Podcasts about Louvre

durée : 00:53:08 - Grand bien vous fasse ! - par : Ali Rebeihi - Plongez au cœur de l'art et de la beauté pour illuminer votre quotidien. Ce vendredi, "Grand bien vous fasse" vous invite à explorer des œuvres picturales qui stimulent l'esprit et apaisent l'âme, en compagnie d'expertes du Louvre, du Musée d'Orsay et d'une écrivaine culturelle. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Tout a commencé à la fin de l'été : un soir, je croise Alistair du kung-fu sur le quai du train à La Défense. On prend le train ensemble et il me parle de l'exposition qu'il a vue avec son père au château de Chantilly.  Dans cet épisode, je vous raconte notre découverte de l'histoire de ce manuscrit et comment nous avons eu envie d'aller voir l'exposition exceptionnelle qui lui est consacrée au château de Chantilly.  Ce manuscrit est surnommé la Joconde des manuscrits ! C'est le manuscrit le plus célèbre au monde et il date d'il y a six cents ans.  Dans ce manuscrit, on peut voir des monuments français qui existent toujours ou qui n'existent plus... comme l'ancien château du Louvre ou le Palais de la cité, mais aussi la cathédrale de Notre-Dame.  www.onethinginafrenchday.com

A brief diversion from the Presidents content, though I do Visit some Presidents in the City of Lights! BONUS episode featuring my trip to Paris, where I fit statues of George Washington and Thomas Jefferson and a bust of Abraham Lincoln between museums and cathedrals and a lot of walking! Hear about how I planned and executed a trip abroad! Back to Presidential content in a few weeks! Support the show Also, check out “Visiting the Presidents” on Facebook, Instagram, and Twitter!

Quand il s'agit de célébrités disparues, récentes ou plus anciennes, les lieux de recueillement deviennent parfois des monuments historiques. Voire dans certains cas, de véritables attractions pour tous les fans qui souhaitent rendre hommage à leur idole, ou les simples curieux. La tombe de Jim Morrison au cimetière du Père Lachaise est certainement la plus vivante des dernières demeures grâce à toutes les offrandes des visiteurs, allant des fleurs aux mégots, chewing-gums et autres bouteilles de whisky… Mais d'autres sépultures célèbres méritent le détour. Quelles sont les plus clinquantes ? On dit que les plus sulfureuses sont au cimetière du Père Lachaise, c'est vrai ? Et laquelle est la plus drôle ? Écoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Béatrice Jumel. Première diffusion : août 2023 À écouter aussi : ⁠Quels sont les endroits les plus hantés de France (à visiter) ?⁠ ⁠600ème épisode : Quel film a provoqué la fermeture de 600 salles de cinéma ?⁠ ⁠Quelle est la légende du fantôme du Louvre ? Learn more about your ad choices. Visit megaphone.fm/adchoices

Catch Me if you Conclave   Ron Howard follows up his biggest box office hit with a 2009 Da Vinci Code sequel that sends Tom Hanks and Ewan McGregor racing through Rome on a mission to solve more ancient riddles. Will taking time for some Vatican cardio in between his Louvre lectures make the Harvard symbologist fit enough to stop an Illuminati bomb plot?  Arnie, Jason, and Justin try not to suffocate in St. Peter's Square as they determine whether Angels & Demons is a divine thriller, or just Dan Brown's humblebragging about his Italian vacation. Listen Now!

CME Group CEO Terry Duffy has expressed opposition to the special regulatory exemptions granted to Polymarket and Crypto. Chicago Board Options Exchange (CBOE) shared a similar stance during the first ever SEC and CFTC joint roundtable discussing regulatory harmonization priorities between their agencies. ~This episode is sponsored by Tangem~Tangem ➜ https://bit.ly/TangemPBNUse Code: "PBN" for Additional Discounts!00:00 Intro00:10 Sponsor: Tangem00:45 Harmonization01:30 Paul Atkins INTRO + Crenshaw bitter?02:30 Terrence Duffy + CBOE chicago03:00 Shayne Coplan03:35 Shayne vs Terrence Duffy: Shots fired!05:10 Louvre05:30 The finger apology05:50 Terrence vs Jump Trading on 24/7 trading07:20 Robinhood vs Bank of America08:10 BoA panics and launches A.I. product 08:25 BoA Innovation Sucks08:50 Crypto Wallet Innovation09:15 Robinhood Prediction Markets10:00 Kraken vs. Nasdaq & CBOE11:45 Shayne slaps Terrence again12:20 Citadel 12:45 Crypto.com will beat legacy companies to having A.I. 14:30 Outro #Crypto #polymarket #Ethereum~Crypto vs Old Exchanges

The Louvre is the world's biggest, most visited museum in the world - about nine million visitors a year — and it's getting a makeover. Our conversation with the first woman to lead the Louvre, President-Director Laurence des Cars about the challenges of overtourism, their ambitious billion-dollar plan to modernize the venerable institution, the role of art and culture in 2025, and the future of museums.

I denne episoden ser vi nærmere på tre av mine favortittmalerier i Louvre: Anna, Maria og Jesusbarnet av Leonardo da Vinci, Hyrdenes tilbedelse av George de La Tour, og Jomfruens død av Caravaggio. Samt et annet bilde som ikke er en favoritt, men som er ganske spesielt!   Vil du se et av mine gratis foredrag om kunst, gå til http://kunsthistorier.no.   Og for mer info, og hvis du har spørsmål, gå til  kristinetghardeberg.no   Nå kan du få boken «De fordømte» både i pocket og innbunden!   En roman om familie, skyld og tilgivelse. Og en god del kunst, historie og Firenze. (Kan leses før eller etter «De uskyldige»)

Ce mardi 30 septembre, Frédéric Simottel a reçu Matthieu Grymonprez, global CDO & CIO chez Adeo et Florian Mione, vice-président Industries de SAP, dans l'émission Tech&Co Business depuis le SAP NOW AI Tour au Carrousel du Louvre sur BFM Business. Retrouvez l'émission le samedi et réécoutez la en podcast.

