Podcasts about Mus

Ce dont on parle dans cet épisode de Laisse moi kifferLes articles sur la tendance Y2KLe metteur en scène Gilles CailleauL'article sur la femelle morse qui sème la zizanie dans les portsLa recette de pickles d'oignon rouge et la recette d'Onigirazu d'AnthonyLe kif de Mathis (29:32) : les films de Michael Haneke (notamment Le temps du loup, La pianiste, Caché, 71 fragments d'une chronologie du hasard, Amour, Funny Games et Funny Games US, Le ruban blanc...)Le kif d'Aïda (43:50) : aller au musée au mois d'août et notamment au Musée d'Histoire NaturelleLe kif d'Anthony (58:08) : se faire vacciner contre la variole du singeLe kif de Mymy (1:16:13) : Bear and BreakfastLes BD d'Aurélien FernandezRetrouvez-nous sur Instagram : Laisse moi kiffer (@laissemoikiffer)Anthony (@anthonyvnct)Aïda (@aitremadea)Mathis (@mathisgrosos)Mymy (@mymyhgl)Abonnez-vous sur :Apple Podcasts • Deezer • SpotifyCrédits :Laisse moi kiffer est un podcast de Madmoizelle présenté par Mymy Haegel. Avec Anthony Vincent, Aïda Djoupa et Mathis Grosos. Réalisation, production, musique et édition : Mathis Grosos. Rédaction en chef : Marie-Stéphanie Servos. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

ECOUTEZ LE QUART D'HEURE LYONNAIS Toute l'actualité de ce mardi 9 aout 2022 34 degrés attendus à Lyon Des sapeurs-pompiers du Rhône envoyés en Isère Des incendies de végétation dans les communes du Rhône L'Etablissement Français du Sang lance un appel Villeurbanne recherche une centaine d'animateurs périscolaires Visite du Musée des sapeurs-pompiers à la Duchère OL : 1 200 supporters pour suivre la séance d'entraînement en plein été

Join us as we consider a pack of poems by Pier Wright, and the complexities of pacing, prosody, and narrative poems with strange and powerful images: memory, tenderness, a “magnificent young moose,” & the magic of being caught in the act. Kathleen “Gratitude” Volk Miller, champion explicator and advocate for gratitude and neuroplasticity, analyzes the “small pointy hats of hope” as lovers entwine. Jason “Gorgeous Vectors” Schneiderman loves sticky collisions. Gabby and Alex and the crew ponder happy endings and surprises that feel like “Objective correlatives,” slushies. Spoiler: Marion “Sunshine” Wrenn makes an appearance from future past, or future perfect, or…something like that. It all makes a great story.  Slushies, what is your “embarrassing at the moment but will be funny later” story?    This episode is brought to you by one of our sponsors, Wilbur Records, who kindly introduced us to the artist  A.M.Mills, whose song “Spaghetti with Loretta” now opens our show.  Pier Wright attended Kalamazoo College where he was influenced by the poetry of Con Hilberry and later by that of Diane Seuss. The first poetry reading he ever attended, and has never forgotten, was Robert Bly reading from Silence In The Snowy Fields. He received a Post-Baccalaureate & Masters degree from The Art Institute of Chicago. As a student he discovered Fairfield Porter, Monet's large Water Lilly paintings at at Musée de l'Orangerie, Terry Winters, Mary Heilmann, Philip Guston's late paintings, Giotto, Noguchi, etc.. Influences include Prayer Wheels, Marie Howe, Chris Martin, Peter Matthiessen, Stephen Dunn, John Cage, Ornette Coleman, Joni Mitchell, Phyllida Barlow, the ceramic work of Toshiko Takaezu, and, most recently, the writings of C.D. Wright. While living as a hermit for several years at the end of a peninsula in N Michigan he began working with Michael Delp. He has been the director of Wright Gallery since 2002 and is recently married. Socials:  Instagram is pierdwright, Facebook is Pier Wright, and website is pierwright.net (paintings)     Driveway Poem   we arrived early at the house by the subshop after the bar closed it was cold and being new at love the only way we thought to keep warm was by undressing completely, with great urgency in the front seat of the Ford then my foot got stuck in the horn just as our friends began arriving we couldn't have left even if we'd wanted to with all the cars having parked behind us so we went to the party anyway me with my shoes untied you unfolding yourself from the car like a magnificent young moose the night sky on one side of you and the stars over there the way you had of entering a room back then as though by just walking the muddy path to the stoop a lotus popped out   Gratitude   what was once impotent in me remains in this fiery house on a small lot, crap lawn every roughed grief the small pointy hats of hope red hibiscus bushes wilting in a row the heat slicked fur of a sleeping hound a house made not of things but the relationship between things such as the desire two bodies have when flying blindly toward each other at incredible speed so, when I ask if I can make you breakfast what I mean is, I am thankful you are finally here   The Hibiscus, Key West   we shared thin, raw, slices of tuna, conch salad, cracked stone crab claws, drank dark rum, tripped over the noisy chickens on our way to your room. drank more rum from plastic cups, then a table broke, the matching chair in pieces, waltzing together across worn linoleum like aging Tantric porn stars. waking to Cuban coffee, I remember eggs, while waiting for a bus to Miami you wrote your number on a napkin. I tried calling several times, a memory persistent as the fly banging on this kitchen door screen.   Mother's Day   what a day in the garden pulling out the knotweed the clover and spurge forgiving you for leaving so soon the way they cut your head open I recall a dream I find you in a dumpster it's hot your bones are missing and you can't get out just now before dark beside the thistle and burdock your cheeks wet I ask if you are hungry I chop potatoes eggs olives how tender the early dandelion greens are tossed with sea salt bitter with lemon drizzled with the good oil I keep for company

Napětí mezi Čínou a Tchajwanem stále pokračuje. Vztahy se vyhrotily poté, co minulý týden Tchajwan navštívila předsedkyně americké Sněmovny reprezentantů Nancy Pelosiová. Čína se na ni a její nejbližší rodinu rozhodla uvalit sankce. Čínská armáda také ke konci minulého týdne zahájila vojenské cvičení včetně ostrých střeleb ve vodách a ve vzdušném prostoru obklopujícím Tchajwan. „Cvičení samotné je demonstrací síly Pekingu ve vojenské oblasti. Musíme doufat, že se neschyluje k invazi, která by měla následky nejen pro Tchajwan, ale i pro Čínu', řekl v rozhovoru pro Rádio ZET sinolog David Gardáš.

Are you looking to go from Toulouse to Marseille on the train? Kelly Young has some tips for you, including what to do when the train takes a very brief stop somewhere! This was a bit of a whirlwind trip going to 5 cities in 11 days. Kelly would also like to move to France some day, so they are looking at possibly moving to France at some point. The family of 5 decided they're more interested in the south of France than in Paris. It's great (and unusual) to hear someone who hasn't been to Paris several times before visiting Toulouse! Things you need to know about taking trains in France If you've never taken the train in France, be aware that they don't post the number of the train track until about 20 minutes before the train departs. If you arrive at the train station early, look around at the different tracks and how to get to them. Listen to the episode for details on how to handle trains stations for your first time in France. About Marseille Marseille is a large city. It feels like a European New York, it's a big city, it's loud, there are ambulances, etc. But if you're looking for a city with diversity, Marseille is perfect and everybody was really friendly. If you are looking to explore France using public transportation, be aware that taking the bus between Marseille and Aix was really easy. The bus is also a great way to get around in France if you're willing to go out of your comfort zone which clearly Kelly and her family were! Recommended in this episode Hôtel des Grands Balcons in Toulouse Hire Elyse to give you a tour of Toulouse Best Western in Carcassonne Table of Contents for this Episode [00:00:00] Intro [00:01:49] Main interview [00:02:30] The group and how they planned the trip [00:03:13] Hoping to move to France [00:04:33] Didn't visit Paris at all [00:05:19] Toulouse [00:05:44] A determined person [00:06:02] Flew into Toulouse [00:06:34] Mirror Doors [00:06:58] Careful when you arrive and are jet lagged [00:07:54] La Place du Capitole [00:08:11] Tour of Toulouse with Elyse [00:09:12] A lot of walking [00:10:09] Archeological Museum [00:11:22] L'Entrecote [00:12:19] Apple Maps vs Google Maps [00:14:13] Breakfast near the hotel [00:15:31] Tolouse is quite empty in the summer [00:16:00] Montpellier [00:17:04] Adventures in the train [00:21:20] Trains get cancelled a lot [00:26:45] Carcassonne [00:29:24] Château Comtal de Carcassonne [00:30:21] The torture museum [00:31:50] Narbonne [00:33:10] Les Grands Buffets in Narbonne [00:36:02] Montpellier [00:37:37] Musée Fabre [00:42:34] Marseille [00:43:11] Some issues in Marseille [00:45:22] Aix-en-Provence by bus [00:49:45] Legal notice

OPENING UP THE LOUVRE. Donatien Grau is an editor, scholar and museum executive. He was head of contemporary programs at Musée d'Orsay, Paris, and recently moved to the Louvre, where his continuing mission is to oversee the implementation of contemporary projects that echo the museum's collections.

