Podcasts about Malba

Carolina Fusilier (b.1985, Buenos Aires) is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time, and post-human imaginaries at the intersections between organic and mechanical bodies, industrial and domestic settings. Her work takes various forms through moving image, painting, sound, and site-specific projects. Carolina Fusilier lives and works in Oaxaca, Mexico. She studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018. Recent solo and duo exhibitions include Imago, Margot Samel, New York, NY (2025); ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018). Selected group exhibitions include Otr's Mund's, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Margot Samel, New York, NY (2024); Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024); Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023); Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico (2023). Carolina Fusilier, Súbitamente (IMAGO station), 2025, Oil on hexagonal canvas, stainless steel and speaker. Audio by Miko Revereza., 90 1/2 x 157 1/2 x 2 in | 230 x 400 x 5 cm. photo by Matthew Sherman Carolina Fusilier, Altar II (Imago Lab), 2025 Oil on hexagonal canvas, stainless steel frame 35 3/8 x 25 5/8 in | 90 x 65 cm. photo by Matthew Sherman Carolina Fusilier, War song II, 2025, Oil on hexagonal canvas, 31 1/2 x 19 3/4 in | 80 x 50 cm. photo by Matthew Sherman

Apreciar arte no es para expertos. En este episodio nos sentamos —literalmente— en un parque junto al MALBA, después de caminar por sus salas como quien camina sin mapa. Hablamos del arte como refugio, como ritual, como chispa cotidiana, del museo como spa para la imaginación, de cómo entrar a un museo sin saber nada, con la dignidad de una ignorancia fértil, con el cuerpo abierto y la mente curiosa.Junto a dos mujeres -Magu Villar y Vicky Benaim de Atelier de arte podcast -que han hecho del arte un espacio de contemplación compartida, reflexionamos sobre lo que pasa cuando dejamos que una obra nos mire de vuelta. Este episodio es una invitación a desacelerar, a mirar sin juicio, a hacer del arte una experiencia viva. Porque ver arte no es entenderlo todo: es estar presente. Y porque, a veces, lo más transformador ocurre cuando no sabemos qué estamos buscando.Aquí puedes escuchar el episodio que grabamos en el Museo MALBA para su podcast https://open.spotify.com/episode/5Ins8B1DbYs85SgKzyAHFE?si=3860744cd3da4201

Zeď historického domu v Českém Těšíně zdobí pozoruhodný murál. Velkoplošná malba znázorňuje astronoma polského původu Mikuláše Koperníka a je kopií obrazu polského malíře Matejka.

Main topic: Talking about Teacher Education with Malba BarahonaWatch in YouTube ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠***Check our Website: ⁠⁠⁠⁠⁠⁠https://www.eltinchile.com/⁠⁠⁠⁠⁠⁠Hope you enjoy this episode! We welcome your feedback and comments, feel free to email us at ⁠⁠⁠⁠⁠⁠podcast@eltinchile.com⁠⁠⁠⁠⁠⁠Follow us on ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠BlueSky⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠Connect with us on ⁠⁠⁠⁠⁠⁠LinkedIn

Je výrazným zástupcem současné středoevropské malby. Jako první český tvůrce vystavoval v renomované Kátáře v Dauhá, kde musel dodržet veškerý islámský úzus. I tak se ale podařilo vystavit figurativní obrazy. „Umění by mělo narušovat náš automatismus vnímání,“ říká ve Vizitce. Kdy v tvorbě používá náznak? A jak přistupoval k realizaci památníku obětem šoa na pražském Chodově. Ptá se Karolína Koubová.Všechny díly podcastu Vizitka můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Je výrazným zástupcem současné středoevropské malby. Jako první český tvůrce vystavoval v renomované Kátáře v Dauhá, kde musel dodržet veškerý islámský úzus. I tak se ale podařilo vystavit figurativní obrazy. „Umění by mělo narušovat náš automatismus vnímání,“ říká ve Vizitce. Kdy v tvorbě používá náznak? A jak přistupoval k realizaci památníku obětem šoa na pražském Chodově. Ptá se Karolína Koubová.

Giorgio de Chirico: Ten, který pojem „metafyzická malba“ zavedl. O čem mluví jeho antické krajiny a o čem mlčí jeho manekýni?

Šperk knihovny, to je tetralogie výtvarného díla Josefa Čapka s názvem Pracoval jsem mnoho... od autorky Pavly Pečinkové. Čtyřdílný soupis výtvarného díla Josefa Čapka, který během 12 let dala dohromady historička umění, kritička a pedagožka PhDr. Pavla Pečinková, představí v našem pořadu sama autorka. Čapkovi se věnuje už více než čtyřicet let, a první díl pod názvem Kresba vydala v roce 2019, druhý díl Užitá kresba spatřil světlo světa o rok později, tedy v roce 2020, třetí díl Malba pak v roce 2023 a sérii završí čtvrtý, poslední díl Grafika, který vychází v roce 2025, kdy si připomínáme 80. výročí Čapkova úmrtí. Grafický design a sazba jsou dílem Studia Toman Design a celý soubor vydává nakladatel Nadační fond 8smička z Humpolce. Pořadem provází Iva Horká, o zvuk se stará Roman Kabelka.

Co je „duchovno v umění“ pro Kandinského? Proč je modrá nejduchovnější? A co je největším rizikem Kandinského projektu?

Městské lázně v Ústí nad Labem mají nový výtah. Jeho výstavba přišla městské služby zhruba na 4,5 milionu korun. Slouží hlavně seniorům nebo maminkám s kočárky. Městské služby chystají ale i nový lustr na historickém schodišti a výmalbu podobnou dobovým barvám.

Hoy nos acompaña en nuestro plan preferido -ir a un museo- una invitada internacional y amiga de la casa: Caro Chavate, una creativa multidisciplinar colombiana para charlar sobre presencia en los procesos creativos y la intersección entre cuerpo, palabra y arte. Nos encontramos en el MALBA y descubrimos juntas la muestra recién estrenada de Cao FeiEl futuro no es un sueño mientras charlamos en el recorrido. Escuchá la segunda parte de esta conversación en el podcast de Caro, Cosas que dan cuerda al mundo (próximamente). Notas del episodio: ⁠Instagram⁠ de Caro Chavate ⁠Web⁠ de Caro Muestra Cao Fei en MALBA Conseguí el ⁠libro⁠ de Atelier de Arte Explorá más de ⁠Atelier de Arte⁠ Encontranos en Instagram: ⁠vbenaim⁠ & ⁠maguvillar

Od Baltu do Drážďan: Teologické kontexty díla Caspara Davida Friedricha, oko naše a oko Boží.

Luis Perez Endara is CEO of Gluon Media and Founder of Panoptico.tv, a new online community and recommendation engine for film and TV across Latin America. In this conversation, Luis explains how the current recommendation solutions, from algorithms to peer to peer services, are failing audiences. Drawing from his extensive experience in sales, marketing, distribution and curation, he reveals how Panoptico uses both 'top down' and 'bottom up' recommendation functionality to create a new type of recommendation engine. He also shares how Panoptico is designed to be home for movie lovers and a way for distributors and content owners to effectively reach audiences across the region. In a discussion that includes the wider state of the industry both in LatAm and globally, we also explore the transition from broadcasting to streaming as Luis breaks down exactly why and how this transition is causing studios, distributors and filmmakers unprecedented new challenges.  For more check out www.panoptico.tv Luis Perez Ignacio Endara holds a BA in Economics and began his career as a Business Consultant for Accenture. He later pursued a postgraduate program in Film, TV, and Digital Media at UCLA in California. Following his studies, he launched his first film distribution company in Argentina and has been deeply involved in the circulation of cinematic works ever since. He established one of the country's most prestigious arthouse theater programs at the MALBA museum and created one of Argentina's pioneering streaming services in 2010. Over the years, Luis expanded his distribution operations across Latin America, distributing hundreds of films seen by millions throughout the region. He currently lives and works between Miami and Buenos Aires.

Back in 2018 we did a live remote broadcast from the MALBA car show in WhitestoneQueens, with this being the second hour. The show was a hit even due to the rain, and some special guests like Gary the Local Brush, Auto Crimes Cliff, and the host, Billy Velvet joined us in our safe bunker and gave us some great commentary and history about this fantastic show.  