Réécoutez FG mix invite l'hôtel Régina de Paris avec Belle Boutique du lundi 29 septembre 2025 Situé en face du Musée du Louvre et surplombant le jardin des Tuileries, l'hôtel Regina Louvre est à proximité des principaux monuments parisiens : la tour Eiffel, le Palais Garnier, le Grand Palais, le Trocadéro, les Invalides, le Musée d'Orsay… Il se trouve en plein cœur de Paris, dans le quartier de la mode, du shopping et des musées. Les magasins de luxe de la rue St Honoré témoignent de l'esprit de créativité qui souffle tous les jours sur ce quartier de la capitale française. Chaque chambre a été soigneusement rénovée pour retrouver la splendeur du 19e siècle, alliant l'élégance traditionnelle et le confort moderne avec subtilité. Une partie des chambres donne sur une cour fleurie très calme ; l'autre donne sur le jardin des Tuileries et le Louvre. Peu d'hôtels parisiens offrent une vue aussi spectaculaire sur le musée d'Orsay, le musée du Louvre, le dôme des Invalides, la Tour Eiffel ou la verrière du Grand Palais.https://www.regina-hotel.com/Instagram : www.instagram.com/belleboutiqueeditsSoundcloud : @belleboutiqueFacebook : www.facebook.com/BelleBoutique.frYoutube : www.youtube.com/@BELLEBOUTIQUEPARIS

We're making our fifth children's book, and it's the most Parisian one yet. In fact, there are some major changes to this one, so we decided to open the curtain and show you how we do them.    Lina talks about her illustrating process and I talk about how I wrote this one - and why I changed the whole style.    You can find our other four children's books in all the Anglophone bookshops of Paris, but also in le Peloton cafe, the Ile Aux Fees boutique, the Bon Marché department store, and Messy Nessy's cabinet of curiosities. Also the Louvre museum and the musée d'Orsay. The music in this episode is from Pres Maxson, an original called Walk a Giraffe.  *********** The Earful Tower exists thanks to support from its members. From $10 a month you can unlock almost endless extras including bonus podcast episodes, live video replays, special event invites, and our annually updated PDF guide to Paris.  Membership takes only a minute to set up on Patreon, or Substack. Thank you for keeping this channel independent.  For more from the Earful Tower, here are some handy links: Website  Weekly newsletter  Walking Tours

We are buzzing to get this feature off the ground. Inspired by nostalgia, Desert Island Discs and, frankly, a desire to talk about happier footballing moments, Hang it in the Louvre is a podcast about real and mental images, and crazy days supporting the Blades. Huge thanks to Tyrone for being our first guest. Get full access to The Pinch at www.thepinch.uk/subscribe

This week, Scott sat down with Senior Editors Kate Klonick and Eric Columbus to talk through the week's big national security news stories, including: “An Un-Airing of Grievances.” Since the assassination of conservative activist Charlie Kirk, some supporters of his—including several figures within the Trump administration—have actively sought to have individuals who have said critical or purportedly insensitive things about Kirk removed from their jobs or otherwise punished. This arguably came to a head after Jimmy Kimmel Live! was pulled from the air following statements by FCC Chairman Brendan Carr suggesting networks might face additional regulatory scrutiny for not addressing alleged misinformation about Kirk's killer he purportedly put forward. And while Kimmel is now back on the air, several major local affiliates are refusing to air his show. How do these efforts comport with the First Amendment? And what do they mean for freedom of speech regardless?“You Can't Spell Appeasement Without App.” After months of negotiations—during which it has held off on enforcing a statutorily mandated ban—the Trump administration has announced that it has reached a deal with China regarding the disposition of the social media platform TikTok and its operation in the United States. But the public details of the deal have been few and far between, and much more remains to be worked out. How close to a deal are the parties in actuality? And does it address the national security concerns motivating Congress's ban in the first place?“Playing with White House Money.” The Trump administration has been rocked by two major corruption-related stories in the past week. First, the Justice Department is reported to have closed an investigation into White House immigration czar Tom Homan, who reportedly accepted $50,000 from undercover FBI agents prior to joining the administration on the understanding that he would help the donors gain access to the incoming Trump administration. And second, new details suggest that the recent deal to permit chip sales to the UAE were tied up in a variety of major cryptocurrency deals that enriched both the Trump Organization and others in the Trump administration—only the latest in a long history of suspect cryptocurrency transactions by Trump-related businesses. How big a problem are these transactions? And what do they tell us about the state of corruption on the second Trump administration?In object lessons, Eric marked the Jewish New Year with a novel recommendation: “To Rise Again at a Decent Hour,” by Joshua Ferris, a midlife-crisis tale woven through Judaism, baseball, and dentistry—two subjects close to his heart, and one that isn't. Scott, meanwhile, is back on the D.C. concert circuit and wants you to join him at Union Stage on October 14 to see Katie Pruitt, whose rock-infused Americana sound he thinks deserves a bigger audience. Kate rounded things out with a little blue hippo—specifically the souvenir version of the famous Egyptian figurine better known as “William,” a reminder of a past mother-daughter trip to Paris that involved butchering French while scouring the Louvre.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with Senior Editors Kate Klonick and Eric Columbus to talk through the week's big national security news stories, including: “An Un-Airing of Grievances.” Since the assassination of conservative activist Charlie Kirk, some supporters of his—including several figures within the Trump administration—have actively sought to have individuals who have said critical or purportedly insensitive things about Kirk removed from their jobs or otherwise punished. This arguably came to a head after Jimmy Kimmel Live! was pulled from the air following statements by FCC Chairman Brendan Carr suggesting networks might face additional regulatory scrutiny for not addressing alleged misinformation about Kirk's killer he purportedly put forward. And while Kimmel is now back on the air, several major local affiliates are refusing to air his show. How do these efforts comport with the First Amendment? And what do they mean for freedom of speech regardless?“You Can't Spell Appeasement Without App.” After months of negotiations—during which it has held off on enforcing a statutorily mandated ban—the Trump administration has announced that it has reached a deal with China regarding the disposition of the social media platform TikTok and its operation in the United States. But the public details of the deal have been few and far between, and much more remains to be worked out. How close to a deal are the parties in actuality? And does it address the national security concerns motivating Congress's ban in the first place?“Playing with White House Money.” The Trump administration has been rocked by two major corruption-related stories in the past week. First, the Justice Department is reported to have closed an investigation into White House immigration czar Tom Homan, who reportedly accepted $50,000 from undercover FBI agents prior to joining the administration on the understanding that he would help the donors gain access to the incoming Trump administration. And second, new details suggest that the recent deal to permit chip sales to the UAE were tied up in a variety of major cryptocurrency deals that enriched both the Trump Organization and others in the Trump administration—only the latest in a long history of suspect cryptocurrency transactions by Trump-related businesses. How big a problem are these transactions? And what do they tell us about the state of corruption on the second Trump administration?In object lessons, Eric marked the Jewish New Year with a novel recommendation: “To Rise Again at a Decent Hour,” by Joshua Ferris, a midlife-crisis tale woven through Judaism, baseball, and dentistry—two subjects close to his heart, and one that isn't. Scott, meanwhile, is back on the D.C. concert circuit and wants you to join him at Union Stage on October 14 to see Katie Pruitt, whose rock-infused Americana sound he thinks deserves a bigger audience. Kate rounded things out with a little blue hippo—specifically the souvenir version of the famous Egyptian figurine better known as “William,” a reminder of a past mother-daughter trip to Paris that involved butchering French while scouring the Louvre. Hosted on Acast. See acast.com/privacy for more information.

