreSi può fare - Storie dal socialeSuonando il futuroSi chiama Manzella quartet, sono una band di Caravaggio (in provincia di Bergamo) con la voglia di mettere in musica inclusione sociale e sostenibilità ambientale. Un progetto divertente e molto efficace che sta raggiungendo nel tempo centinaia di giovani.

This last episode on the Valletta series brings you lots of different stories from Malta. We start with a little descriptive writing, factual and fictional, followed by mini-biographies of 4 people who've featured in previous episodes but not really had the time they deserve: St Paul, St Publius, Caravaggio and Daphne Caruana Galizia, the high-profile journalist murdered for her stand against corruption in Malta.  And to finish, some literary extracts, namely a mystery story set in Malta and 2 World War II love stories. In short, a whole range of new perspectives on Valletta and its surroundings. Reading Suggestions The Kappillan of Malta by Nicholas Monserrat Ladies of Lascaris by Paul McDonald Secrets of Malta by Cecily Blench  A Death in Malta by Paul Caruana Galizia A Sunny Place for Shady People by Ryan Murdock Links for this Post Short Lets Malta blog      City Breaks: all the history and culture you'd research for yourself if you had the time! Check our website to find more episodes from our Valletta series or to browse our back catalogue of other cities which are well worth visiting: https://www.citybreakspodcast.co.uk We love to receive your comments and suggestions!  You can e mail us at citybreaks@citybreakspodcast.co.uk And if you like what you hear, please do post comments or a review wherever you downloaded this episode.  That would be very much appreciated!   

Giuseppe Castellano talks to Skylar Smith, Professor of Liberal Arts at the Ringling College of Art and Design, about why there's no time like the present to start learning about illustration history; whether an illustration is fully complete without the interpretation of an audience; what Generative AI and a lawsuit by Albrecht Dürer have in common; and more.You can find Skylar on LinkedIn.Artists mentioned in this episode include: Jules Feiffer, Norman Rockwell, George Petty, Miné Okubo, Arthur Szyk, J.C. Leyendecker, Al Parker, Saul Tepper, Norman Bridwell, Beatrix Potter, Todd McFarlane, James Montgomery Flagg, Seymour Chwast, Hilary Knight, Ashley Bryan, Tomi Ungerer, Tex Avery, Eric Carle, George Herriman, Caravaggio, and Albrecht Dürer If you find value in this podcast, consider supporting it via Substack or Patreon. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, our best-selling Substack, and more. | Music for the podcast was created by Oatmello.

From why the façade of San Lorenzo was never completed, to the use of the “golden ratio” in the Medici Palace, to the speed of Caravaggio's painting technique and his use of the camera obscura, to future podcasts on Sofonisba Anguissola and Artemisia Gentileschi,  to why Bramante is considered the first High Renaissance architect, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance!

El viernes pasado estuvo aquí Alejandro Palomas hablando de Amalia, ese personaje inspirado en su madre que ha protagonizado sus cuatro ultimas novelas. Hablábamos del refugio que es una madre, ese pecho siempre disponible incluso después o a pesar de las peleas. Pero en realidad nada es así de genérico... Hoy hablaremos de familia y locura con la escritora María Fasce, que nos presenta su última novela, la ganadora del Premio de Novela Café Gijón 2024: 'El final del bosque'.Inés Martín Rodrigo nos lleva hasta la librería de Stars Hollow para buscar los libros que más le han gustado últimamente.También iremos a Roma, donde se acaba de presentar una ambiciosa exposición de cuadros de Caravaggio.Y con Leticia Audibert sacaremos un libro de la Pequeteca, nuestra sección semanal de literatura infantil y juvenil.Escuchar audio

This week, Sara brings us the incomparable Italian painter Artemisia Gentileschi! She is considered one of the foremost painters of the 17th century, eclipsing her father's skill and considered more brazen than Caravaggio himself. Due to her own exceptional skill and brilliant business tactics, Artemisia's popularity exploded and she painted commissions for the most elite patrons across all of Europe, becoming so successful she didn't even "need a husband" anymore. However, much of her life and success was overshadowed by her sexual assault at 17 years old and the public trial that followed. Much of her work reflects that brutal experience, too. Artemisia and her work has recently come back into the spotlight in the wake of the #metoo movement; Her paintings have become emblematic of the strong, powerful woman in the face of the violence inflected upon her. Her story is one of great independent success despite the odds and she is most definitely a BROAD You Should Know! — A Broad is a woman who lives by her own rules. Broads You Should Know is the podcast about the Broads who helped shape our world! 3 Ways you can help support the podcast: Write a review on iTunes Share your favorite episode on social media / tell a friend about the show! Send us an email with a broad suggestion, question, or comment at BroadsYouShouldKnow@gmail.com — Broads You Should Know is hosted by Sara Gorsky. IG: @SaraGorsky Web master / site design: www.BroadsYouShouldKnow.com — Broads You Should Know is produced by Sara Gorsky & edited by Chloe Skye