Dans le grand Nord, sur la plus grande île de la planète, humains et animaux vivent en interdépendance depuis des siècles, une osmose dont témoigne lʹexposition " Qanga. Le Groenland au fil du temps ", à voir au Palais de Rumine à Lausanne jusquʹau 9 janvier 23 Sabine Utz, conservatrice en chef au Musée cantonal dʹarchéologie et dʹhistoire, et Olivier Glaizot conservateur au Musée cantonal de zoologie, sont les invités de Céline OʹClin

Omeletky dnes mají vůni Itálie. Halina Pawlowská vyrazila se svou dlouholetou kamarádkou do Alassia. Ta řekla: „Pojedeme autem a já budu řídit! Jenže neumím parkovat!“ Vykřikla jsem: „Musíme se ubytovat v hotelu s pěti hvězdičkami. Tam zaparkují za tebe!“ Hotel trůnil jako smaragd pláži. Koupaly jsme se asi pětkrát za den. Halda šatů na židli smíchaná s mořským pískem byla mou jedinou poličkou a … a stačila mi ke štěstí.

durée : 00:58:17 - Grand Reportage - par : Aurélie Kieffer - C'est un véritable confetti à l'échelle de la planète mais le Qatar sait attirer les regards du monde entier. Il y a sa prochaine Coupe du monde très contestée mais aussi son influence culturelle, universitaire ou diplomatique. Le tout petit émirat du Qatar - 11 000 km carrés, moins de 2 millions et demi d'habitants, mais cinquième producteur de gaz de la planète - réussit à s'offrir depuis quelques années de véritables joyaux. Évidemment, la Coupe du monde de football cette année, dont la date a été reportée en hiver, pour pouvoir supporter la chaleur dans d'immenses stades climatisés. D'ailleurs construits, bien souvent, par Vinci et autres entreprises du BTP, grâce à une main d'ouvre ouvrière dont les conditions de travail sont très critiquées. Le Guardian, à Londres, avait recensé il y a un an 6 500 morts sur les chantier, chiffre évidemment contesté par l'émirat qui parle d'une trentaine de morts. Au delà de la Coupe du monde, le Qatar c'est aussi le PSG, Neymar et MBappé achetés à très grand frais. Mais ce soft power ne se limite pas au sport. Doha accueille huit universités de rang mondial, un Musée des Arts Islamique, qui expose en ce moment Jeff Koons. En France, l'Hôtel de la Marine, place de la Concorde, a été choisi par l'un des membres de la famille régnante pour héberger sa collection d'art privée. Le Qatar brille donc de mille feux, sportifs, culturels, universitaires . diplomatiques aussi, puisqu'il a réussi à sortir vainqueur du blocus que ses voisins du Golfe lui ont imposé pendant trois ans et demi, de 2017 à l'année dernière. Mais il y a bien évidemment des facettes sombres : le financement supposé des frères musulmans ; les droits de l'homme - et surtout de la femme; la corruption, qui jette une ombre trouble sur la Coupe du monde. Mais quoiqu'il en soit, elle aura bien lieu en plein désert. C'est un 'Grand Reportage' signé Aurélien Colly. Visite d'un stade pour la Coupe du monde qui "puise dans les références de la région" Ce reportage commence à Losail, un des nouveaux quartiers qui est sorti de terre ces dernières années dans la périphérie Doha. C'est ici que va se jouer la finale de la prochaine Coupe du monde de foot. Les yeux seront braqués sur le Qatar et sur le stade de Losail qui vient d'être terminé. Il a la forme d'un gigantesque bol ovale, cuivré. Il représente le bol de dattes qu'on tend aux invités dans la culture du Golfe. C'est l'un des ingénieurs, Tamim Al Abed, qui supervise le chantier qui fait la visite : Le stade de Lusail est le plus grand des huit stades construits pour accueillir la Coupe du Monde 2022. Les architectes ont travaillé en puisant dans les références de la région. Cette Coupe du Monde est "une coupe du monde régionale" comme on dit toujours, elle représente tout le Moyen-Orient. Quand le stade est allumé la nuit, la lumière de l'intérieur, de l'extérieur, du toit, ça donne l'impression d'une belle lanterne qui brille dans l'obscurité, au milieu de cette nouvelle ville, pour les marins et pour appeler les gens à s'approcher. La structure du stade se compose de 280 000 mètres cubes de béton armé, surplombé d'une structure en acier qui pèse 30 000 tonnes, quatre fois le poids de la Tour Eiffel. Donc dessiner ce stade, le fabriquer, en sécurité et avec précision, a été une énorme tâche. On peut dire, en toute sécurité, que 10 000 personnes ont travaillé sur ce projet. Charpentiers, soudeurs, peintres, informaticiens, maçons, sidérurgistes. C'est la partie refroidissement des conduits d'air et des ventilateurs qui projetteront de l'air frais à haute pression sur le terrain, pour rafraichir la surface de jeu pendant le match. Vous pouvez voir ces conduits avec des buses qui font le tour de l'arène circulaire et qui seront alimentées par des unités de traitement d'air qui sont derrière, en passant sous les sièges. Cela fournira une température qui n'excèdera jamais les 26 degrés.  Vous pouvez imaginer quand il est plein. Le son, l'ambiance pour les joueurs et pour les spe