This show starts out with a THUD when Chris can't get a signal that'll allow him to sign on, so Ray ad-libs and explains how to diagnose a wimpy feeling four-wheel disc brake installation. Billy Velvet calls in to talk about the upcoming MALBA car show and gives us all a good rundown of the history involved. Chris shows off his "rags for all purposes" and Ray diverts to talking about some really good local cruise night spots. The show closes out with the ins and outs of what makes for successful car show judging practices. Check our social media feed to see the pictures; on Instagram: @real_motormouthradio and on YouTube: https://youtu.be/JN-mD7iVj28

Recordamos los 14 años de la ley 26.618 de matrimonio igualitario, junto con esto vienen cuestionamientos de senadores de LLA Arranca la segunda audiencia del caso de Tehuel de la Torre contra Luis Alberto Ramos, la Asociación de Familiares y Amigues de Tehuel se hizo presente, los testimonios complicaron aún más la situación de Ramos y esperamos que el juicio siga avanzando Hablamos del enfrentamiento entre la policia y el gremio de cartoneros, los dichos de Kravetz en contra de ayudar a las personas en situacion de calle y el fallecimiento de Heidi, una mujer trans migrante que no consiguio asilo del frio de la ciudad Exigimos la libertad de los dos compañeros que quedan presos por manifestarse en contra de la ley bases y el sobreseimiento de la causa para todos los 33 imputados originales Se inauguro el primer hogar para niñeces y adolencias trans de la argentina, el hogas Libelula ya esta funcionando y esperamos que por mucho tiempo En tematica futbol hablamos de la brutal represion en los festejos por la Copa America, los cantos racistas de la seleccion contra el equipo frances y como los clubes de futbol seran ahora sociedades anonimas Compartimos la cobertura de la segunda marcha no binarie, donde vemos las entrevistas a las personas que asisten, lo que fueron las consignas de la marcha y la importancia de la visibilidad en estos tiempos tan dificiles Denunciamos mas de 120 despidos en el INADI, todos de personas de la comunidad LGTBIQ+ y disca pero celebramos el fallo de reincorporar a uno de los trabajadores estatales a su puesto apelando al la Ley de Cupo Laborar Trans Recomendaciones culturales de la semana

Polo Ramírez estuvo junto a César Gabler, quien en nueva edición de Figura y Fondo, comentó la muestra en homenaje a Gyula Kosice, Intergaláctico en el Malba de Buenos Aires. Además, junto a Francisco Aravena, conversaron con el doctor en Biología Celular Christian González Billault y Diego Acuña Catalán, investigador postdoctoral GERO, Bioquímico y PhD en ciencias, quienes explicaron su investigación de sobre los beneficios de la dieta cetogénica en el cerebro.

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?

Malba, socha, grafika, fotka, film, a samozřejmě poezie. Média, která od dvacátých let nesla a prostředkovala bezbřehou obraznost a kreativitu francouzských, o pár let později i českých surrealistů. Jaký vztah ale měli tuzemští tvůrci, vzývající jazyk snu, neosvícené hloubky lidské psychiky a volnost představivosti, k divadlu? Zajímalo je pro něj – byť třeba jen čistě literárně, bez vidiny inscenování – psát?