#125 La incredulidad de Santo Tomás de Caravaggio - Historia del arte con Kenza Si le titre est très long tu peux mettre: Santo Tomás de Caravaggio Entender el genio de Caravaggio: representar a través de una representación a primera vista ordinaria, un evento extraordinario. Pueden encontrar este podcast en #Youtube con imágenes que lo ilustranPara mayor información sobre los cursos en línea favor de escribir a arte.kenza@gmail.comHistoria del arte con Kenza - Obras que encienden el asombro. Una serie sobre el arte a través de la historia y las culturas. Se presentarán obras que trascienden el tiempo por su belleza y por lo que nos cuenta. Nos puedes seguir a través de la cuenta Instagram @historia.del.arte.con.kenza, para descubrir las obras del podcast y muchas más. Producido por @RojoVenado #historiadelarte #historiadelarteconkenza #podcastdearte #podcastenespañol#HistoriaDelArte #ArteClásico #ArteVisual #ArteCultural #HistoriaYArte #MuseosDelMundo #GrandesArtistas #ArquitecturaHistórica #MovimientosArtísticos #PinturaClásica #EsculturA #HistoriaDeLaPintura #ArteYCultura #CuriosidadesDelArte #ArtistasFamosos #ObraMaestra #CulturaVisual Hosted on Acast. See acast.com/privacy for more information.