In the aftermath of the shipwreck, France was scandalized by what had happened as the details emerged. And artist Théodore Géricault became obsessed with it. Research: Amigo, Ignacio. “How a biologist turned amateur sleuth to solve a century-old art riddle.” The Guardian. Oct. 23, 2023. https://www.theguardian.com/artanddesign/2023/oct/27/how-a-biologist-turned-amateur-sleuth-to-solve-a-century-old-art-riddle Barran, Julian. “Théodore Géricault, Illustrations to Alexandre Corréard’s ‘Le Naufrage de La Méduse.’” The Burlington Magazine, vol. 119, no. 889, 1977, pp. 311–310. JSTOR, http://www.jstor.org/stable/878824 Baudelaire, Charles. “WHAT IS ROMANTICISM?” The Salon of 1848. https://writing.upenn.edu/library/Baudelaire-Salon-1848.pdf Burgos, Javier S. “A new portrait by Géricault.” The Lancet Neurology, Volume 20, Issue 2, 90 – 91. https://www.thelancet.com/journals/laneur/article/PIIS1474-4422(20)30479-8/fulltext Burgos, Javier. S. “In search of Théodore Géricault’s lost monomanias.” Metode. June 3, 2024. https://metode.org/issues/article-revistes/in-search-of-theodore-gericaults-lost-monomanias.html Dard, Charlotte Adelaide Picard. “The sufferings of the Picard family after the shipwreck of the Medusa, in the year 1816.” Constable and Co. Edinburgh, Scotland. 1827. Accessed online: https://www.gutenberg.org/files/22792/22792-h/22792-h.htm Dione, Babacar and Mark Banchereau. “France withdraws from Senegal, ending its permanent military presence in West Africa.” AP. July 17, 2025. https://apnews.com/article/senegal-france-military-withdrawal-57d150687e18cd20ac6a6d7194821208 The Editors of Encyclopaedia Britannica. "Treaties of Paris". Encyclopedia Britannica, 23 May. 2025, https://www.britannica.com/event/Treaties-of-Paris-1814-1815 “The Frigate Medusa … “ The Raleigh Minerva. Nov. 4, 1816. https://www.newspapers.com/image/58081420/?match=1&terms=medusa “Gericault.” The Illustrated Magazine of Art, Vol. 2, No. 11 (1853), pp. 282-283 Stable URL: https://www.jstor.org/stable/20538136 Géricault, Théodore. “Cuirassier blessé, quittant le feu.” 1814. Louvre. https://collections.louvre.fr/ark:/53355/cl010059200 Géricault, Théodore. “Race of the Riderless Horses.” 1817. Getty Museum. https://www.getty.edu/art/collection/object/103RH8 Géricault, Théodore. “Race of the Riderless Horses at Rome, Study.” 1817. The Met. https://www.metmuseum.org/art/collection/search/665793 Huet, Marie-Hélène. “The Face of Disaster.” Yale French Studies, no. 111, 2007, pp. 7–31. JSTOR, http://www.jstor.org/stable/20479368 “Loss of the French Frigate Medusa.” Hartford Courant. Oct. 29, 1816. https://www.newspapers.com/image/1105494685/?match=1&terms=medusa Miles, Jonathan. “The Wreck of the Medusa.” Atlantic Monthly Press. 2007. Savigny, Jean Baptiste Henri, and Alexandre Correard. “Narrative of the Voyage to Senegal.” London : Printed for Henry Colburn. 1818. https://archive.org/details/narrativeofvoyag00savirich/page/xiv/mode/2up Smith, Roberta. “Art Review: Oui, Art Tips From Perfidious Albion.” New York Times. Oct. 10, 2003. https://www.nytimes.com/2003/10/10/arts/art-review-oui-art-tips-from-perfidious-albion.html See omnystudio.com/listener for privacy information.

I denne episoden ser vi nærmere på to av mine favorittmalerier i Louvre: Bryllupet i Kana av Veronese og Eldre mann med barnebarn av Ghirlandaio.   Vil du se et av mine gratis foredrag om kunst, gå til http://kunsthistorier.no.   Og for mer info, og hvis du har spørsmål, gå til  kristinetghardeberg.no   Nå kan du få boken «De fordømte» både i pocket og innbunden!   En roman om familie, skyld og tilgivelse. Og en god del kunst, historie og Firenze. (Kan leses før eller etter «De uskyldige»)

Le musée du Louvre ouvre une grande exposition consacrée à ce courant né au 12ème siècle. Un mouvement qui irrigue encore notre culture Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The first episode of this two-parter covers the French mission to Senegal that the frigate Medusa led in 1816. Soon, the mission fell disastrously apart. Research: Amigo, Ignacio. “How a biologist turned amateur sleuth to solve a century-old art riddle.” The Guardian. Oct. 23, 2023. https://www.theguardian.com/artanddesign/2023/oct/27/how-a-biologist-turned-amateur-sleuth-to-solve-a-century-old-art-riddle Barran, Julian. “Théodore Géricault, Illustrations to Alexandre Corréard’s ‘Le Naufrage de La Méduse.’” The Burlington Magazine, vol. 119, no. 889, 1977, pp. 311–310. JSTOR, http://www.jstor.org/stable/878824 Baudelaire, Charles. “WHAT IS ROMANTICISM?” The Salon of 1848. https://writing.upenn.edu/library/Baudelaire-Salon-1848.pdf Burgos, Javier S. “A new portrait by Géricault.” The Lancet Neurology, Volume 20, Issue 2, 90 – 91. https://www.thelancet.com/journals/laneur/article/PIIS1474-4422(20)30479-8/fulltext Burgos, Javier. S. “In search of Théodore Géricault’s lost monomanias.” Metode. June 3, 2024. https://metode.org/issues/article-revistes/in-search-of-theodore-gericaults-lost-monomanias.html Dard, Charlotte Adelaide Picard. “The sufferings of the Picard family after the shipwreck of the Medusa, in the year 1816.” Constable and Co. Edinburgh, Scotland. 1827. Accessed online: https://www.gutenberg.org/files/22792/22792-h/22792-h.htm Dione, Babacar and Mark Banchereau. “France withdraws from Senegal, ending its permanent military presence in West Africa.” AP. July 17, 2025. https://apnews.com/article/senegal-france-military-withdrawal-57d150687e18cd20ac6a6d7194821208 The Editors of Encyclopaedia Britannica. "Treaties of Paris". Encyclopedia Britannica, 23 May. 2025, https://www.britannica.com/event/Treaties-of-Paris-1814-1815 “The Frigate Medusa … “ The Raleigh Minerva. Nov. 4, 1816. https://www.newspapers.com/image/58081420/?match=1&terms=medusa “Gericault.” The Illustrated Magazine of Art, Vol. 2, No. 11 (1853), pp. 282-283 Stable URL: https://www.jstor.org/stable/20538136 Géricault, Théodore. “Cuirassier blessé, quittant le feu.” 1814. Louvre. https://collections.louvre.fr/ark:/53355/cl010059200 Géricault, Théodore. “Race of the Riderless Horses.” 1817. Getty Museum. https://www.getty.edu/art/collection/object/103RH8 Géricault, Théodore. “Race of the Riderless Horses at Rome, Study.” 1817. The Met. https://www.metmuseum.org/art/collection/search/665793 Huet, Marie-Hélène. “The Face of Disaster.” Yale French Studies, no. 111, 2007, pp. 7–31. JSTOR, http://www.jstor.org/stable/20479368 “Loss of the French Frigate Medusa.” Hartford Courant. Oct. 29, 1816. https://www.newspapers.com/image/1105494685/?match=1&terms=medusa Miles, Jonathan. “The Wreck of the Medusa.” Atlantic Monthly Press. 2007. Savigny, Jean Baptiste Henri, and Alexandre Correard. “Narrative of the Voyage to Senegal.” London : Printed for Henry Colburn. 1818. https://archive.org/details/narrativeofvoyag00savirich/page/xiv/mode/2up Smith, Roberta. “Art Review: Oui, Art Tips From Perfidious Albion.” New York Times. Oct. 10, 2003. https://www.nytimes.com/2003/10/10/arts/art-review-oui-art-tips-from-perfidious-albion.html See omnystudio.com/listener for privacy information.