Lần đầu tiên, 30 trong số 141 trang bản thảo gốc của Hoàng tử bé (Le Petit Prince), một trong những tác phẩm được dịch nhiều nhất thế giới, được trưng bày tại Paris cho công chúng Pháp và châu Âu. Đó là những bức ảnh, hay những bức thư tay, bản phác thảo tranh minh hoạ cậu hoàng tử nhỏ, bên cạnh chú chó, vẹt hay ốc sên, và những bức vẽ chưa từng lộ diện cho công chúng. Có lẽ không có nhiều triển lãm thu hút được sự quan tâm của người xem từ mọi lứa tuổi, cả người lớn và trẻ nhỏ như triển lãm “Cuộc hẹn với Hoàng tử bé” của Antoine de Saint- Exupéry ở bảo tàng Nghệ thuật Trang Trí ở Paris, cũng giống như cách mà cuốn sách Hoàng tử bé thu hút người đọc từ nhiều thập niên qua.  Triển lãm về Hoàng tử bé của Antoine de Saint-Exupéry mở cửa đón người xem từ 17/02 đến 26/06/2022 tại bảo tàng Nghệ thuật Trang trí (Musée des Arts décoratifs). Triển lãm tiết lộ những khía cạnh, những góc khuất ít được biết đến của Antoine de Saint-Exupéry, như là nhà văn, nhà thơ, phi công, nhà thám hiểm, triết gia hay nhà báo. Gia đình Matthiews sống tại Thụy Sĩ. Hai vợ chồng cùng hai con gái nhỏ đã quyết định đến Paris xem triển lãm nhân dịp này. Trả lời RFI, bà F. Matthiews nhận xét về triển lãm:  “Tôi thấy triển lãm rất thú vị, vì được tận mắt nhìn thấy các bản thảo gốc của Antoine de Saint-Exupéry, cả tranh vẽ nữa. Theo tôi, sách của ông ấy thú vị bao nhiêu, thì những gì mà triển lãm giới thiệu thú vị bấy nhiêu. Chúng tôi có cảm giác như bước vào vũ trụ riêng của tác giả. Chúng tôi khám phá những gì mà ông ấy đã viết, đã vẽ (trước khi xuất bản sách). Chồng tôi hâm mộ Hoàng tử bé từ 40 năm nay và ông ấy nhất mực muốn đến xem triển lãm, chính vì vậy cả nhà tôi cùng đi. Đúng thật, dù là ai, người lớn hay trẻ nhỏ, mỗi người đều tìm thấy một phần nào đó của mình trong trí tưởng tượng của Saint - Exupery”.  Hoàng tử bé được viết trong thời gian Saint-Exupéry sống ở Hoa Kỳ và lần đầu tiên được in ở New York vào năm 1943 (bằng tiếng Anh và tiếng Pháp). Ban đầu cuốn sách là một đơn đặt hàng của nhà xuất bản Reynal & Hitchtcok. Saint-Exupéry được yêu cầu viết một cuốn truyện tranh để sưởi ấm trái tim độc giả thiếu nhi trong không khí đen tối của Chiến Tranh Thế Giới Thứ Hai, giữa lúc Mỹ bước vào cuộc chiến. Sau khi nhìn những bản phác thảo về cậu bé mà ông vẽ đi vẽ lại, nhà xuất bản đã đề nghị ông viết một câu chuyện hoàn chỉnh về cậu bé đó. Và phải hai năm sau đó, vào năm 1946, cuốn sách mới được xuất bản tại Pháp, quê hương của Saint-Exupéry, khi ông đã qua đời. Kể từ đó, những câu chữ, thông điệp của Hoàng tử bé lan tỏa xuyên biên giới. Những câu chuyện vượt thời gian với cách viết nhiều hí hoạ, đầy chất thơ, nhưng cũng đậm triết lý về cuộc sống và về tình yêu, đơn thuần, nhưng sâu sắc, khiến cuốn sách đến tay mọi lứa tuổi.   Những dụng cụ vẽ, màu nước, hay những nét tẩy xoá và các bản phác thảo, triển lãm đưa người xem vào thế giới sáng tác của Saint-Exupéry, nhiều lần đặt bút tưởng tượng ra vóc dáng của nhân vật chính, người cuối cùng trở thành hoàng tử bé với chiếc nơ thắt ngực, đeo khăn quàng cổ phấp phới trong gió cùng ánh mắt u sầu.   Đó là những ấn bản đầu tiên của Hoàng tử bé. Saint-Exupéry đã đưa các tài liệu này cho một nhà báo người Mỹ Silvia Hamilton trước khi ông qua đời vào năm 1944. Sau đó, vào những năm 1960, chúng được chuyển đến lưu trữ tại Thư viện Morgan ở New York, và chưa từng rời khỏi đó mãi cho đến nay. Quản lý triển lãm tại bảo tàng Nghệ thuật Trang trí giới thiệu triển lãm với hãng tin Reuters : “Điều mà tôi thấy đặc biệt ở đây đó là việc mà Saint-Exupéry cần dùng bút vẽ để có thể giãi bày ý tưởng. Ông là một nhà văn, nhưng cũng là một phi công. Thông qua triển lãm này, chúng ta có thể cảm nhận tâm hồn nghệ sỹ của ông. Chúng ta có thể thấy rằng sáng tác, vẽ tranh là một hoạt động đi theo ông cả đời và có thể thấy rằng ông ấy đã lao tâm khổ tứ rất nhiều để vẽ ra từng nhân vật. Tại triển lãm, mọi người có thể đọc những bức thư viết tay mà ông gởi cho mẹ ông, xin bà đánh giá về các bức tranh và đưa ra ý kiến. Trong một vài bức thư, ông ấy viết : “Chao ôi, bức này không được, con không biết vẽ ra sao mẹ ạ !” Hơn nữa, Saint-Exupéry cũng đặc biệt quan tâm đến việc tên mình được chú thích trong bức ảnh bìa của cuốn Hoàng tử bé, bởi vì đối với tác giả, đây được xem như là một thành công thực sự, tiếp sức cho ông tự vẽ những bức tranh minh họa cho cuốn sách của mình”.   Mở đầu với bầu trời đầy sao và những bức vẽ, triển lãm đưa người xem bước vào thế giới của hoàng tử bé, của tuổi thơ, hay của chính Saint-Exupéry. Người xem khám phá thời thơ ấu của Antoine de Saint-Exupéry, từ khi ông sinh ra tại Lyon năm 1990, cho đến khi đến tuổi thiếu niên. Lớn lên trong một gia đình quý tộc, giỏi làm thơ và đam mê máy bay. Tất cả là những kinh nghiệm bồi đắp ý tưởng cho cuốn sách cũng như những ý niệm về thời thơ ấu – điểm nhấn quan trọng của Hoàng tử bé. “Bởi vì tất cả những người trưởng thành trước đó đều là những đứa trẻ, nhưng ít ai trong số họ vẫn nhớ điều này”.   Trong cuốn sách, cụ thể là những cuộc đối thoại giữa Hoàng tử bé và phi công, Saint-Exupéry dường như vẽ ra một đường ranh giới mờ nhạt giữa người trưởng thành và trẻ thơ. Viên phi công tự cho mình là một trong những nhân vật vĩ đại, nhưng thực ra không phải là ai cả và cũng không còn là trẻ con, bối rối trước những câu hỏi dồn dập của Hoàng tử bé. Ngược lại Hoàng tử bé, với lối suy nghĩ giản đơn trong hình hài một đứa trẻ, lại có thể đối mặt với trách nhiệm tự “bảo vệ hành tinh và bông hồng”, giống như một người trưởng thành. Những đoạn đối thoại khiến chúng ta đôi khi cảm giác đó là những đoạn độc thoại nội tâm của tác giả, dường như Saint-Exupéry đã quay lại thời mười tuổi, và tin chắc rằng “truyện cổ tích là sự thật duy nhất trên đời” (On sait que les contes de fée est la seule vérité de la vie).  Và trong một góc tối, ánh đèn chiếu vào hình ảnh nhân vật Hoàng tử bé, được đặt trong một hộp kính, vang lên giọng nói : Làm ơn, hãy vẽ cho tôi một chú cừu !, (S'il vous plait ! Dessinez moi un mouton !), như van xin nài nỉ, đôi chút làm nũng của cậu hoàng nhỏ, lặp đi lặp lại. Giữa sa mạc, cách các khu vực có người sinh sống hàng ngàn vạn dặm, lời yêu cầu của một thiên thần nhỏ không cánh đến từ hành tinh khác vang dội trong khắp các gian triển lãm ở Paris.  Từ phòng này sang phòng khác, bóng tối bao trùm gian triển lãm, nhưng ánh đèn chiếu sáng từng tác phẩm. Người xem đứng lặng trước các tấm kính, sói xét kỹ lưỡng từng nét bút của Saint-Exupéry, rồi trầm ngâm trước nội dung những bức thư ngọt ngào, giàu cảm xúc và chân thật của tác giả, những lời trách móc gửi cho người thương, và cả những trao đổi giữa tác giả và nhà xuất bản trước khi cuốn sách ra đời. Triển lãm đặc biệt nêu bật hai trong số những nhân vật quan trọng trong cuộc đời của Saint-Exupéry trong Chiến Tranh Thế Giới Thứ Hai, đó là vợ ông, bà Consuelo - người truyền cảm hứng cho nhân vật Rose, và người bạn thân cũng như là chỗ dựa tinh thần của ông, Léon Werth. Triển lãm giúp cho những ai đã đọc Hoàng tử bé có thể hiểu rõ hơn về tác giả. Bà Evelyne, đến xem triển lãm cho biết : “Đúng là triển lãm giúp tôi có cái nhìn rõ hơn, nói thực là, khi tôi đọc sách, tôi không hiểu hết được những gì mà tác giả muốn nói. Qua triển lãm này, tôi hiểu được quá trình ông ấy viết ra cuốn sách ra sao. Saint Exupéry đã tạo ra rất nhiều nhân vật khác nhau, và cũng có rất nhiều nhân vật mà ông ấy không đưa vào cuốn sách. Tác giả có những lựa chọn và toan tính riêng. Triển lãm mở ra thế giới của tác giả hơn là của cuốn sách, đó là những điều mà tôi cảm nhận được.” Tại đây, người xem cũng khám phá những nhân vật tưởng chừng bị Saint Exupéry lãng quên và cả một chuỗi những sự kiện trong cuộc đời tác giả, dường như đúc kết lên câu nói đi vào lòng người của Hoàng tử nhỏ : “Chúng ta chỉ nhìn rõ mọi thứ bằng trái tim. Mắt thường không nhìn thấy những thứ quan trọng nhất”.  Trong những năm tháng đen tối của lịch sử, Saint Exupéry viết lên một câu chuyện mang thông điệp đậm tính nhân văn và triết học, hòa quyện trong lối hành văn đơn giản của trẻ thơ, để mỗi khi đọc lại, ở thời điểm khác nhau, không gian khác nhau, độ tuổi khác nhau, người đọc có thể đưa ra những cảm nhận riêng và không lần nào giống lần nào cả. “Thông điệp được Hoàng tử bé truyền tải đó là gặp gỡ những người mới, cởi mở với những người xung quanh, và đó cũng là điều mà bất cứ ai trong chúng ta cũng cần đến và có thể tìm thấy mình trong đó”, như nhận đình của bà Anne Monier Vanryb, quản lý triển lãm tại Bảo tàng Nghệ Thuật Trang Trí. Gian cuối cùng của triển lãm trưng bày những ấn bản được dịch ra các ngôn ngữ khác. Với hơn 500 thứ tiếng trên thế giới, thậm chí cả những ngôn ngữ hiếm chỉ còn vài chục người sử dụng, Hoàng tử bé là cuốn sách được dịch nhiều nhất thế giới chỉ sau cuốn Kinh Thánh. Bản dịch Le Petit Prince sang tiếng Việt đầu tiên có từ năm 1966. Hai bản dịch phổ biến là của Bùi Giáng do An Tiêm xuất bản và Cậu Hoàng Con do dịch giả Trần Thiện Đạo thực hiện. Vào dịp kỷ niệm 70 năm ngày tác phẩm ra đời, nhà xuất bản Gallimard đã chính thức chuyển nhượng bản quyền xuất bản Hoàng tử bé tại Việt Nam cho nhà xuất bản Nhã Nam vào năm 2017. 