Fluent Fiction - Italian: When Art Connects Hearts: A Christmastime Encounter Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2024-12-21-23-34-02-it Story Transcript:It: Il museo d'arte era un rifugio tranquillo in una fredda giornata d'inverno.En: The art museum was a tranquil refuge on a cold winter's day.It: Le luci natalizie e le ghirlande adornavano gli ampi corridoi, creando un'atmosfera accogliente e festosa.En: The Christmas lights and garlands adorned the wide corridors, creating a welcoming and festive atmosphere.It: I visitatori ammiravano i capolavori italiani, lasciandosi cullare delicatamente dalle melodie natalizie in sottofondo.En: The visitors admired the capolavori Italian masterpieces, letting themselves be gently lulled by the Christmas melodies in the background.It: Luca era lì, come ogni settimana, cercando ispirazione tra le opere d'arte.En: Luca was there, like every week, seeking inspiration among the works of art.It: Era un ragazzo silenzioso e riflessivo, sempre assorto nei suoi pensieri.En: He was a quiet and thoughtful boy, always absorbed in his thoughts.It: Di fronte a una tela di Caravaggio, si interrogava sul suo futuro come artista.En: In front of a tela canvas by Caravaggio, he pondered his future as an artist.It: Dubitava spesso di sé e delle sue capacità.En: He often doubted himself and his abilities.It: Dall'altra parte della sala, Alessandra spiccava tra la folla.En: On the other side of the room, Alessandra stood out among the crowd.It: Era una ragazza vivace, in visita da un'altra città, innamorata dell'arte e desiderosa di nuove esperienze culinarie.En: She was a lively girl, visiting from another city, in love with art and eager for new culinary experiences.It: Avendo una passione per la cultura italiana, sperava di scoprire un aspetto più profondo attraverso l'arte.En: Having a passion for Italian culture, she hoped to discover a deeper aspect through art.It: Per caso, entrambi si ritrovarono di fronte allo stesso quadro.En: By chance, they both found themselves in front of the same painting.It: Un piccolo urto e un lieve "scusa" ruppero il silenzio che li circondava.En: A slight bump and a soft "scusa" excuse broke the silence surrounding them.It: "Anche tu ami Caravaggio?"En: "Do you also love Caravaggio?"It: chiese Alessandra con un sorriso.En: asked Alessandra with a smile.It: Luca esitò per un attimo, poi decise di parlare.En: Luca hesitated for a moment, then decided to speak.It: "Sì, mi da molta ispirazione.En: "Yes, he gives me a lot of inspiration.It: Le ombre, le luci... raccontano storie."En: The shadows, the lights... they tell stories."It: Iniziarono a discutere del quadro, della tecnica, e di quello che l'arte significava per loro.En: They began to discuss the painting, the technique, and what art meant to them.It: Luca si sentì a suo agio, qualcosa che non gli capitava spesso con estranei.En: Luca felt at ease, something that didn't often happen with strangers.It: Alessandra gli raccontò della sua ricerca personale: voleva connettersi con la cultura locale, scoprire di più sull'Italia e sulle sue tradizioni.En: Alessandra told him about her personal quest: she wanted to connect with the local culture, to discover more about Italy and its traditions.It: Dopo un po', Luca, sentendo un'improvvisa fiducia, le mostrò i suoi disegni.En: After a while, Luca, feeling a sudden confidence, showed her his drawings.It: Erano fragili e insicuri come lui, ma pieni di potenziale.En: They were fragile and insecure like him, but full of potential.It: Alessandra guardò con attenzione.En: Alessandra looked carefully.It: "Questi sono davvero belli," disse.En: "These are really beautiful," she said.It: "C'è tanto cuore qui.En: "There's so much heart here.It: Non smettere di disegnare."En: Don't stop drawing."It: Le parole di Alessandra furono come una scintilla nel cuore di Luca.En: Alessandra's words were like a spark in Luca's heart.It: Non si sentiva più solo nella sua lotta interiore.En: He no longer felt alone in his inner struggle.It: Lei decise di restare in città qualche giorno in più.En: She decided to stay in the city a few more days.It: Voleva esplorare altri musei e mostre con Luca.En: She wanted to explore other museums and exhibits with Luca.It: I giorni seguenti li trascorsero insieme in vari gallerie, parlando non solo di arte ma anche delle loro speranze e sogni.En: The following days they spent together in various galleries, talking not only about art but also about their hopes and dreams.It: Con ogni conversazione, il legame tra loro si infittiva.En: With each conversation, the bond between them deepened.It: Alla fine, Luca si sentì più fiducioso nelle sue capacità e capì l'importanza di condividere le sue passioni.En: In the end, Luca felt more confident in his abilities and understood the importance of sharing his passions.It: Alessandra, d'altra parte, trovò un legame più profondo con l'arte che amava e un sentimento di appartenenza nel suo viaggio.En: Alessandra, on the other hand, found a deeper connection with the art she loved and a sense of belonging in her journey.It: Alla vigilia di Natale, mentre le campane suonavano in lontananza, Luca e Alessandra si ritrovarono ancora in quel museo.En: On Christmas Eve, as the bells rang in the distance, Luca and Alessandra found themselves again in that museum.It: Un inizio di qualcosa di nuovo.En: A beginning of something new.It: Più che una semplice serie di incontri, avevano trovato una connessione che dava calore ai loro sogni, simile a quelle luci natalizie che decoravano il museo.En: More than just a series of meetings, they had found a connection that warmed their dreams, similar to those Christmas lights that decorated the museum. Vocabulary Words:museum: il museorefuge: il rifugiotranquil: tranquillowinter: l'invernogarlands: le ghirlandecorridors: i corridoiatmosphere: l'atmosferamasterpieces: i capolavoriwhim: il capricciocanvas: la telaquiet: silenziosothoughtful: riflessivostranger: lo sconosciutoquest: la ricercaculinary: culinarioexperiences: le esperienzecrowd: la follasmile: il sorrisoinspiration: l'ispirazioneshadows: le ombrebond: il legameconfidence: la fiduciafragile: fragilepotential: il potenzialespark: la scintillajourney: il viaggioeve: la vigiliabells: le campanedistance: la lontananzadreams: i sogni

Processing: 100 Comics That Got Me Through It by Tara Booth from Drawn & Quarterly, New Gods, Absolute Batman, Absolute Superman, Happyland, Rocketfellers, G. I. Joe, Transformers, Batman & Robin: Year One, Illustrators Super Special: The US Warren Artists, Barfly, The Dark Tower:  The Gunslinger Born, Milo Manara's Caravaggio, plus a whole mess more!