On episode 145 of "The Places Where We Go", we are taking you on a journey through several top art museums in Paris. Listen to learn more about what to expect when visiting the Louvre, the Musée d'Orsay, and the Musée Picasso.   The Places Where We Go Resources PODCAST: Released every other week in your favorite podcast app WEBSITE & BLOG www.theplaceswherewego.com SUBSCRIBE TO OUR NEWSLETTER YOUTUBE: The Places Where We Go YouTube Channel INSTAGRAM: https://www.instagram.com/theplaceswherewego TWITTER / X: https://twitter.com/theplaceswhere1 FACEBOOK: https://www.facebook.com/ThePlacesWhereWeGo EMAIL: Write to us at comments@theplaceswherewego.com GEAR WE USE: The Places Where We Go Amazon Storefront We'll see you at the places where we go. Julie & Art AFFILIATE LINK DISCLOSURE The Places Where We Go contains affiliate links and is a member of the Amazon Services LLC Associates Program. If you make a purchase using one of these Amazon links, we may receive compensation at no extra cost to you. Read our disclaimer and privacy policy for more information.

durée : 00:59:03 - Mauvais genres - par : François Angelier - De Notre-Dame à Gotham city, une richissime exposition rend compte de l'évolution des cultures gothiques, de la cathédrale médiévale à la scène Métal. - réalisation : Laurent Paulré

Est-ce un dictionnaire ou bien un voyage au cœur du Japon ? Sous ses airs objectifs et factuels, se cachent une tendresse, une connaissance fine et affective des coutumes, des produits, des petites habitudes et les quelques (rares ?) défauts de l'archipel.  Chihiro Masui file de mots en mots, et en recettes- jubilatoire- le Japon, son pays natal, avec l'attention de celle qui l'a quittée, et le raconte avec justesse, humour, intelligence, et goût. Chacun y trouvera son compte : une anecdote, une découverte, que l'on soit passionné de Japon, Japonais à Paris, ou curieux d'autres cultures. Dans ce dictionnaire-là, vous y piocherez un autre regard sur un pays qui fascine et intrigue, celui de l'intérieur, et une multitude de détails surprenants, cocasses, et secrets. Il se lit comme on glane et dans la plus grande liberté !  Voyage en terre umami - ce qui littéralement signifie « le goût de ce qui est bon » – avec Chihiro Masui, journaliste, cook writer / autrice culinaire, son dernier livre «Dictionnaire gourmand du Japon», aux éditions Flammarion. Elle est aussi l'autrice de plusieurs livres de cuisines de chefs, «Kei III» chez Flammarion ou encore «L'Astrance» aux éditions du Chêne. Pour suivre Chihiro sur les réseaux et sur son site. Merci à Irrashaï, et au restaurant gastronomique Biwan de nous avoir accueillis et offert une alcôve, le temps d'enregistrer l'émission. Irrashaï est une épicerie, une bulle de Japon située au cœur de Paris, 40 rue du Louvre. Pour aller plus loin : - Poissons, un art du Japon, de Chihiro Masui - Glenat - La cuisine japonaise maison, de Maori Murota - Marabout - Paris Tokyo, mon amour, de Dorothée Perkins - Flammarion - Japon, le livre de cuisine, de Nancy Singleton Hachsu - Éditions Phaïdon - Japon, le livre de cuisine végétarienne, de Nancy Singleton - Éditions Phaïdon - Pour des ustensiles : à Paris chez Irrashaï et chez Kama Asa.  Programmation musicale : Moriarty – Small town Boy. En images  

durée : 00:59:03 - Mauvais genres - par : François Angelier - De Notre-Dame à Gotham city, une richissime exposition rend compte de l'évolution des cultures gothiques, de la cathédrale médiévale à la scène Métal. - réalisation : Laurent Paulré

Est-ce un dictionnaire ou bien un voyage au cœur du Japon ? Sous ses airs objectifs et factuels, se cachent une tendresse, une connaissance fine et affective des coutumes, des produits, des petites habitudes et les quelques (rares ?) défauts de l'archipel.  Chihiro Masui file de mots en mots, et en recettes- jubilatoire- le Japon, son pays natal, avec l'attention de celle qui l'a quittée, et le raconte avec justesse, humour, intelligence, et goût. Chacun y trouvera son compte : une anecdote, une découverte, que l'on soit passionné de Japon, Japonais à Paris, ou curieux d'autres cultures. Dans ce dictionnaire-là, vous y piocherez un autre regard sur un pays qui fascine et intrigue, celui de l'intérieur, et une multitude de détails surprenants, cocasses, et secrets. Il se lit comme on glane et dans la plus grande liberté !  Voyage en terre umami - ce qui littéralement signifie « le goût de ce qui est bon » – avec Chihiro Masui, journaliste, cook writer / autrice culinaire, son dernier livre «Dictionnaire gourmand du Japon», aux éditions Flammarion. Elle est aussi l'autrice de plusieurs livres de cuisines de chefs, «Kei III» chez Flammarion ou encore «L'Astrance» aux éditions du Chêne. Pour suivre Chihiro sur les réseaux et sur son site. Merci à Irrashaï, et au restaurant gastronomique Biwan de nous avoir accueillis et offert une alcôve, le temps d'enregistrer l'émission. Irrashaï est une épicerie, une bulle de Japon située au cœur de Paris, 40 rue du Louvre. Pour aller plus loin : - Poissons, un art du Japon, de Chihiro Masui - Glenat - La cuisine japonaise maison, de Maori Murota - Marabout - Paris Tokyo, mon amour, de Dorothée Perkins - Flammarion - Japon, le livre de cuisine, de Nancy Singleton Hachsu - Éditions Phaïdon - Japon, le livre de cuisine végétarienne, de Nancy Singleton - Éditions Phaïdon - Pour des ustensiles : à Paris chez Irrashaï et chez Kama Asa.  Programmation musicale : Moriarty – Small town Boy. En images  