Mariánovi Kočnerovi hrozí ďalšia obžaloba. Vyšetrovanie káuz Donovaly a Báč je ukončené. Čím sú špecifické tieto kauzy? Prečo vyšetrovanie trvalo viac ako päť rokov? Postaví sa Kočner pred súd? To sa v druhej téme podcastu pýtala Denisa Žilová šéfa investigatívneho tímu Aktualít Jána Petroviča.  Čínska armáda pokračuje vo vojenských cvičeniach v okolí Taiwanu. Môže situácia vyústiť do invázie Číny na Taiwan? Aký je historický kontext a prečo si Čína nárokuje na Taiwan? V druhej téme podcastu budete počuť výkonného riaditeľa Stredoeurópskeho inštitútu ázijských štúdií Mateja Šimalčíka.  „Akýkoľvek útok musí mať námorný element, čo je logisticky náročná operácia. Musíte prepraviť veľké množstvo vojakov a techniky. Vyžaduje si to dlhodobejšie prípravy, ktoré by sme pravdepodobne aj videli. Zatiaľ nič také nesledujeme,” opisuje Šimalčík v podcaste. Podcast pripravili Denisa Hopková a Denisa Žilová.

Die Sendung mit der Ziege - Staffel 3, Folge 103,  Episode 23Pille, Kondom oder doch lieber Spirale? Wir Menschen haben eine Vielzahl an Möglichkeiten, ungewünschte Schwangerschaften zu verhindern. Doch wie läuft die Verhütung im Tierreich ab? In dieser Folge erfahrt ihr einige der erstaunlichsten Methoden, wie sich Affen oder auch Nacktmulle vor unerwünschtem Nachwuchs schützen. Link zum Videocast: https://youtu.be/bKu1xN0jIYwStudie Paviane: https://www.sciencedirect.com/science/article/abs/pii/S0018506X07001377Sifakas: https://link.springer.com/article/10.1007/s10329-002-0008-6Studie Larvensifakas: https://link.springer.com/article/10.1007/s10329-002-0008-6Foto-Nachweise:1. Idobi, Olivebaboon, CC BY-SA 3.02. Ema974, Plan rapproché de la graine vitex doniana dit "graine bouchon" prise au Musée de Villèle, CC BY-SA 3.03. ryan harvey from Portland, OR, Male Olive Baboon, CC BY-SA 2.04. Getty Images5. und 6. Gemeinfrei7. JialiangGao www.peace-on-earth.org, Verreauxs Sifika Kirindy Madagascar, CC BY-SA 4.0Alle Pod- und Videocastfolgen auf einen Blick: www.DieSendungMitDerZiege.deMitgliedschaft:https://madlenziege.com/mitgliedschaftenDir gefällt meine Sendung und Du möchtest meine Arbeit unterstützen? Dann wirf doch ein paar Münzen in den Hut!Support the show

Das tapfere Schneiderlein, frei erzählt nach einem Märchen der Gebrüder Grimm. An einem Sonntagmorgen saß ein Schneiderlein auf seinem Tisch, pfiff guter Dinge vor sich hin und nähte aus Leibeskräften. Da kam eine Frau die Straße herab und rief: „Gut Mus feil! Gut Mus feil!“Das klang dem Schneiderlein so lieblich in die Ohren, dass er rief:„ Nur hier herauf, liebe Frau, hier wird sie ihre Ware los!“Jeden einzelnen ihrer Töpfe ließ er sich auspacken und besah sie alle in Ruhe. Er hob sie in die Höhe und hielt die Nase daran, bis er endlich meinte: „Mhm ja! Das Mus hier scheint mir gut! Das soll es sein!“. Darauf holte er das Brot aus dem Schrank und strich das Mus darüber.„Aber eh ich anbeiße will ich das Wams fertig machen“, sprach er, legte das Brot noch mal neben sich und nähte weiter. Indes stieg der Geruch von dem süßen Mus hinauf an die Wand, wo die Fliegen in großer Menge saßen. Eine nach der anderen wurde hervorgelockt und ließ sich auf dem süßen Brot nieder. Schließlich langte das Schneiderlein nach einem Tuchlappen und schlug unbarmherzig auf die Fliegen ein. Als es damit fertig war, lagen nicht weniger als sieben vor ihm Tod auf dem Rücken und streckten die Beine in die Höhe. „Ha, was bist du doch für ein Kerl! Na, das soll die ganze Welt erfahren“, rief der Schneider und schnitt sich flinker Hand einen Gürtel zurecht, auf den er mit großen Buchstaben stickte: „Sieben auf einen Streich“. Diesen band er sich um den Leib und zog los.... Willst du wissen, wer dem Schneiderlein alles auf seinem Weg begegnete?...und was es noch für tapfere Heldentaten vollbrachte? So lausche nur der Geschichte.... Viel Spaß! Deine Julia Ach so, und noch zu mir: Ich bin Julia Heinze, Schauspielerin aus München und Mama von einem Rotkäppchen (8 Jahre) und einem Hänschen Klein (5 Jahre). Lob? Tadel? oder Märchenvorschläge? Du erreichst mich auf meinem Instagram Account @juliaheinze: https://www.instagram.com/juliaheinze-/?hl=de Ich freue mich, wenn Du mir folgst (-: Falls Du meinen Podcast unterstützen möchtest, kannst Du das gerne mit einem kleinen Betrag über PAYPAL . Auch darüber freue ich mich natürlich sehr ((-: PAYPAL: der maerchenpodcast@gmail.com Kontakt Agentur: Schauspielagentur Kick: http//agentur-kick.de/julia_heinze Literaturagentur Arteaga: https://www.literaturagentur-arteaga.de/autoren/31-autoren/394-julia-heinze