On this episode, Maui tackles Drake vs UMG, Phoning It In, Caravaggio's Portrait, the B/Yamagata Flu Strain, and a whole lot more! /Edit More: https://xoroyalty.net℗ 2024 XO LUXURY GOODS

Join me as I chat with bestselling novelist Alex Connor, author of several art thrillers listed in the Visual Arts category on Art In Fiction including Rembrandt's Secret, The Caravaggio Conspiracy, and The Incubus Tapes.View the video on YouTube: https://youtu.be/Fbi3aA7gPl8Why Alexandra has chosen to center her novels--mostly art thrillers--around art.Seeing Caravaggio's Supper at Emmaus in the National Gallery when she was six.What led Alexandra to "follow her bright light" and focus on her dual careers as a writer and a painter.How Alexandra decides which artists to base a novel aroundl she's written novels related to Caravaggio, Rembrandt, Klimt, Fuseli, Bosch, and many more.Story behind the story of Rembrandt's Secret  and how Alexandra likes to go behind the scenes to find interesting and often little known stories connected with an artist.Inspiration for The Incubus Tapes.The story behind Fuseli's famous painting The Nightmare and how it forms the basis of the dual time narrative in The Incubus Tapes.Pacing when writing a thriler.Reading from The Incubus Tapes.Some of the challenges related to writing ar art-based thriller.Why a writer should keep writing and not let other people dampen their passion.What Alexandra is working on now.Press Play now & be sure to check out Alex Connor's novels on Art In Fiction: https://www.artinfiction.com/novels?q=alex+connor Alex Connor's website: https://www.alexandra-connor.co.uk/Are you enjoying The Art In Fiction Podcast? Consider giving us a small donation so we can continue bringing you interviews with your favorite arts-inspired novelists. Click this link to donate: https://ko-fi.com/artinfiction.Also, check out the Art In Fiction website at https://www.artinfiction.com and explore 2200+ novels inspired by the arts in 10 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Textile Arts, Theater, Visual Arts, & Other.Want to learn more about Carol Cram, the host of The Art In Fiction Podcast? She's the author of several award-winning novels, including The Towers of Tuscany and Love Among the Recipes. Find out more on her website.

Rolling Stones guitarist, Ronnie Wood discusses his parallel career as an artist. As a new exhibition of his work opens at the Andrew Martin showroom in London, Ronnie talks about how he has drawn inspiration from Delacroix, Caravaggio and Picasso. As a new three part series Boybands Forever starts on BBC2 and the iplayer, we explore what was behind the rise and fall of the boybands of the nineties and noughties with Richie Neville of Five and Hannah Verdier from Smash Hits. And, keyboard music from before the invention of the piano. Pianist Mishka Rushdie Momen performs from her new album Reformation, a collection of pieces by Tudor-era composers William Byrd, John Bull, Orlando Gibbons and Jan Pieterszoon Sweelinck.Presenter: Tom Sutcliffe Producer: Ruth Watts

Met vandaag:  De gevolgen van het Israëlische verbod op de VN-hulporganisatie UNRWA | Virtuele Japanse popster geeft uitverkocht concert in Amsterdam | De invloed van de economie op de Amerikaanse verkiezingen | Caravaggio en Shakespeare ontmoeten elkaar in het nieuwe boek van Tomas Lieske | Presentatie: Coen Verbraak

Damir Marusic and WoC executive editor Santiago Ramos get together to discuss Damir's latest article, “Why We Need Nightmares.” In it, Damir writes about the the binding of Isaac — the chilling story from the Book of Genesis where God asks Abraham to sacrifice his son. Damir is fascinated both by the story and by a Caravaggio painting depicting it. “That's the stuff,” he writes. But what is this “stuff”?While searching for an answer to this question, Damir and Santiago cover a lot of ground. They discuss the story of Abraham and Isaac, as well as the different ways that philosophers have interpreted it. They talk about Kierkegaard, Nietzsche, and Kant. They come to the conclusion that, while we all have different words for it — terrifying, mysterious, sublime — everyone must grapple with the stuff. Grappling with the stuff is an essential part of living a human life, for believers and unbelievers alike.This episode covers the Bible, philosophy, art, music, and much more. It is not a debate, but an exploration of what exactly it is that makes certain stories, works of art, and experiences so moving, compelling, terrifying. We enjoyed recording this episode so much that we decided to make it free for all subscribers.Required Reading and Listening:* Damir, “Why We Need Nightmares” (WoC).* Damir, “The Pursuit of Passion for Its Own Sake” (WoC).* Damir, “It's Not Really About Cancel Culture,” about Tár (WoC).* “Ending Summer on Violence and Despair, with Twitter's Audrey Horne” (WoC).* The story of the binding of Isaac in Genesis 22 (King James Version). * Immanuel Kant (Stanford Encyclopedia of Philosophy).* Søren Kierkegaard (Stanford Encyclopedia of Philosophy).* Friedrich Nietzsche (Stanford Encyclopedia of Philosophy).* “Time of tension between dying and birth” quote by T. S. Eliot, in “Ash Wednesday” (Best Poems). * Mozart, Symphony No. 40 (Leonard Bernstein and the Boston Symphony Orchestra, YouTube).* Roger Scruton on pop music as addictive (YouTube).* Keith Richards on heavy metal, “No lift, no bounce, no syncopation” (YouTube).* Caspar David Friedrich, “Sea of Ice” (painting of shipwreck/example of the sublime).* The Rolling Stones, “Gimme Shelter” (YouTube).* Nirvana, “Radio Friendly Unit Shifter” (YouTube). * Shellac, At Action Park (YouTube). * Arvo Pärt, Cantus in memoriam Benjamin Britten (Norwegian Chamber Orchestra, YouTube).* Leonard Bernstein, “The Unanswered Question,” lectures (YouTube).Wisdom of Crowds is a platform challenging premises and understanding first principles on politics and culture. Join us! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit wisdomofcrowds.live/subscribe