Belly (Lola Tung) and Conrad (Christopher Briney) of The Summer I Turned Pretty finally got their happy ending in the season 3 finale episode. Host Reshma Gopaldas and journalist Jason Pham discuss the finale, Belly and Conrad's long running will they/won't they - but of course they will- relationship, and what might happen in the newly announced The Summer I Turned Pretty movie.We break down Jeremiah's kitchen romance and chef future, Laurel's absence in the finale, Conrad and Belly's love scene which has been years in the making. Taylor Swift's two songs, "Dress" and "Out of the Woods (Taylor's Version)," that had starring roles in the finale, alongside Phoebe Bridgers' "Scott Street." Plus, what we missed seeing in the finale, what didn't work for us, (ahem Belly's bob haircut), and why we think Jeremiah should be in a relationship with someone else.We discuss Belly's Paris life, and how her one long day in Paris with Conrad included The Louvre, The Eiffel Tour, and so many iconic French spots, plus the dinner with her friends, and the ups and downs of their relationship, leading up to the big reunion moment, the short break-up, and then Belly's run to the train station to finally tell Conrad she loves him. The book ending shows Belly and Conrad getting married, but the television finale did not.From Taylor and Steven, to Jeremiah and Denise, to Conrad and Belly, the finale wrapped up all the stories, but the movie will most likely feature Belly and Conrad's wedding, and other relationship milestones. We discuss what storyline possibilities could take place in the movie, and Jason suggests Belly and Conrad's house in Cousins might burn down. Plus, what he think Belly and Conrad will name their first child.The Summer I Turned Pretty is created by Jenny Han and is streaming now on Prime Video, and stars: Lola Tung, Christopher Briney, Gavin Casalegno, Rain Spencer, Sean Kaufman, Rachel Blanchard, Tom Everett Scott, Colin Ferguson and Jackie Chung.Son of a Binge production credits:Hosted by: Reshma Gopaldas (TW: @reshingbull, IG @reshmago)Guest co-host: Jason PhamArtwork by: Laura Valencia (IG @iamlauravalencia)Music by: Kevin Calaba (IG @airlandsmusic)Send us a text, let us know what shows and guests you want us to cover.

Violeta Parra needs no introduction in Latin America: not only did she record the greatest album in Chilean history, she also collected two thousand folk songs, danced in the Poor Circus, sang in the streets, and --incredibly-- exhibited at the Louvre. Over the years she also broke ...*checks notes*... 48 guitars over people's heads. Discover the larger than life story of Violeta Parra with our guest Ericka Verba, author of Thanks to Life, A Biography of Violeta Parra. _______________________ Travel with us! What'sHerName TOURS are open for registration. Or check out the What'sHerName SHOP! Every bit helps us make more episodes. Music featured in this episode: Violeta Parra recorded by Alan Lomax in 1953 in the Lomax Digital Archive; Puerto Montt is Trembling, and Gracias a la Vida by Violeta Parra; Las Hermanas Parra recored for RCA Victor in 1952; Corazon Maldito and El Guilatun by Desborde; Pink Flamenco by Doug Maxwell; Sus Remedios by Casa Rosa; Cha Cha Chango by Quincas Moreira; Despair and Triumph by Kevin MacLeod; Spirit of Fire by Jesse Gallagher. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Un samedi après-midi, je me retrouve à Paris, à Saint-Michel. La ligne 4 est fermée. Je suis chargée et j'ai envie de rentrer tranquillement, pas de marcher sous le soleil de plomb pour rejoindre Châtelet. C'est alors que je remarque qu'un bus 21 va bientôt arriver. C'est parfait, le 21 me déposera à Saint-Lazare. Et c'est ainsi que ma petite aventure commence.  Le bus 21 passe par la rue de Rivoli, près du Louvre, à Opéra et place de Clichy.  www.onethinginafrenchday.com (pour l'abonnement aux notes et aux transcripts)

durée : 00:59:01 - Allons-y voir ! - par : Patrick Boucheron, Sophie-Catherine Gallet - Pour la première fois, "L'Astronome" peint par Veermer en 1668 quitte le Louvre pour se donner à voir au Mucem, dans l'exposition "Lire le ciel, sous les étoiles en Méditerranée". Mais que cherche cet astronome dans le ciel ? Les étoiles ou les destinées humaines ? - réalisation : Laurence Millet - invités : Pierre Singaravélou Historien spécialiste des empires coloniaux et de la mondialisation, professeur au King's College de Londres et à l'université Paris I Panthéon-Sorbonne.; Juliette Bessette historienne de l'art à l'Université de Lausanne; Frédérique Aït-Touati Historienne des sciences, directrice de recherche au CNRS, et metteure en scène; Mathieu Potte-Bonneville Philosophe et directeur du département Culture et création du Centre Pompidou

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Diesmal gehts um Demon Souls, Interstellar, Oppenheimer, Restposten-Läden, den Ikea-Effekt, den Louvre des Ruhrgebiets, Designobjekte, SegaCD, Pokemon, 3D, und Kino. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/AlliterationAmArsch Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Send us a textIn this episode...--> IO Interactive, developers of the much-beloved Hitman series, showed off its latest title, 007 First Light, during a special September State of Play.--> The Call of Duty video game series is finally getting a Hollywood movie, thanks to a deal between Activision and Paramount.-->  Hollow Knight: Silksong's $20 price tag is making some indie developers believe the game is so cheap that it will hurt the pricing options of other indie games.--> One of the most bizarre but charming cultural crossovers has officially come to an end as the Louvre has finally laid its Nintendo 3DS audio guides to rest.--> Also: Top 3 New Releases, Retro RewindWe love our sponsors! Please help us support those who support us!- Check out the Retro Game Club Podcast at linktr.ee/retrogameclub- Connect with CafeBTW at linktr.ee/cafebtw- Get creative with Pixel Pond production company at pixelpondllc.com- Visit Absolutely the Best Podcast: A Work in Progress at linktr.ee/absolutelythebest**Use this link to get a $20 credit when you upgrade to a paid podcast hosting plan on Buzzsprout! buzzsprout.com/?referrer_id=1884378Hosts: retrogamebrews, wrytersview, donniegretroOpening theme: "Gamers Week Theme" by Akseli TakanenPatron theme: "Chiptune Boss" by donniegretroClosing theme: "Gamers Week Full-Length Theme" by Akseli TakanenSupport the show

durée : 00:58:36 - Le Cours de l'histoire - par : Xavier Mauduit, Maïwenn Guiziou - Les civilisations mésopotamiennes et égyptiennes sont les premières à avoir détourné l'image de sa seule fonction figurative. Qu'ils soient divins ou terrestres, les grands événements sont désormais décrits par l'entremêlement du texte et de l'image, élevée au rang de symbole. - réalisation : Thomas Beau, Laurence Millet - invités : Hélène Bouillon Égyptologue, conservatrice en chef, directrice de la conservation, des expositions et des éditions au Louvre Lens; Ariane Thomas Docteure en archéologie orientale, directrice du département des Antiquités orientales au Musée du Louvre et conservatrice des collections mésopotamiennes