Mariánovi Kočnerovi hrozí ďalšia obžaloba. Vyšetrovanie káuz Donovaly a Báč je ukončené. Čím sú špecifické tieto kauzy? Prečo vyšetrovanie trvalo viac ako päť rokov? Postaví sa Kočner pred súd? To sa v druhej téme podcastu pýtala Denisa Žilová šéfa investigatívneho tímu Aktualít Jána Petroviča.  Čínska armáda pokračuje vo vojenských cvičeniach v okolí Taiwanu. Môže situácia vyústiť do invázie Číny na Taiwan? Aký je historický kontext a prečo si Čína nárokuje na Taiwan? V druhej téme podcastu budete počuť výkonného riaditeľa Stredoeurópskeho inštitútu ázijských štúdií Mateja Šimalčíka.  „Akýkoľvek útok musí mať námorný element, čo je logisticky náročná operácia. Musíte prepraviť veľké množstvo vojakov a techniky. Vyžaduje si to dlhodobejšie prípravy, ktoré by sme pravdepodobne aj videli. Zatiaľ nič také nesledujeme,” opisuje Šimalčík v podcaste. Podcast pripravili Denisa Hopková a Denisa Žilová.

Auður Ava Ólafsdóttir vit à Reykjavík. Après des études d'histoire de l'art à Paris, elle a dirigé le Musée de l'Université d'Islande. Elle est l'auteure de plusieurs romans dont «Rosa candida», primé par le Nordic Council Literature Prize, la plus haute distinction décernée à un écrivain des cinq pays nordiques. Elle a aussi reçu l'Íslensku bókmenntaverðlaunin, le plus prestigieux prix islandais, pour «Ör», et en France le Prix Médicis étranger pour «Miss Islande». (Rediffusion)   Traduction de l'islandais en français par Eric Boury. "Issue d'une lignée de sages-femmes, Dýja est à son tour « mère de la lumière ». Ses parents dirigent des pompes funèbres, sa sœur est météorologue : naître, mourir, et au milieu quelques tempêtes. Alors qu'un ouragan menace, Dýja aide à mettre au monde son 1 922e bébé. Elle apprivoise l'appartement hérité de sa grand-tante, avec ses meubles vintage, ses ampoules qui clignotent et un carton à bananes rempli de manuscrits. Car tante Fífa a poursuivi l'œuvre de l'arrière-grand-mère, insérant les récits de ces femmes qui parcouraient la lande dans le blizzard à ses propres réflexions aussi fantasques que visionnaires sur la planète, la vie – et la lumière. Sous les combles, un touriste australien semble venu des antipodes simplement pour faire le point. Décidément, l'être humain est l'animal le plus vulnérable de la Terre, le fil ténu qui relie à la vie aussi fragile qu'une aurore boréale." (Présentation des éditions Zulma)

„Musíte počítat s tím, že pro Spojené státy není největším ekonomickým konkurentem Čína, ale Evropa. Pokud by byla Evropa silná, mohla by si zvolit vlastní strategii, nemusela by být papagájem amerických zájmů, a mohla by dělat svou vlastní mezinárodní politiku. Vychází to z jednoduché doktríny, že Američané nikdy nesmí dopustit, aby došlo ke spojení Evropské unie, Ruska a Číny, protože pak by byly Spojené státy odsunuty na třetí kolej,“ říká profesor Peter Staněk v pokračování rozhovoru pro pořad Kupředu do minulosti. 2. díl, 05.08.2022, www.RadioUniversum.cz

Aujourd'hui nous avons eu l'honneur de recevoir l'artiste Stephan Breuer et une partie de l'équipe ayant travaillé sur sa nouvelle oeuvre "Amor Mundi" qui sera présentée au Musée National Romain et également vendue sous formes de NFTs...Pour aller plus loin:Site web officiel de Stephan BreuerSite web officiel de l’oeuvre Amor MundiProfil LinkedIn d’Edward MitterrandProfil LinkedIn de Johannes Wilbrenninck This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.nftmorning.com

De Musée Dräi Eechele feiert säin 10. Gebuertsdag. An der Ausstellung COLLECT10NS 2012-2022 gëtt de Visiteur dozou invitéiert dat éischt Joerzéngt vum Musée um Kierchbierg Revue passéieren ze loossen. De Ben Kobs huet sech mat der Chargée de mission Simone Feis iwwer déi schwiereg Ufäng vum M3E ënnerhalen a sech d'Ausstellung mam Historiker Ralph Lange ugekuckt.

We look at the legacy of avant garde fashion designer Elsa Schiaparelli through a new show at the Musée des Arts Décoratifs and learn about Rana Salam's use of colour. Plus: Nic Monisse on the ideal summer house.

Même si je vous emmène au Musée, vous n'avez pas besoin de bouger. Donc pas bouger, mais tout écouter... (Rediffusion du 14/11/2019) L'évènement Les Afriques autrement se passe à Paris dans le 11ème arrondissement (du côté de la Bastille) à la galerie Art-Z qui, pour célébrer ses 20 ans, présente trois générations d'artistes contemporains africains. Cette galerie nous plaît bien parce qu'elle s'y intéresse à « rebours des assignations ethniques et culturelles », dit-elle. Pile pour « En Sol Majeur ». Et donc, si vous montrez votre museau, de près ou de loin, vous verrez par exemple les ombres des bergers peuls travaillées par le vidéaste burkinabè Saidou Dicko, les photographies noir et blanc du mythique et malien Malik Sidibe, ou encore les portraits pop art de notre invité Evans Mbugua, peintre, plasticien et designer kenyan exposé à Londres, en Allemagne, en Espagne, au Maroc et en France où il est installé. Les choix musicaux de Evans Mbugua Tumi and the volume Asinamali Boris Vian Je bois Rokia Traoré Laidu.

Influenceur, influenceuse. "Personne qui, par son audience sur les réseaux sociaux, influence lʹopinion, le comportement, notamment la consommation, de sa communauté". Voici comment Le Petit Robert définit ce nouveau métier, entré dans ses pages en 2017, en même temps que gameur.euse. Le concept nʹest pas nouveau: les stars du cinéma ou du sport qui nouent des partenariats avec des marques sont, elles aussi, des influenceuses. Mais sur les réseaux sociaux, ce sont des inconnu.e.s qui deviennent des célébrités digitales, couvertes de cadeaux et convoitées par des marques. A quoi ressemble la vraie vie dʹinfluenceur.euse, une vie likée, commentée, partagée et parfois livrée à vindicte populaire? Influenceur.euse, un job de rêve, vraiment? en nouvelle diffusion. 5 reportages de Katia Bitsch Réalisation: Marc Frochaux Production: Raphaële Bouchet Invité.e.s: Laurence Allard Maîtresse de conférences en Sciences de la Communication, chercheuse à l'Université Paris 3-IRCAV. & Olivier Glassey Sociologue et spécialiste des usages du numérique à lʹUniversité de Lausanne. Directeur du Musée de la main UNIL-CHUV.