Trying to manage the weeds in your vineyard? John Roncoroni, Weed Science Farm Advisor Emeritus with the University of California Cooperative Extension, Agriculture and Natural Resources covers control practices including biological, mechanical, cultural, chemical, and perhaps in the future, electrocution. Although weeds rarely compete with vines, they can host insect and vertebrate pests and get in the way of pruning crews, increasing labor costs. Listen in for John's number one tip to better manage weeds in your vineyard. Resources:         128: A New Focus on Weed Management (Rebroadcast) 26th IPM Seminar #1: Sustainable Weed Management for Vineyards and Vineyard Ponds Herbicide-resistant weeds challenge some signature cropping systems (Journal article) John Roncoroni MAINTAINING LONG-TERM MANAGEMENT: Herbicide-resistant weeds challenge some signature cropping systems Post-harvest Weed Control with Napa RCD and John Roncoroni (video) Sustainable Winegrowing On-Demand – Western SARE (online courses) University of California Integrated Pest Management Integrated Weed Management Vineyard Floor Management: Steel in the Field (video) Vineyard Team Programs: Juan Nevarez Memorial Scholarship - Donate SIP Certified – Show your care for the people and planet   Sustainable Ag Expo – The premiere winegrowing event of the year Sustainable Winegrowing On-Demand (Western SARE) – Learn at your own pace Vineyard Team – Become a Member Get More Subscribe wherever you listen so you never miss an episode on the latest science and research with the Sustainable Winegrowing Podcast. Since 1994, Vineyard Team has been your resource for workshops and field demonstrations, research, and events dedicated to the stewardship of our natural resources. Learn more at www.vineyardteam.org.   Transcript Craig Macmillan  0:00  Our guest today is John Roncoroni. He is Weed Science Farm advisor emeritus with UC Cooperative Extension, UC Agriculture Natural Resources, and we're going to talk about cultural control of weeds in vineyards today. Thanks for being on the podcast, John.   John Roncoroni  0:13  Now you bet, Creg, thank you for having me.   Craig Macmillan  0:16  We met with we'll start with kind of a basic foundation, what would you say is the definition of cultural weed control? Maybe How does it differ from other forms of weed management?   John Roncoroni  0:25  cultural weed control as part of an integrated pest management program, you know, we have basically cultural mechanical, sometimes they're put together sometimes they're split, we have biological, which is much more important, I think, in insects than it is in weeds. Now, we talk about biological control of weeds just a little bit to show how it fits in with all this too, is that you know, when you see that rust growing on a malba, or cheese weed plant in California, people say, Well, maybe that can control and you can see sometimes it really weakens the weeds. But the one reason that doesn't work here very well as it does in other places is the same reason why we can grow such great grapes and make great wines in California is because it doesn't rain in the summertime, if it rained in the summertime, like it does. In many other areas, that moisture level would stay up and we probably have a better chance of controlling Malba. We do use biological control of weeds in more landscape like range land type at large areas, but really on any kind of agricultural situation where we're looking at control in one spot, it really doesn't work that well. Even with star thistle we be talking about people wanting to put our application of of weevils for start thistle. Well, they're out there, and they're on a larger scale. So that's biological, much more important in entomology than in Weed Science, a chemical control, obviously, the use of chemicals, either conventional or organic chemicals or control. And then we have mechemical or cultural you know, cultural weed control to me is using the utilizing the plants that are there or sheep in areas of the San Joaquin Valley that used to use ducks or geese to pull out Johnson grass rhizomes, yeah, we're utilizing sheep quite a bit more. Now. Of course, mechanical we're looking at when you look at something like a mower, right, a mower is mechanical and cultural because when you mow, you're leaving some plants. So you're mechanically mowing them down. But culturally, you're leaving plant where something like French flower, maybe a blade or or you know, one of the the weed knives are all the different moving wheels, maybe more considered mechanical.   Craig Macmillan  2:30  Let's talk about mechanical a little bit. There was a book I don't know if it's still in print. And it was a SARE book. And it was called steel in the field. And the author's thesis or premise or idea was if you drive around farm country, no matter what the crop is, there's always a graveyard of old implements, just parked just parked there, you know exactly what I'm talking about.   John Roncoroni  2:51  Oh, god. Yeah.   Craig Macmillan  2:54  And his his point was, all of those things were technologies that someone had come up with. And then the individual farmer, probably then made modifications to those for their site for their crop for their soil, then the herbicide era came on. And that wisdom was lost, basically. And the argument was, hey, maybe we can bring that that idea back. And I mean, this goes back to like the 80s, early 90s. It's happening, it's happened. What are some of your favorite technologies in terms of cultivation, mechanical weed control, and some of the limitations, some of the plants that works well with other situations where it doesn't? What's your experience been?   John Roncoroni  3:39  I love talking about that, Creg, is it you know, talking about using mechanical control, and then and then going into chemicals, and now going back, it's almost like I talked to people about chemical control itself. When I started, Roundup wasn't glyphosate was a new thing. And we used it very judiciously. And I tell people, it's almost like, I learned to drive with a stick shift. I had to learn all these other things. Well, after that people learned to drive automatics. Right, because they knew one way to do it. Well, now that we're back to using stick shift, it's a whole lot easier for me, because I remember now people have to read or write. It's, it's the same thing with the mechanical. And when I started a Davis, you know, in the early 80s, we probably first came to work in vineyards in Napa, close to Davis, about 85, 86. And at that point, there was a lot less drip irrigation, a lot more dry farming, and a lot more French plowed. One of the reasons was we didn't have drip irrigation. I mean, we all want deep roots, but you're going to have more shallow roots with drip irrigation. And that was one of the reasons we moved to chemicals away from this big pasture. We always had a blade, right something like to drop a name a Clemens blade, which we all know what that is. It just cuts. You know, one of the problems with that is if the soil is too moist, then it's going to cut and go right back. And there's been a lot of innovation. My colleague Marcela Moretti, a But Oregon State's done a lot of testing with different kinds of machines. You know, one of the things about mechanical or even like mowers is that so few growers have mowers?   Craig Macmillan  5:11  When you say mower? You mean an in row mower?   John Roncoroni  5:13  Yeah, I mean inrow mower. All right. And I'm sorry, I when I talk about weeds in vineyards, because I tell people I've made my whole career out of about three   Craig Macmillan  5:21  Three to six inches.   John Roncoroni  5:24  I have about a foot and a half. Right? Sometimes I'm up to four feet, right. So that's where my whole career is right there. And that we talk about when we talked about what we're doing in the middle is with cover cropping. That's a whole other podcast and probably, I mean, I've done cover crop work over the years with some large IPM grants. I did quite Elmore and some other things. Zalem and Jim McDonald Yeah, no, I'm talking about just under vine we're thinking. Yeah.   Craig Macmillan  5:53  All right we're under vine.   John Roncoroni  5:54  Talk about being a very specific expert - four feet. At the most.   Craig Macmillan  6:01  I got it. I get it.   John Roncoroni  6:02  You know, very few growers are using mowers we have the big bladed mowers and also we'll have a straight trimmer. I was trying to do some string trimmer work, but just using a little weed eater. My old friend, Mike Anderson, who was the superintendent or basically ran the oppo research station said that I could use a string trimmer in one of their vineyards over his dead body. And I was like, you don't want any girdling in those vines. So I know, there's been a lot of apprehension. There are some other kinds of mowers very, very, very few growers have mowers, from what I've just done some surveys, I've done one because you have to go back over and over and over, right? And then everything has been weighed against, well, we can just spray mowers or one, you know, there's several different and I can't remember all the trade names. But you know, there's some of the basic technology. Yes, there's some that do some stirring of the soils, you know, with blades that are perpendicular to the soil, right. So they're, they're stirring it, there's what we used to call and when I worked in bean weed control, Lilla stuns, which are wheels that turn sort of at a 45 degree angle to stir the soil. There's, you know, power driven machines, there's just ones that ride along and there's blades, there's, you know, there are so many, and it really depends on the kind of soil you have, you know, our rocky is sometimes the place where we put grapes are not a place where you could put tomatoes, right in times, shallow soil, hillsides, kind of cultivation, can you can you do cultivation? Can you do light cultivation without getting you know, soil movement? Can you even do it? Is it allowed by, you know, some rules about land use in those areas. So, there's a lot of things that go into mechanical and again, from my perspective, the weeds you have.   Craig Macmillan  7:54  I like this point here, because I think put to put things into kind of a general sense to guide things. We have blades that basically cut just below the surface. So that's cutting off the top of the plant from the bottom of it for certain kinds of plants that will kill it or control it. Then we have things like a French plow, which is a burying it's a true plow. Yeah, it's flipping soil, picking it up and flip flopping it over. Then we have the sturer. So you mentioned that little stun the central lines and other example, sun flowers. That's what they do. Yeah. Yeah. Things like that. My missing one.   John Roncoroni  8:26  mowers.   Craig Macmillan  8:27  mowers, okay. Yeah.   John Roncoroni  8:29  So that, you know, then there are a lot of variations on those combinations. It just amazing for me, and I follow a few of the manufacturers and get to see like on Twitter X, whatever, to see the videos that they're posting on LinkedIn. You know, it's just amazing to me what they're doing and the innovation that's going into those. One of the things that my again my colleague Marcel HomeReady, up at Dr. Moretti up at Oregon State talks about making sure your tractor is big enough for some of these, you know, hydraulic using, right, but one of the things we always used to talk about was, you know, the use of gas well, I know there's a lot more use and we're moving more into electric tractors, and those sorts of things. But when it comes to mechanical, really doing a good job of mechanical weed control with those some of those, you're going to have to have electric or gas you're going to have to have a big tractor. They're not going to be like a you know, a little ATV with a nifty 50 sprayer spraying herbicides right you're gonna need some hefty equipment in a lot of them not always.   Craig Macmillan  9:33  Let's start with weed knife. That's a very popular technology you see it oh yeah all over the place. What are the kinds of weeds that that's good for controlling and under what conditions it doesn't work well and under what kind of conditions does it not work well?   John Roncoroni  9:47  And I don't know the areas and passive as well as I know Napa I was brought a while but I would tell the growers you know, using a weed knife in Carneros you have about four days from when the soil goes from being too wet to being too dry. I have heavy clay soils, it holds moisture and it just. Yeah, exactly. And I'm sure there are areas like that, you know, and it can't, you can successfully cultivate down there, but it's tough, you need the timing, it's so important. If you're going to wet that soil just goes right back with that blade, right you cut through and the roots are able to tell back in, you know, if it's too dry, it's really going to be a rough ride. Because you're not going to go too deep, it's going to work well on some smaller annual weeds, which, you know, a lot of our weeds are, you know, some of the grasses with their net have a root ball sometimes are harder than just a small annual broadleaf plant, you know, you're going to have some problems, especially with something like malware, cheese weed that that grow very large. And depending on when you doing it something like cheese weed is and rye grass and Fillory, while I mentioned them are the first weeds to germinate in the fall. So by the time you get in a little bit later, they may be too big to really do a very good job on.   Craig Macmillan  10:59  Are their soils where we die for it's particularly well?   John Roncoroni  11:03  I would say you know, in less than heavy clay soil and not complete sand, a sandy loam soil, I think that holds some moisture, you know, it was able to get in anything, I think it's not a complete stand or a real heavy clay, they do a nice job, but the weeds can't be too big. And again, it's that timing and you know, with vineyards, it seems to think everything happens at once right time when you may be in having to do some sort of insect spray or mold spray, the same time you should be out there cultivating so just and it takes a while to do a good cultivation job.   Craig Macmillan  11:35  The speed that you're rolling is really important. You want to be slower ride faster.   John Roncoroni  11:40  Well, and Dr. Moretti has done this work there is an optimum speed. If you go too slow, then you really don't do a good job of cutting. If you go too fast, you miss some. And maybe this is where some of the electric AI technology can help. You don't want to cut the vines. Right, so you have this pull away, that keeps the weeds, the weeds will go right next to the vines, which you know can be a problem. We'll be talking about other situations with little vertebrate pets.   Craig Macmillan  12:06  I'm kind of getting astray here a little bit, but I No, no, but I think this is an important question. So choosing what I do and how I do it, we go back to the other technologies, Why care about weeds? Right? Why care about you know, I had I had a vineyard once that had been an oak field. And it was direct planted own rooted sprinkler system that was planted in 1976 I got the vineyard 1993 out of heavy clay soil, and I would irrigate with sprinklers twice a summer, and that oak grass would grow up into the fruit zone up into the canopy. But it would dry out. And it completely choked out everything else I had, I had no other real issues. And we would mow the middles. And I remember people going oh my god, you got all this issue, you need decent herbicide, you think grass out of the middle because the grass is gonna. And like these vines were super vigorous. They were tons of crop. I mean, I had to crop thinner. And so I started asking myself, well, how much competition? Is this really doing? Are there particular weeds that we should see? And you're like, wow, that's gonna be a competitor for water, nutrients and others where we go, No, I don't really want it there. But I'm probably not going to dig my vines.   John Roncoroni  13:13  So Craig, this is the eternal question when it comes to this. And it really depends on where you grow your grapes, right? If your goal is to get 25 tons of grapes, if you're somewhere near Bakersfield won't offend anybody, but they're looking more for tonnage. Right. And I've gotten a lot of flack for using our premium grape situations, we're not always looking for maximum tonnage. Right. And I don't know that the problem with weeds and if you hear me speak about weeds, I rarely have ever talked about direct competition between weeds and grape vines. Now, there are some exceptions, you know, when we were looking at that balance between irrigation and getting the deficit, irrigation, right, getting those maximum flavors into those grapes. So we may be right and a little low with our water in August or September, near the end. And we see that especially, I don't know so much about about I know, part of the areas where we are with the vineyard team there that they gave, we can get these howling north winds, right? Right. And you can in a very short time, you can turn some very great, expensive grapes into really great expensive raisins, right, getting that water in at that time of year. So having any kind of like flu Velen, which is really just covers the whole area of Napa and Sonoma. I know it's moving around some other areas. But you know, people say well, how much water does it use? And my old friend Rhonda Smith used always asked me well, how much water is it used? I go, we don't have crop coefficients for all the crops. It's hard to know which you know which weeds grow, how much water they use. And then the other thing too, is that if we're looking for consistency in a vineyard, and only half the vineyard is covered with that weeds where we're gonna put two too much water in one area and not enough in the other. Isn't that different? So it's competition for that sort of thing. And of course, young vines, right when we have young vines with big weeds and that that oak grass that you had, if you had young vines, you probably wouldn't have to be worried about being a grape grower very long, right?   