This episode, we are thrilled to be joined by the artist William Kentridge. Born in 1955 in Johannesburg, South Africa - a city where he also now lives and works - William grew up under the pall of Apartheid. This experience deeply informs his practice, which frequently questions the historical record and examines the inequities and absurdities of our world.Working across multiple media, he combines drawing, writing, film, performance, and other collaborative practices to create works of art that are grounded in history, yet maintain a space for contradiction and uncertainty.In one of his now-signature techniques, William photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure. This is visible, for instance, in the series Self Portrait as a Coffee Pot, which William launched on the online streaming service MUBI last year. In this nine-part series, he opens the doors to his Johannesburg studio to lay bare his creative process, reflecting on culture, history, and political memory as he does so.William's genre defying talents have also led him to create operas and theatrical productions since the 1990s. Of his many productions, we've been lucky to see a few, including his 2010 production for the Metropolitan Opera of Shostakovich's The Nose, as well as his 2023 production in Paris of "Waiting for the Sibyl."William's work has been exhibited in museums around the world, including the MoMA in New York, the Albertina in Vienna, the Louvre in Paris, and the Royal Academy of Arts in London, among many others. He is also, of course, in the collections of major museums across the globe. Most recently, here in New York, William presented a solo exhibition at Hauser and Wirth titled, “A Natural History of the Studio.”William is represented by Hauser and Wirth and Goodman Galleryhttps://www.hauserwirth.com/artists/william-kentridge/https://goodman-gallery.com/artists/william-kentridgeFollow us on Instagram for episode updates and exclusive behind the scenes content https://www.instagram.com/artfromtheoutsidepodcastSome artists discussed in this episodeHenri MatisseAlberto GiacomettiJackson PollockJacques Lecoq

Museums are where we put our best stuff. An item might belong in a museum if it's rare, expensive, irreplaceable, or so ordinary and beloved it becomes extraordinary. A self-portrait by Vincent Van Gogh, a can of SPAM, a Romanian mud hut, a narwhal horn, a discarded red stiletto: They can all be found in a museum somewhere in the world. But exhibitions in museums are more than mere collections of striking items. Museums are vital institutions that take on the tasks of collecting, interpreting, and caring for artifacts so they can be experienced by the general public. The Ancient Greek word mouseion means ‘seat of Muses.' In classical antiquity, a museum was a place for contemplation and philosophical debate. When art moved from the open air, larger-than-life statuary of the Greco-Roman era to more intimate, human-scale paintings and objects, the definition of museum changed, too. It became a place to visit to see art — and anything placed in a museum became art. In this episode, we romp through the delightful hoarding behavior behind Renaissance Wunderkammers, learn about the first museum curator (spoiler: It was a woman!), and celebrate the majesty of the Louvre. Then we recommend books that transported us to museums around the world. Here are the books we recommend on the show: A Little History of Art by Charlotte Mullins A Parisian Cabinet of Curiosities: Deyrolle by Prince Louis Albert de Broglie Cabinets of Curiosities by Patrick Mauriès How to Enjoy Art by Ben Street Metropolitan Stories by Christine Coulson The Last Painting of Sara de Vos by Dominic Smith For more on the books we recommend, plus the other cool stuff we talk about, visit show notes at http://strongsenseofplace.com/podcasts/2022-07-18-museums Do you enjoy our show? Do you want access to awesome bonus content? Please support our work on Patreon! Every little bit helps us keep the show going and makes us feel warm and fuzzy inside - https://www.patreon.com/strongsenseofplace Learn more about your ad choices. Visit megaphone.fm/adchoices

Entró al Louvre, disfrazado, y se la llevó. Era 1911 y aquel robo la convirtió en la obra de arte más conocida en todo el mundo. Los años que estuvo desaparecida estuvieron llenos de curiosidades. Ven a conocer la historia del robo de la mona Lisa.

durée : 00:23:52 - Les Nuits de France Culture - par : Mathilde Wagman - L'autoportrait occupe une place majeure dans l'œuvre de Rembrandt. Que tente d'exprimer le peintre à travers ses tableaux, ses représentations de lui-même ? En 1979, l'émission "Œuvres et chefs-d'œuvre en France" propose une analyse comparative de trois autoportraits conservés au musée du Louvre. - réalisation : Virginie Mourthé

Send us a textWhat if the laws that govern our societies didn't originate on Earth? The foundations of modern civilization rest upon statutes that date to 1754 B.C. in ancient Babylon. The Code of Hammurabi—possibly the oldest discovered legal decree— bears striking similarities to Biblical passages that would emerge centuries later.Unearthed in Iran 1901 and now housed in the Louvre in Paris, the Code of Hammurabi was inscribed on a basalt stele that depicts the Babylonian god Utu-Shamash bestowing laws upon King Hammurabi—a scene remarkably similar to Moses receiving the Ten Commandments. This ancient legal framework contains 282 laws covering everything from trade and marriage to theft and labor practices, establishing the principle of proportional justice we still use today. When compared with Levitical/Talmudic law and its 613 precepts, the structural similarities suggest a possible common origin.The Biblical record itself contains fascinating clues pointing to extraterrestrial involvement. Deuteronomy 32:8-9 describes how El Elyon (the Most High) divided nations among his sons, with Israel assigned to Yahweh—hinting at a pantheon of powerful beings rather than a single deity. Ancient Sumerian texts describe humans as "mixed ones," suggesting our genome contains elements from the Anunnaki, advanced beings who allegedly combined their DNA with primitive hominids. This genetic intervention might explain why humans alone among Earth's species have developed complex legal systems—perhaps we inherited this tendency from our cosmic progenitors.Without laws, our primal nature would likely lead to chaos. As Henry David Thoreau observed, "the savage in man is never quite eradicated." The legal frameworks established by ancient civilizations—whether inspired by gods or aliens—continue to serve as the cornerstone of human progress. "Space Journey" by Geoff HarveyCopyright © 2021 Melody Loops LPFull License Royalty-Free Music https://www.melodyloops.com Support the showVisit our website