durée : 00:04:29 - Les Nuits de France Culture - par : Philippe Garbit - Dernier entretien du Général Jean Heinrich et de l'historien François Lagrange avec Albane Penaranda pour terminer la première des deux "Nuit des espions" intitulée "Les soldats de l'ombre". - invités : Jean Heinrich Général, ancien chef du Service Action et de la Direction des opérations de la DGSE, créateur et premier directeur de la DRM, Direction du Renseignement Militaire; François Lagrange auteur, historien, chef de la division de la Recherche historique et de l'action pédagogique du Musée de l'Armée

durée : 00:40:49 - Les Nuits de France Culture - par : Philippe Garbit - Pour continuer cette première "Nuit des espions", Albane Penaranda propose de poursuivre son entretien avec le Général Jean Heinrich et l'historien François Lagrange. La deuxième partie de cet entretien éclaire le travail des "soldats de l'ombre". - invités : Jean Heinrich Général, ancien chef du Service Action et de la Direction des opérations de la DGSE, créateur et premier directeur de la DRM, Direction du Renseignement Militaire; François Lagrange auteur, historien, chef de la division de la Recherche historique et de l'action pédagogique du Musée de l'Armée

durée : 00:39:30 - Les Nuits de France Culture - par : Philippe Garbit - Pour débuter la première des deux "Nuits des espions" intitulée "Les soldats de l'ombre", Albane Penaranda propose un entretien avec le Général Jean Heinrich et l'historien François Lagrange. Le premier volet de cet entretien éclaire, en partie seulement, cet "univers de l'ombre". - invités : Jean Heinrich Général, ancien chef du Service Action et de la Direction des opérations de la DGSE, créateur et premier directeur de la DRM, Direction du Renseignement Militaire; François Lagrange auteur, historien, chef de la division de la Recherche historique et de l'action pédagogique du Musée de l'Armée

durée : 01:55:20 - Les Matins - par : Nicolas Herbeaux, Guillaume Erner, Baptiste Muckensturm, Jean Leymarie - Grève des personnels, pagaille dans les aéroports, questions écologiques, deux ans après le début de la crise du Covid, quel avenir pour le secteur aérien ? / Au MuMa du Havre, une exposition sur le vent transporte le spectateur dans un voyage thématique autour de "cela qui ne peut pas être peint". - invités : Xavier Tytelman Ancien aviateur militaire, spécialiste en sécurité aérienne et consultant chez Aviation NXT.; Annette Haudiquet directrice du Musée d'art moderne André Malraux au Havre

Télécharge Fruitz juste ici !Dans cet épisode de Laisse moi kiffer :L'article de Mathis sur RubyHalseyLa pub Cartier au Musée RodinL'article d'Aïda sur la double demande en mariageLe podcast Les mots bleusLe livre de Roland Barthes, Fragments d'un discours amoureuxLe podcast La TournéeLe kif de Coralie (28:12) : Becky's so hot de FletcherLe kif d'Aïda (37:22) : son enquête sur Yohan MancaLe podcast Ce que j'aurais dû dire à mon exLe podcast Un coup de pied dans les urnesL'enquête sur la soumission chimiqueLe kif d'Anthony (48:53) : faire un atelier collagèneLe kif de Mathis (1:00:04) : Drag Race FranceSi vous ou quelqu'un que vous connaissez est victime de violences conjugales, ou si vous voulez tout simplement vous informer davantage sur le sujet, c'est ici.Retrouvez-nous sur Instagram :Laisse moi kifferAnthonyAïdaMathisCoralie et son compte sur la santé mentaleSuivez-nous :Apple Podcasts • Deezer • Spotify Crédits :Laisse moi kiffer est un podcast de Madmoizelle avec Anthony Vincent, Aïda Djoupa et Coralie Monange. Réalisation, présentation production, musique et édition : Mathis Grosos. Rédaction en chef : Marie-Stéphanie Servos. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Télécharge Fruitz juste ici !Ce dont on parle dans cet épisode de Laisse moi kiffer :L'article de Mathis sur RubyLa pub Cartier au Musée RodinL'article d'Aïda sur la double demande en mariageLe podcast Les mots bleusLe livre de Roland Barthes, Fragments d'un discours amoureuxLe podcast La TournéeLe kif de Coralie (28:12) : Becky's so hot de FletcherLe kif d'Aïda (37:22) : son enquête sur Yohan MancaLe podcast Ce que j'aurais dû dire à mon exLe podcast Un coup de pied dans les urnesL'enquête sur la soumission chimiqueLe kif d'Anthony (48:53) : faire un atelier collagèneLe kif de Mathis (1:00:04) : Drag Race FranceSi vous ou quelqu'un que vous connaissez est victime de violences conjugales, ou si vous voulez tout simplement vous informer davantage sur le sujet, c'est ici.Retrouvez-nous sur Instagram :Laisse moi kifferAnthonyAïdaMathisCoralie et son compte sur la santé mentaleSuivez-nous :Sur Apple Podcasts • Sur Deezer • Sur Spotify Crédits :Laisse moi kiffer est un podcast de Madmoizelle. Avec Anthony Vincent, Aïda Djoupa et Coralie Monange. Réalisation, animation, production, musique et édition : Mathis Grosos. Rédaction en chef : Marie-Stéphanie Servos. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

durée : 00:04:43 - franceinfo junior - Cet été, les enfants de franceinfo junior jouent les explorateurs. Jeudi 28 juillet, ils suivent une mission d'exploration à la recherche de nouvelles espèces. Pour en parler : Line Le Gall, responsable de la délégation aux explorations scientifiques au Muséum national d'Histoire naturelle, qui coordonne ce programme.

For this episode's full show notes, download the free CERCA app, available for iOS. Get maps, photos, and info on the places mentioned. Plus, ad-free listening, bonus content, and early access to other episodes in this guide.--- The artistic treasures of Paris aren't just confined to the Louvre and its surrounding neighborhoods - the whole city is an art lover's dream. In Part 2 of our neighborhood by neighborhood guide to art in the City of Lights, we'll take you from Van Gogh and the Impressionists of the Musée d'Orsay all the way to the bohemian jazz brunches of La Bellevilloise.~This Cerca Guide was written by Hannah Meltzer and voiced by Sireen Ricard Millet.Visit CercaTravel.com for more news on where Cerca is going and to sign up for special access to new features. ---At Cerca, we want our community to be a part of building this amazing new way to explore the world, and to benefit from its success. For a limited time Cerca is open for investment through Republic. For as little as $100 you can own a piece of this company.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Conservateur général du patrimoine et directeur du Petit Palais, autrement dit Musée des Beaux-Arts de la Ville de Paris. Depuis 2000, il a été commissaire d'expositions comme « Les Anglais à Paris au 19ème siècle », « Napoléon et le Louvre », « Delacroix et la photographie », « Les Impressionnistes à Londres, artistes français en exil » « Paris romantique » et il sera bientôt celui d'« Ilya Répine, le peintre de l'âme russe ». De quoi est faite la carrière d'un conservateur du patrimoine, quels engagements sont ceux d'un directeur de musée, comment la pandémie a-t-elle affecté les expositions du Petit Palais, comment et quand peuvent-elles reprendre ? Comment rappeler aux Parisiens et aux visiteurs l'intérêt et la valeur des collections permanentes, de leur 50.000 œuvres abritées dans un bâtiment lumineux et surprenant ?Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

Corentin de Chatelperron me fait indubitablement penser à ces "bifurqueurs" dont on a beaucoup parlé en cette fin d‘année scolaire. Sauf que lui, il a bifurqué il y a longtemps déjà ! Il vient de boucler son tour du monde des low-tech avec son bateau « Nomade des Mers ». Ingénieur, navigateur, il avait entamé ce tour avec son équipe il y a 6 ans. Il vient d'accoster en Bretagne fin juin après 25 pays visités et plus de 50 technologies low-tech repérées. Objectif : documenter ces technologies et essayer de les faire connaître au plus grand nombre. Aujourd'hui, alors que l'Etat et de grandes entreprises nous appellent à moins consommer, les low-tech peuvent-elles être une des solutions ? Pour Corentin, sans aucun doute. Par opposition au high-tech, les low-tech sont à la fois utiles, accessibles et durables. Si celles-ci étaient plus largement connues, acceptées et adaptées, nous dit-il, elles permettraient de lutter efficacement contre les maux environnementaux, sociaux et sociétaux du XXIème siècle. Des technologies qui ont également été expérimentées « en direct » sur le bateau : éolienne, mouches « soldat noir », poules, culture de spiruline, etc. La Bretagne, laboratoire européen du low-tech ? L'idée est aussi de faire passer à l'échelle ces technologies, qu'elles infiltrent la société, qu'elle s'en empare. Un festival s'est tenu en Bretagne afin de rencontrer le grand public. Avec le Low-Tech Lab, co-fondé par Corentin de Chatelperron, 20 organisations bretonnes vont bientôt être accompagnées dans leur transition low-tech sur plusieurs années. Parmi elles : l'hôpital de Concarneau, la mairie, une brasserie, un hôtel, le Muséum national d'histoire naturelle. Tout va être revu en termes de déplacements, chauffage, gestion des déchets. Les low-tech, c'est aussi une façon de se réapproprier la technique. « Petit à petit, le progrès actuel nous amène à ne plus rien maîtriser de notre quotidien », estime Corenton de Chatelperron. Réparer des objets, comprendre ce qu'il y a derrière, se réapproprier les objets du quotidien, voilà un autre objectif des low-tech. C'est une passion pour Corentin, vous la sentirez tout au long de ce podcast ! En vacances ou pas, profitez bien, prenez soin de vous et on se retrouve à la rentrée pour une nouvelle saison du podcast et un module « Impact Positif » sur la grille de LCI. A bientôt !