Craig Macmillan  15:17  You have seen that young, really healthy barley cover crop?   John Roncoroni  15:21  Oh, yeah, it's it's tough for first three years. But like talking about establishments, it's really important, no matter what you do to keep the grapes sort of weed, not weed free, but really keeping the competition down. And then late in the summertime, but the rest of the time. It's other things that I've talked about these, it's one of those things where you ask people, you know, raise their hand if they have this problem. It's 50%. Yes. 50%. No. And that's voles. And I tell people, I thought that when I was in Napa, I think 30% of the growers do weed control strictly for vole protection. Because those nasty little marmots can they can girdle a grape. And I know one vineyard and Carneros they couldn't get in and do some work. Someone told me that one year they lost one in five vines. Wow. And they're not coming back. Right? That's, that's bad. Yeah. So you know, it can be a problem. We found this when we were working with mow and blow technology years ago, looking at cutting cover crop and throwing it on the vine. The Weed control was fantastic. But in my whole time, working in vines from 1985. And, you know, until today, I've never been in a vineyard, except in this trial, where I saw voles running between the rose in the middle of the day. Right, they were just happy there was so many they kind of had to get out just to get a breath of fresh air, they use those tunnels, you know, just runway so that they were protected from that, you know, the birds of prey, which you know, can help. And I people always ask about that. But again, we have that pest and prey cycle that the voles may come in and do a lot of damage, before they get a chance to be taken. And then it depends on what your neighbors doing and how effected the birds are. This is a question that I our new vertebrate pest person, Brianna Martineco in Napa who she took my office, not my place, right. So we we about a weed scientist. And one of the questions I've asked is, you know, how much of an area around the vines? Do we have to keep clean, so that the birds have a chance and the voles stay scared? You know, that's kind of question, you know, especially as an emeritus, you can ask these questions. And, you know, let the new people answer them. You know, the other thing and I've talked about this is in a rare occasion, you know, one of the things that we do you see people, anytime I'm out in the field later in the season, I talked to a grape grower, while we're out there, they're pulling those leaves off so they can get more air movement. Well, if you get some tall weeds like that, you know, the oak grass that was growing, you know, are you going to have restricted air movement? Are you going to have higher moisture content? Is that going to increase your pathogen pressure it can, doesn't always happen. The other thing too is having, you know, high grass can cause in frost prone areas, you know, if you're not getting that radiation from clean soil, and that's in the middle, not so much under the vines, you know, we can have that and sometimes on young vines near the vine itself, getting that reradiation, but again, you know, as I like to tell people, you're not going to have all these situations, and it's not going to be every year, you know, some years you're doing things you may not need to have weed control that year, but you don't know until after that year, you know, and now and I'm not I'm not a pathologist, I'm not an enthramologist, I'm not a viticulturalist I'm a weed scientist. But you know, there's been some indications that some weeds that are growing and some of the we plant and some of that we don't are having a, you know, an increase in pathogen plant pathogens that are moved by certain insects. tikka pirate likes legumes Well, you know, especially in some of our low nitrogen situations, plants that produce their own nitrogen, like Bird Clover really tend to like that situation because they have a, they have a built in advantage by making their own nitrogen. So we can in some vineyards, we can see a high population of bird clover, which may or may not cause an increase in tikka, which could cause an increase in red blotch. So, you know, when you think of weeds just specifically for competition, like when I talked to master gardeners, I say, you know, if you're growing carrot, you know why you do weed control because you want a carrot. But when it comes to a mature, you know, a 10 year old vineyard, really hard to see that weeds are going to compete on an everyday basis like they would with an annual crop, but there are other reasons why we do it. Ease of harvest, and I talked about, you know, in talking with some pruning crews, right, you know, if you have weeds growing in when you're pruning, and I tell people, if you have an area that takes an hour for let's clean, takes a pruning crew an hour to prune, if there's a bunch of weeds that they have to move around and get around, and it takes them an hour and a half. So your labor costs have gone up 50% Yeah, these are the kinds of things that as a weed scientist, I think about I tell people I really want to know two things. And when we're when we're taping this, it's the right time of year. I only know weeds in college. Basketball. So these are the only things I really know. So, you know, and I've had other I've had, you know, some people sit down and say I should have known that you have to worry about, you know, disease pressure, and getting labor contractors. And I just think about weeds.   Craig Macmillan  20:16  And let's go back to another technology that we touched on snow plows, French plow, that's a very old technology. And, you know, we just mentioned that what a plow does is it turns the soil over, so it buries the weed plants, especially when you get into the right time, what conditions are appropriate for using a French plow? What conditions maybe it's not gonna work so great.   John Roncoroni  20:41  French plow, I mean, you know, the USDA says that, you know, doing something like that the soil is never good, and you're going to mess up the microbes, especially if you're working on that lower area. But as far as just from a weed perspective, if you're dry farming, a French blot works fantastic, right? You're not looking for, in fact, you're trying to discourage as many roots at the top as you can. So doing using a French plow when you're dry farming, it's fantastic. We don't have you know, a lot of dry farms where we are looking at trying to have more consistent harvest and looking at consistent income, where you know, dry farming were at, at the will of the of the weather, that's another talk for another day with people who are doing marketing and know viticulture are better than I do. But see, I've seen more French plows as people have gone back to mechanical in the last few years, and I have in the past think there's a lot more viable options, when you're actually looking at doing some drip irrigation, then they're just by number a lot more viable options. Just by new having new machines coming out then the French plow but I was a dry farmer, my weed control would be French plow under the vines and disk in the middle because everything's you know, maybe having a little cover crop to get more penetration. But, you know, the farther north I lived, the more water penetration I would have. So I'd get more rain.   Craig Macmillan  22:00  So let's talk about drip irrigated vineyards. And you mentioned there's a suite of technologies, some are new, some are old, what are some of those technologies that have worked well in a drip irrigated vineyard?   John Roncoroni  22:12  When I got to Napa in 2007, sustainable at that point meant post emergent only and for those kind of funny now is roundup on the right no preemergent no cultivation and we were drip irrigating, we were keeping those roots at the top so we can drip irrigate. So that's where a lot of that came from. Now, you know, using something like a blade using a little Dustin with those moving things, anything that's sort of like you don't want routine, right? Again, I don't I'm not a vitaculturalist. But roots at the very top are not great, right, you're not probably irrigating correctly, if you're getting a lot of roots at the top, but you don't want to get too deep, where you're getting some of those main roots with cultivation. You know, that's one of the reasons that we do have drip irrigation. At that level. You know, I've talked to people who weren't using cultivation and ask them why their drip irrigation lines weren't closer to the soil so they're gonna have less evaporation. One of the things that we get into with grape growing or anything is that you do things because you've always done them that way, we are cultivating that we do need to keep that drip irrigation at at a higher at a high level. But I think any of those anything that's not just completely disrupting the soil. One of the things that I would like to see with with mechanical like a blade is using some electric eye, AI technologies to get closer to the vines. But right now we have to really, you know, it's all mechanical, right? If we can have these machines down in Salinas, that are taking weeds out from in between lettuce, we don't have to be nearly that technological, to get weeds right around the vine without hurting them. And we have a little bit more leeway with the vine than we do with lettuce. Even though you lose a lettuce plant here or there. You're okay. You don't want to lose too many vines. You know, I think that that's where one of the reasons that we could use more technology. One of the things again, my doctor Moretti up at Oregon State and also lenses masky. Back in Cornell, who they were both at Davis at the same time, Lynn as a postdoc, and, and Marcelo as a as a graduate student, they're working with electrocution of weeds, I think it's what they call it. And it's not just burning them off, like you would use electric light with a flamer. It actually sends electricity down into the roots. So it's, he's working on it mostly in blueberries. But the technology I just I saw his presentation at the Western society Weed Science meeting just a couple of weeks ago in Denver. It's an interesting technology. If you're like having a transformer on the back of your tractor. It's pretty cool.   Craig Macmillan  24:35  There's a there's a lot of potential here in the future for improving what we're doing now.   John Roncoroni  24:40  Oh, yeah. And I don't know how like electric is going to fit into this. But and this is the problem. We ran into herbicides. Anytime you use one technology over and over and over and over and over, you're going to choose for weeds. If you constantly mow under the vines or anywhere, right without some soil disturbance or application of herbicide, something Like Melva, low growing weeds, they'll adapt, right nature will find a way. So the biggest thing we have to do is whatever we do just don't do it all the time. That it's the right message. One of the things that I think we want to talk about was under vine cover crop. It is something for me, I've been trying to push under vine cover cropping for so long. And the problem is, is that because the seeds are expensive, I tell people that one of the one of the plants that I pushed, just because I liked the way it worked, and what I've seen is Zorro fescue. That's a brand name, it's it's rat tail fescue, you see it growing as a weed a lot of places, one of the things I like about it is that about the time we start irrigating, it's dead, it's the nest, and you can discover you can turn it over, because once it's gone to seed, you can mow it all those things. It's a it's a self receding cover crop problem is that because the seeds are fairly expensive, we planted at about eight to 10 pounds per acre and sometimes mixed with Blendo broam, which grows a little higher and stays a little greener longer than I like, because it can be some competition for water. But that's oftentimes keeps it down. But the problem is, is that first of all, how do we get it on the vines, I find people putting it out by hand, because we haven't adapted for the cedar under the vine. Second of all, it starts to reseed itself at a fairly high rate, sometimes 50 or 100 pounds the next year and the third year. So I tell people, if you can't give me three years to make it look good, then let's not start because oftentimes, you know, we started and it looks like it's not doing a very good job the first year, and it doesn't look very good. And some people who don't ask people who make decisions about vineyards who maybe work other places, then the vineyard don't like the way it looks. Right? Right, and we move to something else and they end up spraying it out or cultivating it out.   Craig Macmillan  26:55  Then this is an example of modifying the environment to address this problem and modifications to the environment take time.   Speaker 1  27:03   And this is what intrigues me about regenerative agriculture. I know this is a whole nother subject for someone who probably but as a we, as a plant biologist, and ecologist, you know, actually choosing plants that we want to be there without causing problems. Again, the voles, the legumes with maybe some other virus problems can be, but I think choosing these plants is going to be so important. But you know, it's interesting, I had someone call me and they wanted to start using regenerative agriculture. And I told them, you know, your first three years are going to be really hard I go, you have to choose the right plants, you're going to probably maybe even have some reduced yields. And they said, Well, why John, because my friend has been doing it 25 years, and he's doing great, because his soil knows what to do. So anytime we make that transition and transitioning to this under vine cover cropping. And there has been places in the past where we've tried to use a listen. But listen, because of insects and some other things. The problem with alyssum is after about three or four years, it gets to be about four feet thick. It's one of these things, it's good for a while, but after it kind of takes over, it can cause some holding in moisture and doing some other things. I mean, some people again, depending on how fertile your soil is, you know, some places it may not be a problem, but we have to look at it on a vineyard by vineyard scale. And that's been the thing about herbicides is you don't have to think about the basically the vineyard by vineyard,   Craig Macmillan  28:24  We're basically at a time but don't ask your boys. Is there one particular thing that you would say to grape growers on this topic of let's just say mechanical?   John Roncoroni  28:34  On the whole subject of weeds, Craig, I just want to say that they need to know their weeds better. Right? I know it sounds like I always have a chip on my shoulder. And now that we have to right thing about glyphosate is they really didn't have to think about didn't have to think about their weeds. So there's there's two things I want to know we're almost out of time, but we are out of time. But there's two things I want to say about this real quickly. And I know it's mechanical, but those people who are still using chemicals, they could do a better job. Right new nozzle shielding timing, think more about put as much time and effort into thinking about the weeds as you do about insects and pathogens. Know your plants. Don't just say I'm going to do this. It doesn't matter what the weeds are, know your weeds, know their biology. Know the timing, no matter what kind of control you're doing. And then once you do, get the best tool, like if you are still spraying in certain situations in certain vineyards, use new drip reducing nozzles, use shielded sprayers when you do mechanical, you know, don't just get that old thing that like you said, that's been sitting out in the back, right? Look at the kind of machine that you want to use what we do have, I think when it comes to weed control, the whole industry could do a much better job. Okay, one of the things that I put a slide up one time and I said look, I understand pathogens first and then insects, and then weeds and someone got up and corrected me and they said John, that's wrong. I said Oh really? They go? Yeah, it's pathogens, insects, fertilizers and weeds. Right so weeds and when it comes to weeds being third weeds are not just third weeds or a distant third. They only think for me about all the cons Diversity that's happened is that people have to think about weeds again, they have to go back to knowing what we knew before that before they all started using chemicals.   Craig Macmillan  30:07  So that makes a lot of sense. Yeah. Our guest today has been John Ron crony. He is Weed Science firm advisor emeritus with UC Cooperative Extension, UC Agriculture Natural Resources. I followed you from afar for a long time. And I'm very excited to get you on the podcast. This has been a great conversation. Yeah, there's so much more to talk about, and I'm sure that we will, we will reconvene at some point.   Nearly perfect transcription by https://otter.ai