A unique mummy in an excellent settingIn this episode of the Mummy Movie Podcast, we examine Belphegor Phantom of the Louvre!Episode suggested by Storybook: Sacred Lore of Witchcraft PodcastWebsite: https://lnk.bio/StorybookPodcastPatreon: patreon.com/MummyMoviePodcastEmail: mummymoviepodcast@gmail.comBibliographyAssmann, J. (2011). Death and salvation in ancient Egypt. Cornell University Press.Dodson, A. (2012). Afterglow of empire: Egypt from the fall of the New Kingdom to the Saite Renaissance. Cairo: American University in Cairo PressIkram, S. (2015). Death and burial in ancient Egypt. American University in Cairo Press.Taylor, J. H. (1989). Egyptian coffins (Vol. 11). Bloomsbury Shire Publications.Taylor, J. H. (2001). Death and the afterlife in ancient Egypt. University of Chicago Press.Teeter, E. (2011). Religion and ritual in ancient Egypt. Cambridge University Press.Warburton, D., & Hornung, E. (2007). The Egyptian Amduat: the book of the hidden chamber. Living Human Heritage Publications.Taylor, J. H. (1989). Egyptian coffins (Vol. 11). Bloomsbury Shire Publications.Warburton, D., & Hornung, E. (2007). The Egyptian Amduat: the book of the hidden chamber. Living Human Heritage Publications. Hosted on Acast. See acast.com/privacy for more information.

With the Middle East embroiled in endless conflict, Palestinian and Israeli peacemakers, Hiba Qasas and Nimrod Sheffer discuss a different way forward and how to revive the two-state solution. Then, science writer David Wallace-Wells talks to Christiane about the dangers of plastic pollution and the microplastics are in our vital organs. He warns Donald Trump's rollback of climate change regulations will impact our health. Plus, former New York Times Paris bureau chief Elaine Sciolino talks to Christiane about her new book, "Adventures in the Louvre," and takes her behind the scenes of the iconic museum, from its famous glass pyramid to the coveted Mona Lisa. Then a look at Afghanistan under the Taliban, now and the first time they took over in 1996.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

August 21, 1911. Italian handyman Vincenzo Peruggia steals the Mona Lisa from the Louvre. This episode originally aired in 2023.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Koalice SPOLU představila svůj volební program. Od ostatních stran původní vládní pětky se téměř neliší. A když vynecháme hodnotové a bezpečnostní otázky, tak vlastně ani od těch opozičních.Program slibuje v zásadě to, co chtějí všichni - prosperitu, bezpečnost, dobré školství a kvalitní zdravotnictví, nové dálnice, dostupné bydlení, digitalizaci nebo méně byrokracie.„Je to hodně obecné, konkrétní opatření tam skoro nejsou. Vím, že se kvůli tomu v rámci koalice dohadovali. Nakonec ale vyhrál přístup, že je lepší radši neslibovat nic moc konkrétního, že je lepší říct pár bodů a vizí, že to tak dělají všude ve světě,“ popisuje v podcastu Václav Dolejší.Koalice vsadila na hodně podobný vizuální styl jako v loňských volbách - opoziční politici tu jsou zobrazeni na červeném podkladu jako hrozba. A slogany varují před návratem vlády estébáků a komunistů a před otočením kormidla směrem na Východ.„V předvolebním videu pak SPOLU burcuje, že nic není ztraceno a podporovatelů je víc, než se může zdát. Chtějí tím říct váhajícím, že vítězství je pořád možné, pokud ovšem přijdou,“ říká Lucie Stuchlíková.Největší prostor dostal při představování programu v pražské kavárně Louvre logicky premiér Petr Fiala z ODS a pak oba lídři menších koaličních stran, TOP 09 a KDU-ČSL. A kromě nich pak už jen ministr dopravy Martin Kupka, který je hlavním garantem programu SPOLU. Zatímco premiér hlavně naléhavě varoval před Andrejem Babišem, na Kupku vyšel úkol vykreslit báječné Česko v roce 2030, pokud bude pokračovat vláda v současné sestavě.„Trochu mi to přišlo, jako když už se v ODS připravují na špatný výsledek a veřejnosti ukazují možného nástupce, pokud by Fiala měl po případném neúspěchu z vedení odstoupit,“ spekuluje Václav Dolejší.Kdo ve SPOLU má rád saunu? Proč voliči na ulici nepoznávají Mariana Jurečku? A jak je možné, že se na akci Motoristů špatně parkuje? Poslechněte si čerstvou epizodu Vlevo dole!----Vlevo dole řeší politické kauzy, boje o vliv i šeptandu z kuloárů Sněmovny. Vychází každou středu v poledne.Podcast pro vás připravují Lucie Stuchlíková (@StuchlikovLucie) a Václav Dolejší (@VacDol), reportéři Seznam Zpráv.Další podcasty, ale taky články, komentáře a videa najdete na zpravodajském serveru Seznam Zprávy. Poslouchejte nás na webu Seznam Zpráv, na Podcasty.cz nebo ve své oblíbené podcastové aplikaci.Své názory, návrhy, otázky, stížnosti nebo pochvaly nám můžete posílat na adresu audio@sz.cz.Sledujte @SeznamZpravy na sociálních sítích: Twitter // Facebook // Instagram.Seznam Zprávy jsou zdrojem původních informací, nezávislé investigace, originální publicistiky.

Travel the museums of the world from America to London to Paris to Berlin to Israel as we search for evidence for the Bible in secular museums! Highlights include the British Museum, the Louvre, the University of Chicago, and even the Cleveland Public Library!

Travel the museums of the world from America to London to Paris to Berlin to Israel as we search for evidence for the Bible in secular museums! Highlights include the British Museum, the Louvre, the University of Chicago, and even the Cleveland Public Library!