durée : 00:43:13 - La Grande Table d'été - par : Sébastien Thème - L'exposition "Shocking ! Les mondes surréalistes d'Elsa Schiaparelli" au Musée des Arts décoratifs de Paris, qui a ouvert le 6 juillet 2022, met à l'honneur les créations diverses et variées de l'excentrique artiste Italienne. - invités : Elisabeth de Feydeau Docteur en histoire, elle enseigne à l'école des parfumeurs de Versailles. Expert auprès des Maisons de parfumeries (Chanel, Guerlain).; Olivier Gabet Directeur des musées des Arts Décoratifs de Paris

Retrouvez dans cet envoi l'interview du "monde d'après" de Corentin de Chatelperron. Un moment fort du podcast que vous retrouvez à la toute fin de l'épisode. Bonne écoute ! ----- Corentin de Chatelperron me fait indubitablement penser à ces "bifurqueurs" dont on a beaucoup parlé en cette fin d‘année scolaire. Sauf que lui, il a bifurqué il y a longtemps déjà ! Il vient de boucler son tour du monde des low-tech avec son bateau « Nomade des Mers ». Ingénieur, navigateur, il avait entamé ce tour avec son équipe il y a 6 ans. Il vient d'accoster en Bretagne fin juin après 25 pays visités et plus de 50 technologies low-tech repérées. Objectif : documenter ces technologies et essayer de les faire connaître au plus grand nombre. Aujourd'hui, alors que l'Etat et de grandes entreprises nous appellent à moins consommer, les low-tech peuvent-elles être une des solutions ? Pour Corentin, sans aucun doute. Par opposition au high-tech, les low-tech sont à la fois utiles, accessibles et durables. Si celles-ci étaient plus largement connues, acceptées et adaptées, nous dit-il, elles permettraient de lutter efficacement contre les maux environnementaux, sociaux et sociétaux du XXIème siècle. Des technologies qui ont également été expérimentées « en direct » sur son bateau : éolienne, mouches « soldat noir », poules, culture de spiruline, etc. La Bretagne, laboratoire européen du low tech ? L'idée est aussi de faire passer à l'échelle ces technologies, qu'elles infiltrent la société, qu'elle s'en empare. Un festival s'est tenu en Bretagne afin de rencontrer le grand public. Avec le Low-tech Lab, co-fondé par Corentin de Chatelperron, 20 organisations bretonnes vont bientôt être accompagnées dans leur transition low-tech sur plusieurs années. Parmi elles : l'hôpital de Concarneau, la mairie, une brasserie, un hôtel, le Muséum national d'histoire naturelle. Tout va être revu en termes de déplacements, chauffage, gestion des déchets. Les low-tech, c'est aussi une façon de se réapproprier la technique. « Petit à petit, le progrès actuel nous amène à ne plus rien maîtriser de notre quotidien », estime Corentin. Réparer des objets, comprendre ce qu'il y a derrière, se réapproprier les objets du quotidien, voilà un autre objectif des low tech. C'est une passion pour Corentin, et vous la sentirez tout au long de ce podcast. En vacances ou pas, profitez bien, prenez soin de vous et on se retrouve à la rentrée pour une nouvelle saison du podcast et un module « Impact Positif » sur la grille de LCI. A bientôt !

durée : 00:43:13 - La Grande Table d'été - par : Sébastien Thème - L'exposition "Shocking ! Les mondes surréalistes d'Elsa Schiaparelli" au Musée des Arts décoratifs de Paris, qui a ouvert le 6 juillet 2022, met à l'honneur les créations diverses et variées de l'excentrique artiste Italienne. - invités : Elisabeth de Feydeau Docteur en histoire, elle enseigne à l'école des parfumeurs de Versailles. Expert auprès des Maisons de parfumeries (Chanel, Guerlain).; Olivier Gabet Directeur des musées des Arts Décoratifs de Paris

durée : 00:43:13 - La Grande Table d'été - par : Sébastien Thème - L'exposition "Shocking ! Les mondes surréalistes d'Elsa Schiaparelli" au Musée des Arts décoratifs de Paris, qui a ouvert le 6 juillet 2022, met à l'honneur les créations diverses et variées de l'excentrique artiste Italienne. - invités : Elisabeth de Feydeau Docteur en histoire, elle enseigne à l'école des parfumeurs de Versailles. Expert auprès des Maisons de parfumeries (Chanel, Guerlain).; Olivier Gabet Directeur des musées des Arts Décoratifs de Paris

Už 20 let moderuje na Radiožurnálu a práce je to náročná. V soukromí má ale velkou oporu v podobě přítele Martina. „Jsme spolu 13 let a je to pro mě stabilní kotva. Svojí povahou je jiný než já a dokáže mě uklidnit. On je sluníčko.“ Musí být moderátor pořád tzv. v obraze? Jak probíhá příprava? Poslouchá se rád? Proč už nechodí do fitka? Co by chtěl vzkázat posluchačům? Proč se stal dárcem kostní dřeně? Jak relaxuje? Poslechněte si v audiu.Všechny díly podcastu Blízká setkání můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Člověk známý jako John Doe, který stojí za únikem dat později známým jako Panama Papers, po šesti letech promluvil s Bastianem Obermayerem a Frederikem Obermaierem, kterým data předal. Přestože svoji identitu i nadále extrémně chrání, poprvé začal mluvit o tom, co ho k předání dat novinářům vedlo, jak ho zklamala německá policie i kdo by ho chtěl nechat zavraždit. Musí novináři nutně znát své zdroje? Jak se ověřují anonymní typy? A kdy jsou tajné zdroje z etického hlediska nepřípustné? Rozhovor s Pavlou Holcovou na téma anonymních a tajných zdrojů. Dostupný na všech podcastových platformách.