Narramos en este episodio nuestro más reciente viaje, una travesía mágica por la Patagonia. Aquí les contamos una nueva visita por la siempre impactante y cautivadora Argentina, pero especialmente por una región que es lugar de fantasía, quimeras y naturaleza impresionante: la Patagonia. Un capítulo que relata un viaje que comenzó en la amistad y terminó en un acercamiento hacia uno de los lugares más imponentes del planeta tierra Notas del episodio:  Aquí nuestro capítulo dedicado a la ciudad de Buenos Aires Y en este vínculo el episodio que dedicamos al Malba, Museo de Arte Latinoamericano de Buenos Aires La definición de Patagonia: el confín del mundo Los pueblos originarios de la Patagonia argentina En este enlace la página del Glaciarium, el museo del hielo patagónico El Parque Nacional de los Glaciares en Argentina   ¡Síguenos en nuestras Redes Sociales! Facebook: https://www.facebook.com/DianaUribe.fm/ Instagram: https://www.instagram.com/dianauribefm/?hl=es-la Twitter: https://twitter.com/dianauribefm?lang=es Pagina web: https://www.dianauribe.fm

Unikátní rozměry, sofistikovaný podstavec se zašifrovaným datem a příběh opravdu nelehkého zrodu celého díla. To vše se týká velkoformátového obrazu nazvaného Zavraždění svatého Václava. Najdete ho ve známém odsvěceném kostele v Opavě.Všechny díly podcastu Odpolední interview můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Sluneční paprsky, číšník s tácem jídla, spokojený domov. To jsou motivy, které zdobí zeď ubytovny v Chrudimi. Noclehárnu využívají hlavně lidé z ulice. Mural, tedy nástěnná malba, jim má přinést aspoň malý pozitivní záblesk do už tak složitého života.

En la última semana antes del balotaje, repasamos los hechos más significativos de la semana: exdirector del FMI contra Milei; Escándalo en la final del mundial de talla baja y el Día Mundial del Brownie. El nivel de estrenos de películas argentinas está altísimo este 2023, hablamos de Los delincuentes (en cartel en el Select), de Arturo a los 30 (Malba) y de Puán (sigue en cines, el jueves la proyectarán en la Fahce). Llamamos a Nico Trivi que nos regaló una columna sobre tribus urbanas. Cánepa trajo los precios del mercado de carnes y granos.Somos letercermonde: Manu Mendizábal, Paty Mayonnaise, Tristán Basile, Santi Abel y Anita Lorenzi. Operación: Damián Romagnano. Nos escuchás en vivo los sábados de 11 a 13 hs por Universidad1075. Todos los programas y entrevistas disponibles en YouTube y en Spotify. Suscribite y activá la campanita para recibir los recordatorios. Buscanos en todas las redes como @letercermonde 