Logan and Winston are off again on another exciting adventure! This time, they must prevent an international incident when the famous Mona Lisa painting goes missing from the Louvre Museum in Paris, France. On board the legendary Orient Express train, the dogs, with the help of the "Magic Bone," travel through Europe, meeting new animal friends along the way.Don't forget to find this book on Amazon at: https://amzn.to/45LjGzJ

Family Travel to France: Paris, Provence, and a Trip of a Lifetime Thinking about family travel to France? In this episode, host Annie Sargent talks with Lori Belinski about planning — and enjoying — a dream trip for six people, from grandparents to kids. Listen to this episode ad-free They share the highlights of Paris, including the Eiffel Tower, the Louvre, and hidden gems you might miss. Then they head south to Provence for lavender fields, hilltop villages, and unforgettable markets. Along the way, Lori reveals how they balanced everyone's interests, managed transportation, and found great places to stay. You'll hear tips on traveling with a multi-generational group, making the most of your time in France, and avoiding common travel pitfalls. Whether you're dreaming of Paris cafés or Provencal sunsets, this episode offers practical advice and inspiration. Subscribe to the Join Us in France Travel Podcast so you don't miss future episodes full of travel stories, tips, and cultural insights. Table of Contents for this Episode [00:00:00] Introduction [00:00:30] Today on the podcast [00:01:01] Podcast supporters [00:02:18] Annie, Lori and James [00:02:45] Family Trip Overview [00:03:03] Olympic Adventures [00:06:20] Exploring the South of France [00:06:32] Fly Fishing Excursion [00:08:53] Driving in France [00:10:46] Driving in France is Easy [00:12:36] Lavender Fields and Local Guides [00:16:12] Monaco Aquarium Visit [00:17:44] Accommodation Experiences [00:20:39] Health Snags [00:21:49] Boat Tour in Nice [00:22:53] Exploring the Wooden Playground [00:23:41] Monaco: The Drink of the Trip [00:24:30] Dog Sled Adventure in Fontainebleau [00:28:42] Journey to Normandy [00:33:28] Navigating Paris with a Group [00:33:40] Trip of a Lifetime on a Budget [00:40:18] Marker [00:42:02] Travel Tips and Reflections [00:42:38] AIRALO, virtual SIM APP [00:43:54] The Podcast and VoiceMap Tours Are a Great Jumping Off Point [00:46:40] Thank you Patrons [00:47:10] Carl's Review [00:48:49] La Rentrée and Forum des Associations [00:51:24] Next Week on the Podcast [00:51:48] Copyright More episodes about family travel in France #FamilyTravelFrance, #ParisWithKids, #ProvenceTravel, #TravelPodcast, #JoinUsInFrance, #ParisTravel, #ProvenceFrance, #TravelTips, #FamilyVacation, #TravelFrance, #PodcastLife, #TravelWithKids, #ExploreFrance, #FrenchCulture, #TravelInspiration, #TravelStories, #PodcastRecommendations, #SlowTravel, #FamilyAdventure, #ParisProvence

Author Elaine Sciolino gives us the history behind the famous women — both artists and subjects — to visit in Paris' grand repository. Then a Romani author shares what it was like growing up in her culture as we trace the lineage and influence of the vibrant Romani people. And the well-traveled Paul Theroux provides aspiring expats a realistic assessment of what it means to leave the US in the rearview mirror. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

Stéphane Bern raconte, en ce vendredi, non pas le dernier repas du Christ avec ses apôtres, mais la célébrissime peinture que le génie Léonard de Vinci, aussi imprévisible qu'insaisissable, en a fait : la Cène, l'immense chef-d'œuvre de la Renaissance et l'une des œuvres d'art les plus mythiques – et mystiques – de tous les temps… En quoi la vision de La Cène de Léonard de Vinci est-elle complètement nouvelle ? Comment a-t-il réussi à rendre “vivante” son œuvre ? Comment expliquer qu'autant d'énigmes continuent de l'entourer ? Pour en parler, Stéphane Bern reçoit Vincent Delieuvin, conservateur en chef chargé de la peinture italienne du 16ᵉ siècle au Musée du Louvre. Au Cœur de l'Histoire est réalisée par Pierre Cazalot. Rédaction en chef : Benjamin Delsol. Auteur du récit : Eloi Audoin-Rouzeau. Journaliste : Clara Leger.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stéphane Bern raconte, en ce vendredi, non pas le dernier repas du Christ avec ses apôtres, mais la célébrissime peinture que le génie Léonard de Vinci, aussi imprévisible qu'insaisissable, en a fait : la Cène, l'immense chef-d'œuvre de la Renaissance et l'une des œuvres d'art les plus mythiques – et mystiques – de tous les temps… En quoi la vision de La Cène de Léonard de Vinci est-elle complètement nouvelle ? Comment a-t-il réussi à rendre “vivante” son œuvre ? Comment expliquer qu'autant d'énigmes continuent de l'entourer ? Pour en parler, Stéphane Bern reçoit Vincent Delieuvin, conservateur en chef chargé de la peinture italienne du 16ᵉ siècle au Musée du Louvre. Au Cœur de l'Histoire est réalisée par Pierre Cazalot. Rédaction en chef : Benjamin Delsol. Auteur du récit : Eloi Audoin-Rouzeau. Journaliste : Clara Leger.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:24:53 - Les Nuits de France Culture - par : Philippe Garbit - En 1963, le Louvre organise une exposition hommage à Paul Signac pour le centenaire de sa naissance. Famille, historiens de l'art et amis artistes se retrouvent pour cette émission de "L'art vivant" où il sera surtout question de son œuvre, de ses influences et de son apport à la peinture. - réalisation : Virginie Mourthé - invités : Germain Bazin; Françoise Cachin Historienne de l'art, conservatrice de musée, petite-fille de Paul Signac

In art history, the pastoral has long offered a vision of nature as sanctuary—Arcadian meadows, idyllic countrysides, and timeless landscapes painted as if untouched by human conflict or change. It is a mode steeped in longing, often idealizing rural life as a place of harmony, simplicity, and beauty. From the verdant backdrops of Renaissance allegories to the sunlit fields of 19th-century landscape painting, the pastoral tradition has provided generations of artists and their audiences a gentle escape from the turbulence of urban and political life. You can still see these scenes in their full, romantic bloom at institutions like the Met in New York or the Louvre in Paris, where they stand as visions of a perfect, almost mythical world. Today, however, a different strain of pastoral is taking root—one that resists the urge to smooth over complexity. My sharp-eyed colleague Katie White has spotted a cohort of contemporary artists who are engaging with pastoral imagery in ways that raise the stakes, bringing the countryside into conversation with the crises and contradictions of the present. She's dubbed this approach the para-pastoral, a genre that does not retreat into a calm and untroubled countryside but instead ventures into ambiguous, layered, and sometimes unsettling terrains. According to Katie, this new approach reframes the landscape not as a static refuge but as a charged space, marked by ecological urgency, political tension, and social change. Rather than romanticizing, the para-pastoral interrogates: Who has access to land? What histories does it conceal? How do rural spaces fit into the global story of climate and capitalism? Katie joins senior editor Kate Brown on the podcast to trace the history of pastoral art and explore the tense, resonant present of the para-pastoral. Together, we'll look at what's fueling the genre's resurgence, the social and environmental urgencies shaping it, and how artists are reimagining the natural landscape—not as a refuge from reality, but as a mirror of it.

Cet été, nous vous proposons de (re)découvrir les épisodes des derniers mois que vous avez le plus appréciés !La créativité est-elle vraiment un talent réservé à quelques-uns ? Et si nous avions la possibilité de la nourrir dès la naissance ?