Celebrating my 300th episode by answering your questions! From why we call him Titian in English instead of Tiziano to the influence of Donatello on Masaccio to why I dedicated so many podcasts to Caravaggio to the “Venus of the Beautiful Buttocks” to St. Peter's feet, and much, much more – this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance!

Talk Art returns for Season 23! We meet Culture-loving Rob Rinder MBE and Architecture-fan Rylan Clark as they follow in the footsteps of 19th century romantic poet Lord Byron, and other Grand Tourists, on the 200th anniversary of his death.We discuss Caravaggio, Murano glass blowing, Artemisia Gentileschi & her censored ‘Allegory of Inclination' (1816) and what it was like to become nude life models themselves. We explore how they met the Venice-based drag/art collective House of Serenissima, and hear all the gossip from the historic era of the Grand Tour.Rob and Rylan's Grand Tour follows Rob Rinder and Rylan Clark – presenters, friends, and men who love the finer things in life – as they discover the greatest art treasures in Italy, finding out more about themselves along the way. Together, they retrace the steps of countless English aristocrats who took the Grand Tour – the original gap year – leaving behind the confines of British society for freedom and discovery abroad. But can the Grand Tour still work its magic today?Starting their journey in the winding canals of Venice, Rylan and Rob are ready to embark on the Grand Tour, once a cultural rite of passage designed to turn young men into distinguished gentlemen. In the city, they unveil one of the largest canvas paintings in the world, Tintoretto's Il Paradiso, leaving them in awe. They also learn about the legacy of Italian painter Canaletto before heading off to the quaint island of Murano, famous for its glass blowing art. Rob, a lover of opera and poetry, attempts to realise a lifelong dream by conducting Vivaldi's Four Seasons in the same church it was first performed in. Meanwhile, Rylan learns all about the lesser known side of the famous Venice Carnival. In episode two, Rob and Rylan head to the Renaissance city of Florence, the “Beating Heart of Tuscany”. Famous for its many museums and art galleries, this charming city is oozing with history around every corner. Set out to uncover the secrets of the Renaissance period, the pair soak up the sights, including the well known Uffizi Gallery in the historic centre, home to pieces by legendary artists Leonardo da Vinci, Michelangelo and Raffaello. They go on to visit more iconic locations: the Stibbert Museum, the Bargello Museum, Piazzale Michelangelo, Piazza Santa Croce during the final of the Calcio Storico, Piazza della Signoria, Piazza Santa Maria Novella, and Ponte alle Grazie. Along the trip, the duo learnt what it meant to be a Grand Tourist, trying on flamboyant Italian looks, fencing, dancing.On their final stop, the dynamic duo head to Italy's capital city, Rome. Here they enjoy exploring the classical ruins of the famous Colosseum and the Roman Forum as well as the Pantheon. Channelling their love of opera, Rylan and Rob enjoy a rooftop performance with sensational views of the city in the background.Rob and Rylan's Grand Tour is available now to stream on BBC iPlayer.Follow @RobRinder and @Rylan Hosted on Acast. See acast.com/privacy for more information.

Undoubtedly one of the world's greatest art collections, the Uffizi Gallery is one of the most visited sites in Florence. Visitors from around the world flock to the gallery to admire masterpieces by Botticelli, Giotto, Michelangelo and Caravaggio among the thousands of pieces in this incredible collection.  Founder of LivTours, Angelo Carotenuto joing us to share his insights on how to visit the gallery and make the most of your time there.Read the full episode show notes here > untolditaly.com/239Support the showJoin our mailing list and get our FREE Italy trip planning checklist - subscribe here | Join us on tour: Trip schedule | Discover our Trip Planning Services | Visit our online store | Follow: Instagram • Facebook • YouTube • Italy Travel Planning CommunityThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke - yes there are two of us!