Ale Ros es diseñador argentino referente del diseño de tapas de discos del rock, pop y electrónica en Latinoamérica. Realizó el arte de tapa de emblemáticos discos de rock y pop para Soda Stereo, Gustavo Cerati, Fito Paez, Luis Alberto Spinetta, Mercedes Sosa, Divididos, Vicentico, Miranda!, Juana Molina, Babasónicos y Damas Gratis, entre muchos otros.Fue distinguido en numerosas ocasiones con el Premio a la Excelencia de la Society for News Designs y recibió el Konex de Platino, ocho premios Carlos Gardel y tres Grammys Latinos.En este episodio, hablamos sobre su travesía desde Tucumán hasta convertirse en referente en el diseño de tapas de discos. Discutimos por qué es crucial generar una imagen que no solo cause una buena primera impresión, sino que también tenga la capacidad de contar una historia. Además Ale me confesó porque odia como lucen los packs del supermercado.Proyectó piezas para reconocidos músicos y artistas contemporáneos de la escena nacional, para canales como MTV, discotecas como la emblemática Morocco e instituciones como Goethe-Institut, Malba y Centro Cultural Kirchner (CCK). Con una comunicación visual contundente y al mismo tiempo poética, sus piezas son reconocidas por su creatividad y conceptualización que logra a través de pocos recursos: imágenes fotográficas pregnantes, mensajes sintéticos y escasos colores que consigue “entrando en el universo del otro”. En el campo editorial, a partir de 1996 desarrolló miles de portadas para los suplementos Radar, Soy y Las/12 (del diario Página/12) destacadas por el uso de potentes metáforas visuales resueltas en poco tiempo de ejecución. Links Relevantes:Ale RosAle Ros InstagramAle Ros WikipediaAle Ros Curso DomestikaSeguinos:BRANDERMAN websiteBRANDERMAN InstagramHernán Braberman LinkedInMi agencia de diseño de packaging TRIDIMAGEPACKNEWS BlogSuscribite:Suscribite a BRANDERMAN en tu App de Podcast favorita para no perderte ninguno denuestros próximos episodios.Apple PodcastsSpotifyGoogle PodcastsOvercastIvoox

„Občas se mi zdá, že svět zešílel. Na malbu potřebujete vnitřní klid a plnou koncentraci, což je v dnešních souvislostech těžká věc,“ říká výtvarník, jehož dominantním prostředkem se stala právě tato klasická technika. Na Hollarce původně vystudoval užitou grafiku, v době totality navrhoval obaly hudebních desek a věnoval se tvorbě plakátů.Všechny díly podcastu Vizitka můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

While Ray makes his annual pilgrimage to the only car show he'll attend; the MALBA Display On the Bay, Chris gets to make MotorMouth Radio history by doing a remote broadcast with MatcoMan Brian as his co-host. If you haven't laughed while listening to a radio show in a while listen to this one and you'll have something to talk about.

Congresswoman Malliotakis (NY-11) has endorsed David Hirsch in the special election to fill the New York Assembly District 27 seat that Democrat Daniel Rosenthal . icole was on with Sid this morning the polls close later at 9pm lets liberate Whitestone and Malba from the cabal of evil running the state! https://www.cityandstateny.com/politics/2023/08/berger-and-hirsch-compete-bellwether-special-election-27th-assembly-district-queens/389850/ --- Support this podcast: https://podcasters.spotify.com/pod/show/mike-k-cohen/support

Ovlivnili ji impresionisti, ale taky jemný Václav Boštík i věcný a barevný David Hockney. Malba jí odmala pomáhala vyrovnat se s neradostnými okamžiky, na UMPRUM pak vystudovala textilní tvorbu. Měla vlastní značku, navrhovala pro divadlo, skauty i olympioniky, dnes už ale většinu času tráví u viaduktu v Kryštofově Údolí, který je možné vidět i na její aktuální výstavě Hlavy, mosty, kapradí v pražské Ville Pellé. Hostem Markéty Kaňkové byla výtvarnice Zdena Šafka.Všechny díly podcastu Vizitka můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

With full graphic detail, Chris dredges up an old story about how Ray solved a sticky steering wheel problem. A caller's random stalling and overheating problem is addressed, as well as a P0304 ignition code Ray was blessed with this week. We wrap it all up by talking about the only car show Ray will attend, the upcoming MALBA Display on the Bay.

Bb se fué de boca, el Ipad de Natacha y el teléfono del empresario, Carla Czudnowsky, la balística y los balines, la renuncia de Maju, el regreso a la tv de Ronnie, el Malba, el Arias walking tour, Patricia Sosa, La Esquina del Sol, los 80 de Mick Jagger, Madonna y las pendejas, un viejo atrevido, esquivando la bala, Ronnie en el cuerpo de Jay, la huelga de actores, PAGUEN LAS REPETICIONES, adiós a Sinead, el zoom con USA.

Fernando Martín Peña nació en Buenos Aires en 1968. Es uno de los grandes expertos argentinos en cine y en preservación y difusión de películas, creador de la Filmoteca Buenos Aires y uno de los fundadores de la Asociación de Apoyo al Patrimonio Audiovisual (Aprocinain), que rescató centenares de películas argentinas que corrían riesgo de perderse. Desarrolla una intensa actividad como cineclubista de manera ininterrumpida desde 1985. Es el responsable del área de cine del Malba desde 2002. Ha sido director artístico del BAFICI y del Festival Internacional de Cine de Mar del Plata. Ha escrito varios libros sobre su especialidad, solo o en colaboración Desde 2006 conduce el ciclo Filmoteca, un clásico que emite la Televisión Pública Argentina. Es autor de varios libros sobre su especialidad-entre ellos Cine maldito, Cien años de cine argentino y Metrópolis, en el que narra cómo llegó a encontrar en Buenos Aires las escenas de la película de Fritz Lang que se creyeron perdidas por años. La editorial Blatt y Ríos acaba de publicar Diario de la Filmoteca, en donde a partir de un recurso inteligente (la estructura de un diario personal de un año cualquiera), Peña ofrece una obra erudita y entretenida, indispensable para todo estudioso del cine y fascinante para cualquier lector que sepa valorar tanto conocimiento y entrega. En la sección Bienvenidos Hinde habló de “Del día y de la noche”, de Sylvia Iparraguirre (Galerna), “Viajeras, historia de aventureras, exploradoras y piratas”, de Silvina Quintans (El Ateneo) y “Dibujos eróticos”, de Serguei Eisenstein (Alias) y en Libros que sí recomendó “Plan de parto”, de Andrea Márquez (mardulce) y “La sirenita”, de Andersen, traducción y una lectura a cargo de Miriam Molero (Caja chica) En Voz alta, Valeria Colagiovanni leyó el poema  “Si alguien tiene que ser después” de Juana Bignozzi. Vanina Colagiovanni nació en Buenos Aires en 1976. Es Licenciada en Ciencias de la Comunicación (UBA), también estudió Letras. Desde 2007 es editora de Gog & Magog (poesía y ensayo) y desde 2019, de Cúmulus nimbus (narrativa). Publicó cuatro libros de poesía y acaba de publicar por Gog & Magog “Juana Bignozzi.Todo se une con la noche” una historia de la poeta argentina que inicia la colección “Biografías”, que continuará con un retrato de Irene Gruss. Y en Te regalo un libro, Alejandro Bellotti nos habló del noruego Kjell Askildsen y sus Cuentos reunidos. Alejandro es editor de Cultura del Diario Perfil.  Ha publicado crónicas, entrevistas y ensayos en revistas y diarios de la Argentina y el exterior como El Malpensante, Letras Libres, Replicante, Noticias, Coffee and Saturday, Olé, El Observador, Q, La Nave y Travel, entre otros. Trabajó como docente, guionista de documentales y corrector. Fue columnista de actualidad de la edición latinoamericana de Los Inrockuptibles.

Walter Romero nació en Buenos Aires, en 1967. Es poeta, traductor, docente, crítico literario y gran intérprete de tango. Hace 25 años que forma parte de la cátedra de Literatura Francesa de la UBA, es profesor del Colegio Nacional de Buenos Aires y director del Instituto de Investigaciones en Humanidades, Dr. Gerardo H. Pagés. Dicta Literatura del siglo XX en el Profesorado Universitario de Letras de la UNSAM, es jefe del Departamento de Lengua del Colegio Northlands. Fue becario en diversos países y es conocido por sus artículos y prólogos a propósito de la obra de grandes autores, desde Racine y Sade a Ranciere y Copi. Es autor de Panorama de la literatura francesa contemporánea y La poética teatral de Alain Badiou. Colabora regularmente con el suplemento Soy del diario Página 12. Como poeta, ha publicado Estriado y El niño en el espejo. Es el actual presidente de la Asociación Argentina de Profesores de Literatura Francesa y Francófona. Recientemente el Malba, en su colección Cuadernos, acaba de publicar su libro Formas de leer a Proust. Una introducción a En busca del tiempo perdido, que reúne lo que fueron las clases que dictó sobre la obra del gran autor francés durante tres años. El libro publicado por el Malba es una prueba del gran talento de Romero para la divulgación y de su capacidad para compartir generosamente su erudición y su conocimiento. En un estilo llano y amable, Romero busca llevar a los lectores las claves para leer una de las grandes obras literarias de la humanidad, que muchas veces desalienta por su extensión y su complejidad. Leer o escuchar a Romero son el estímulo para animarse. En la sección En voz alta, Virgina Cosin leyó un fragmento de “Segunda casa”, de Rachel Cusk, Libros del Asteroide. Virginia nació en Caracas, Venezuela, en 1973 pero vive en Argentina desde los cinco años. Estudió ciencias de la comunicación, filosofía, cine y dramaturgia. Publicó las novelas Partida de nacimiento y Pasaje al acto, además de cuentos en varias antologías. Desde 2011 coordina talleres de lectura y escritura. Escribe sobre cine y literatura y dirige la revista digital Atlas. En Te regalo un libro, el cineasta y guionista Alejandro Maci nos recomendó  “El año del pensamiento mágico” de Joan Didion y “Nada se opone a la noche” de Delphine de Vigan. Maci tiene un gran recorrido como director y guionista en la televisión. Botineras, Tumberos, Lalola  Laura y Zoe , En terapia y recientemente Santa Evita. En 2011, junto con Esther Feldman, recibió el Premio Konex de Platino en Guión de Televisión. Es director del documental María Luisa Bemberg: el eco de mi voz, sobre la gran directora de cine argentina. En Bienvenidos, Hinde habló de “Conferencia sobre nada”, de John Cage. Traducción de Fogwill y Pablo Gianera (Interzona), “Esta historia ya no está disponible”, de Pedro Mairal (Emecé) y “Necromáquina, cuando morir no es suficiente”, de Rossana Reguillo (Ned Ediciones) y en Libros que sí recomendó “Rally de santos”, de Ángeles Alemandi (La parte maldita), “Fallar otra vez”, de Alan Pauls, con prólogo de Julián Herbert (Gris tormenta) y “Una escritora en el tiempo”, de Jane Lazarre (Las afueras)  

En este capítulo exploramos el corazón de la serie, que es el sentimiento latinoamericano, esta vez expresado en el arte. El Museo de Arte Latinoamericano de Buenos Aires (MALBA) es el encuentro de la experiencia americana por medio de las expresiones artísticas, del color y la forma. Fundado en el 2001, una época convulsa en la historia de Argentina, en este capítulo exploraremos el origen de los museos de arte y la importancia histórica y cultural del mecenazgo, el surgimiento del concepto América Latina, la relevancia cultural de Argentina en la región, y el desarrollo de lo latinoamericano desde lo geográfico, lo político y lo pictórico. Notas del episodio: Historia del mecenazgo Recorrido virtual del MALBA Historia del MALBA y palabras de Eduardo Costantini (fundador) Historia del arte latinoamericano Sobre el Corralito, crisis de Argentina en 2001: Turismo cultural Buenos Aires   ¡Síguenos en nuestras Redes Sociales! Facebook: https://www.facebook.com/DianaUribe.fm/ Instagram: https://www.instagram.com/dianauribe.fm/?hl=es Twitter: https://twitter.com/dianauribefm?lang=es Pagina web: https://www.dianauribe.fm

V Jihlavě v současnosti vzniká velkoformátová malba na nevzhledné zdi za obchodním domem Citypark nedaleko centra města.

Ray & Joe field questions about a faulty fuel pump and a callers carburetor issues.The indie movie titled "cruise" depicting car life on the iconic Francis Lewis Boulevard takes the boys down memory lane. Renowned pinstripe artist Gary "The Local Brush" sits in to talk about his life in the car and art worlds, and show host Billy G. encapsulates the history of the car show which dates back to 1958.

Episódio 7 da temporada especial do Appleton Podcast - 15 anos MACE - Aqui somos rede - numa parceria com a Colecção António Cachola Salomé Lamas (Lisboa) Estudou cinema em Lisboa e Praga, artes visuais em Amesterdão e é candidato a doutoramento em estudos de arte contemporânea em Coimbra.O seu trabalho tem sido exibido tanto em locais de arte como em festivais de cinema como Berlinale, Locarno, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC - Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA - Museu de Arte Moderna, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d'Art Contemporain de Genève, Bozar, Louvre, Tabakalera, ICA London, Fundação TBA 21, CAC Vilnius, MALBA, Haus der Kulturen der Welt, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, entre outros.Lamas recebeu várias bolsas de estudo como a Gardner Film Study Center Fellowship - Universidade de Harvard, Film Study Center-Harvard Fellowship, The Rockefeller Foundation - Bellagio Center, Brown Foundation - Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, Luso-American Development Foundation - FLAD, MacDowell, Yaddo, CNAP - Centre National des Arts Plastiques, Camargo Foundation, Berliner Künstlerprogramm des DAAD.É professora na ESAD.CR School of Arts and Design e colabora com a Universidade Católica Portuguesa, e Elias Querejeta Zine Eskola. Colabora com a empresa produtora O Som e a Fúria e Primeira Idade e é representada pela Kubikgallery e Galeria Miguel Nabinho. Maria TorradaLicenciada em Arquitectura, a bio da Maria Torrada é o link para o seu site e o conhecimento do seu trabalho. A Maria Torrada trabalha com as maiores instituições culturais em Portugal e inúmeras galerias e espaços independentes. Foi responsável pela montagem de exposições icónicas e que já fazem parte da história da arte contemporânea portuguesa. Foi convidada para ser a Directora Técnica dos 15 anos do MACE. Segundo a curadora Ana Cristina Cachola “A Maria não é só uma técnica, a Maria ajuda-nos a reflectir sobre aquilo que queremos apresentar e qual a melhor maneira de o fazer”. A própria, quando lhe foi pedida uma nota biográfica respondeu com a simplicidade que a caracteriza e de que todos tanto gostamos: “Sou só a Maria”. Links: https://salomelamas.info/ https://mariatorrada.com/ https://instagram.com/mariatorrada?igshid=YmMyMTA2M2Y= Episódio gravado a 07.07.2022 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral Financiamento:República Portuguesa - Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

Fin de Fiesta cosecha tardía: Luis Diego recorrió el Malba y nos cuenta sensaciones y vivencias del gran Museo del sur del planeta. Fabian habla con Mariano Di Paola y con Dante Liporace. Aki sigue en modo avión: habla sobre viajar, los viajes y los viajeros. El 3 Trips es sobre la movida Madrileña. Algo que marcó y marca la noche de Buenos Aires y viceversa.

En este episodio Tamara y Male Rey conversan sobre Molly Nilsson, la primera novela de Ana Negri, dos películas sobre la relación docente-alumno y la muestra que reúne las obras de Juan Del Prete y Yente en el MALBA.

En nuestro primer episodio in situ, hicimos una excusión al café del MALBA en Buenos Aires para charlar, entre obras de la colección permanente, con Diego Murphy, educador y guía hace más de 15 años en el museo. Diego es licenciado en artes y artista, y en este episodio charlamos sobre cómo es el detrás de escena de trabajar en un museo, su experiencia acercando personas al arte y su propio vínculo personal con el arte. Notas del episodio: Diego Murphy: https://www.instagram.com/diego_murphy_arte/ Museo Malba: https://www.malba.org.ar/ Exposición Yayoi Kusama (2013): https://www.malba.org.ar/evento/yayoi-kusama-obsesion-infinita/?fbclid=IwAR2YUJqbz9tNO9BW1OrByqbVluHHI16jChCnAVIInrNPzgGrdYAO074-gVA Carlos Federico Saenz: https://autores.uy/autor/437 Antonio Berni: https://www.wikiart.org/es/antonio-berni Nora Borges: http://intranet.malba.org.ar/web/coleccion_artista.php?idartista=28 Atelier de Arte: https://www.fera.com.ar/productos/atelier-de-arte-un-workbook-para-inspirarte-en-los-artistas-y-explorar-tu-creatividad/

The majority of the New York City Council members are new, and are part of a class that is the most diverse and progressive in city history. Over the next year Brian Lehrer will get to know all 51 members. This week, Republican Councilmember Vickie Paladino talks about her priorities for District 19 in Northeast Queens, which includes the neighborhoods of Auburndale, Bay Terrace, Bayside, Beechhurst, College Point, Douglaston, Flushing, Little Neck, Malba and Whitestone. Catch up with all the interviews here.

Ovom godišnjom nagradom, čiji su pokrovitelji australska kancelarija UNHCR-a i SBS, odaje se priznanje Malbaši, nekadašnjem izbjeglici iz bivše Jugoslavije, a sada uspješnom advokatu, za njegov volonterski rad za prava izbjeglica, otvorenosti da javno govori o potresnom izbjegličkom iskustvu, kao i za rad na promjeni narativa o tome kako se gleda na izbjeglice u široj australskoj javnosti.

Dobitnik novoustanovljene nagrade  za uspješnog Australca koji je u zemlju došao kao izbjeglica je pravnik i zagovornik prava izbjeglica  Danijel Malbaša, rodom iz Benkovca u Hrvatskoj. Malbaša, koji je kao dijete dva puta  prošao kroz izbjegličko iskustvo, odlučan je promijeniti negativnu percepciju izbjeglica u dijelu australske javnosti. 

En este capítulo Tamara y Male Rey hablan de la película C'mon C'mon, del documental Foto Estudio Luisita y la muestra de Luisa en el MALBA, de El libro de Tamar y Anatomía de un instante

Com a série de eventos "Antropofagia Revisitada", o Museu de Arte Latino-americana de Buenos Aires (Malba) presta homenagem ao centenário da chamada Semana de 22, que marcou o começo do modernismo brasileiro. O movimento influenciou a arte em toda a América Latina, passando pela Bossa Nova, pelo Tropicalismo e até o Rock Brasil, que completa 40 anos.  Márcio Resende, correspondente da RFI em Buenos Aires Até a próxima semana, o Malba mantém uma visita guiada pelas 15 peças modernistas de artistas brasileiros que fazem parte da coleção do local, que conta com obras de Tarsila do Amaral, Lígia Clark, Di Cavalcanti, Portinari, Hélio Oiticica, entre outros.  Em sintonia com o centenário da emblemática Semana de 22, o museu argentino e a Embaixada do Brasil em Buenos Aires organizaram uma série de atividades, presenciais e virtuais, com artistas e acadêmicos, brasileiros e argentinos, sob o conceito de "Antropofagia Revisitada" que incluiu mesas redondas e apresentações. Macunaíma, de Mário de Andrade, ganhou uma nova tradução em espanhol. Os debates puseram a lupa sobre as temáticas em voga na época, Mulheres, Negros e Índios no modernismo brasileiro. Se Tarsila do Amaral propunha "devorar" a arte europeia com o seu quadro do "homem que come gente", o Malba inaugurou o Café Tarsila, onde uma parte do Abaporu foi transformado em biscoito e pode ser devorado. Influência brasileira Por alguns instantes, o Malba desta semana de 2022 remetia ao Theatro Municipal de São Paulo, palco daquela semana de 1922. Aquele Brasil de cem anos atrás também completava o seu primeiro centenário de independência e requeria identidade própria. O modernismo brasileiro propunha devorar a arte europeia não para copiá-la nem para se submeter a ela, mas para transformá-la em brasileira, com elementos próprios daquela nova nação. Ao longo das décadas seguintes, o modernismo contribuiria para uma identidade de vanguarda através pintura, da escultura, da poesia, da arquitetura, da literatura e da música. Diego Murphy, responsável pelo passeio através das obras brasileiras, explica que a Semana de 22 catalisou o que acontecia de forma generalizada pela América Latina, tornando o movimento brasileiro a referência que influenciaria a arte em toda a região. "No começo do século 20, os países da região discutiam qual era a sua identidade. Vários olhavam para a Europa, mas alguns começaram a olhar para dentro de si. Enquanto no resto da América Latina as discussões aconteciam de forma individual, caótica e pouco clara, no Brasil, aconteceram de forma muita clara e contundente. E isso começa a se irradiar do Brasil a toda a América Latina", explica Diego Murphy à RFI. Naqueles anos 1920, dois movimentos ecoavam pela América Latina: a "Antropofagia brasileira" e o "Muralismo mexicano" que tinha uma conotação mais política, após a Revolução Mexicana. "O Muralismo mexicano é muito forte e se irradia pela América Central, mas também nos Estados Unidos. Ao mesmo tempo, havia muita resistência a esse movimento tão político. A Antropofagia brasileira, em contraposição à Europa, tem muita influência na região, mas, sobretudo, na América do Sul, especialmente no Chile e na Argentina. Não chega a surgir um movimento, mas surgiram individualidades que geraram frutos interessantíssimos na arte", compara Murphy. A curadora chefe do Malba, Maria Amalia García, conta que os vanguardistas argentinos se espelhavam nos brasileiros. "Durante os anos 1920, tudo o que aconteceu na Semana de 22 do Brasil teve impacto na Argentina. Os modernistas argentinos observavam com atenção o que acontecia no Brasil. Os intelectuais e os artistas argentinos tiveram um vínculo fluído com o Brasil e com todas essas publicações e núcleos vinculados também com a vanguarda local", aponta Maria Amalia García à RFI. Abaporu em Buenos Aires O ponto de ebulição da Semana de 22 aconteceu em 1928, quando Tarsila do Amaral pintou um quadro como presente de aniversário ao marido, o poeta e escritor Oswald de Andrade, um dos líderes do movimento modernista. A imagem de um gigante sem boca que devora através da reflexão, com pés e mãos grandes sobre a terra e com as cores da bandeira brasileira em composição, foi a melhora tradução do conceito antropofágico que devorou a arte europeia para transformá-la em brasileira. Nascia assim o "Abaporu" (homem que come gente, em tupi-guarani) e inaugurava-se o canibalismo tropical. O ícone do modernismo brasileiro repousa há 21 anos no Malba. O casal Dorival Neto e Átina Rocha, os dois de Marcionílio Souza, interior da Bahia, estudantes de Medicina em Buenos Aires, tiveram o primeiro contato com o Abaporu neste centenário da Semana de 22. "Como alguém que veio do interior é a primeira vez que tenho contato pessoal com essas obras. E é irônico que seja em outro país. Muitas dessas obras com as quais eu só tive contato através de imagens nos livros ou em estudos para o vestibular, pude ver agora em Buenos Aires. Foi uma experiência muito boa", ressalta Dorival à RFI. "Apesar de não estar em casa, o Abaporu está num lugar que se tornou o seu lar. Está bem contemplado, como deve ser. Fico com uma certa inveja por esta obra não estar no Brasil, mas, ao mesmo tempo, fico orgulhosa porque está bem cuidada. Está num lugar que abraçou a nossa cultura e que fez dela também um pouco sua. Aqui você se sente em casa e isso é muito legal", reflete Átina, após a visita guiada. A visita pelas obras brasileiras chega ao final dos anos 1960, quando o canibalismo cultural já não é mais com a Europa, mas com os Estados Unidos, consequência do pós-Segunda Guerra Mundial. Nesta época, aparecem o concretismo e a Pop Art. Identidade brasileira na música Outra diferença que permitiu o modernismo brasileiro se tornar referência foi a conjugação de diversas disciplinas artísticas num mesmo movimento. Pintores, escultores, poetas, escritores, arquitetos e músicos giraram em torno de um conceito. "Essa conjunção é muito importante. O Brasil tem essa grande vantagem: uma comunhão entre artistas interdisciplinares. Nos outros países, isso não acontece", observa Diego Murphy.  "Há outra característica brasileira, diferente do resto da América Latina: a música. É central para a identidade brasileira", indica. O conceito antropofágico de devorar influências de fora para transformar numa arte brasileira incluiu a Bossa Nova, o Tropicalismo e até mesmo o Rock Brasil. A Bossa Nova era o samba moderno sob influência do jazz. Tom Jobim exaltava a influência nas suas composições de Heitor Villa-Lobos, integrante da Semana de 22. O Tropicalismo, sob influência do rock e do concretismo pós-moderno, também influenciou o rock brasileiro. Foi há exatamente 40 anos que uma música jovem irrompeu com elementos do modernismo e do pós-modernismo. A Pop Art aparecia nas capas dos discos e nos figurinos. A estética abusava das cores vivas, de identidade tropical. As letras contavam com diálogos teatrais de estilo jocoso e com um jogo de palavras sob influência do concretismo.  Nascia no Circo Voador, no verão carioca de 1982, a Blitz, o primeiro grupo que abriria as portas das gravadoras para a explosão do denominado Rock Brasil durante os anos 1980. "O Brasil tem essa grande diferença: gente agrupada com um objetivo em comum. Nada de individualidades perdidas, mas um movimento forte numa direção. Essa é justamente uma característica da vanguarda", conclui Diego Murphy.

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