Poslanci rozhodli o snížení platby zdravotního pojištění za státní pojištěnce. Stát tak má letos ušetřit v rozpočtu asi 14 miliard korun. „Nebude to mít žádný vliv na kvalitu ani dostupnost zdravotní péče,“ ujišťuje lékařka a poslankyně Zdeňka Němečková Crkvenjaš (ODS). „Musíme analyzovat, jaká je vlastně kvalita a dostupnost péče. A musíme stanovit parametry optimální dostupnosti,“ upozorňuje také lékař a místopředseda zdravotního výboru Julius Špičák (ANO).Všechny díly podcastu Pro a proti můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Are you introducing your partner to France? Perhaps you're bringing your children to France for the first time. This is an episode you'll hear lots of tips on how to make sure things go so well that they'll want to come back. My guest on today's episode, Megan McKay, has visited France 3 times but this was her partner's first time in France. Megan wondered what if he doesn't like France as much as I do? He was willing to try it, but sometimes things can go wrong. She wanted to make sure they did things they'd both find rewarding. Accomodations Recommendations B&B Recommendation: Le Champ des Oliviers. The host gave them great recommendations for local dining as well. Paris hotel recommendation: Belloy Saint Germain Table of Contents for this Episode [00:00:41] Today on the podcast [00:01:05] Podcast support [00:01:25] The France bootcamp [00:01:44] On vacation for the next 3 weeks [00:03:10] Main interview [00:03:39] Megan's first time in France [00:04:37] Champs-Élysées [00:05:20] Musée de la Chasse et de la Nature [00:06:11] Deyrolle [00:08:05] How long was the whole trip? [00:08:14] Train to Marseille [00:08:32] The village of Oppède (zip code 84580) [00:09:13] How was the train trip? [00:10:17] Getting to the B&B with a stop in Lourmarin [00:11:15] Did he like French food? [00:12:11] Not everything can be arranged through a website [00:13:14] Most places have someone who speaks English [00:14:39] A year in Provence in two days [00:15:50] When did they visit France? [00:16:31] Gordes [00:17:00] Lacoste [00:17:57] Fell in love with Rosé [00:19:13] Grocery Stores and markets [00:19:42] Small villages don't have a lot of grocery stores [00:20:29] Cucuron [00:22:00] The road to La Ciotat [00:22:51] Le Castellet [00:23:28] La Ciotat [00:24:08] Harder to park in La Ciotat [00:24:50] 14 Degree Cave [00:25:40] Connect with people even though you don't know the language [00:27:17] Is he going to want to come back? [00:27:41] Food is a good culture-connector [00:29:03] Caught out when parking [00:30:26] La Route de Cretes [00:30:50] Gas Stations and Foreign Cards [00:31:41] Back to Paris [00:32:30] Taking the train back to the airport [00:33:46] Say Bonjour [00:34:25] Flying in and out of Paris [00:35:26] Traveling light [00:35:38] Familiarize yourself with the GPS [00:36:56] Researching area before your travel [00:37:29] Rosé and Cognac: New Favorites [00:38:00] French language [00:39:00] Ready to come back? [00:40:05] Thank you, patrons [00:40:37] New patrons [00:41:13] Preparing to visit France? [00:42:18] Self-guided tours [00:42:36] Great review of the self-guided tours [00:43:24] Why the VoiceMap tours are great [00:43:57] Travel question of the week [00:49:44] Show notes [00:50:13] Next week on the podcast Episode Page | Guest Notes | Transcript Listen to episodes about food and café culture in France Patreon | Boutique | Newletter | Booking

durée : 00:54:21 - La librairie francophone estivale - par : Emmanuel Kherad - Aujourd'hui, un Club Francophone en Suisse avec deux légendes de la BD, un Reportage autour de la culture Corse avec un écrivain aventurier, le Voyage Estival à Paris au Musée Grévin avec un Académicien et une grande actrice et vous entendrez Julien Clerc, Jean Teulé et Patricia Loison.

Marc-André Sélosse est biologiste, spécialisé dans les symbioses (associations mutuellement bénéfiques) entre plantes microbes et champignons. Il est aussi professeur au Muséum d'histoire naturelle (MNHN). enseigne dans plusieurs universités en France et à l'étranger. Cet habitué des plateaux télés et radios est l'auteur d'un livre de référence sur les sols, “L'origine du monde”, Une histoire naturelle du sol à l'intention de ceux qui le piétinent, Paru en septembre 2021. Les sols sont de loin le réservoir principal de vie terrestre, avec 25 % des espèces connues. Ils fourmillent d'animaux et de microbes qui vivent et se nourrissent de façons incroyablement variées et liées : cette diversité assure tout simplement... le fonctionnement des écosystèmes terrestres.  Les sols font aussi la fertilité des océans (c'est d'eux que proviennent les sels minéraux charriés par les fleuves et indispensables au cycle du plancton). _______

Le lundi 16 mai, une orque est aperçue dans la Seine près de Honfleur, en Normandie. Une découverte qui pique la curiosité des riverains et inquiète les associations : l'orque n'est pas un animal d'eau douce.Rapidement, on s'aperçoit que l'orque va mal et malgré une tentative de sauvetage avec une opération de stimuli sonores, la préfecture de Seine-Maritime annonce le dimanche 29 mai que le cétacé doit être euthanasié. Mais dès le lendemain, le lundi 30 mai, l'orque est retrouvée morte. Son squelette est confié au Muséum national d'Histoire naturelle de Paris. Des analyses sont faites et une balle est retrouvée dans le cou de l'animal mais elle n'est pas à l'origine de la mort de l'orque. Le mystère reste donc entier. Pour Code source, Émilie Torgemen, spécialiste environnement au service société du Parcours, raconte les dernières semaines de l'orque de la Seine. Crédits. Direction de la rédaction : Pierre Chausse - Rédacteur en chef : Jules Lavie - Production : Clara Garnier-Amouroux, Thibault Lambert et Lolla Sauty- Réalisation et mixage : Julien Montcouquiol - Musiques : François Clos, Audio Network, Epidemic Sound - Identité graphique : Upian - Archives : 76actu. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Elsa Schiaparelli is one of the most unique voices fashion has ever seen. Her penchant for daring designs was often inspired by her close friendships with Surrealist artists. We look at the life and legacy of the enigmatic designer in celebration of the opening of the exhibit “Shocking! The Surreal World of Elsa Schiaparelli” at the Musée des Arts Décoratifs in Paris. ADDITIONAL READING: Berenson, Marisa. Elsa Schiaparelli's Private Album. London: Double-Barreled Books, 2014. Blum, Dilys E. Shocking!: The Art and Fashion of Elsa Schiaparelli. Philadelphia: Philadelphia Museum of Art, 2003. Schiaparelli, Elsa. Hommage à Elsa Schiaparelli. Paris: Musée de la Mode et du Costume, 1984. Schiaparelli, Elsa. Shocking Life: the Autobiography of Elsa Schiaparelli. London: V&A, 2007. White, Palmer. Elsa Schiaparelli: Empress of Paris Fashion. New York: Rizzoli, 1986. See omnystudio.com/listener for privacy information.

Comment ces étranges animaux sans queue ni tête, détiennent-ils des clés pour comprendre les mystères de l'évolution ? Le vivant dans tous ses états décortiqués avec malice par le biologiste Bruno David président du Muséum national d'Histoire naturelle... Émerveillons-nous du monde vivant, microscopique ou gigantesque, végétal ou animal, sur Terre et jusqu'au fond des mers ! Le vivant dans son extraordinaire diversité nous est conté par un naturaliste hors pair : Bruno David. Spécialiste des oursins, mais aussi de l'évolution et de la biodiversité, Bruno David nous rappelle à quel point nous sommes liés et dépendants de cette biodiversité. Avec son regard de scientifique éclairé et sa plume malicieuse, il nous fait partager les plus étonnantes histoires du monde vivant... Avec Bruno David, président du Muséum national d'histoire naturelle, paléontologue et biologiste pour ses ouvrages Le Monde Vivant (Grasset) et Les oursins messagers de l'évolution (CNRS Éditions).

durée : 00:59:00 - Avignon - Fictions - Pour la troisième fois, Sofiane Zermani monte sur le plateau du Musée Calvet pour France Culture, il s'empare des "Sonnets de Shakespeare" et des extraits de "Deux gentilshommes de Vérone".

Tous les jours, les journalistes et correspondants de RFI ainsi que des spécialistes répondent à vos questions sur l'actualité. Ce matin:  Uber Files : l'implication d'Emmanuel Macron dans le dossier, est-elle illégale ? - Par Julien Chavanne, journaliste RFI au service politique  Démographie : l'Afrique sera-t-elle le continent le plus peuplé ? - Par Gilles Pison, professeur au Muséum national d'histoire naturelle et conseiller scientifique auprès de l'Institut National d'Etudes Démographiques (Ined), auteur de l'Atlas de la population mondiale (Éditions Autrement, 2019) Monnaie : Parité euro-dollar, quelles conséquences sur le continent africain ? Par Pierre Jacquemot, ancien Ambassadeur de France, économiste en Études africaines, auteur de L'Afrique des possibles (éditions Karthala). * Par téléphone : de France : 09 693 693 70 de l'étranger : 33 9 693 693 70 * Par WhatsApp : +33 6 89 28 53 64 N'OUBLIEZ PAS DE NOUS COMMUNIQUER VOTRE NUMÉRO DE TÉLÉPHONE (avec l'indicatif pays). Pour nous suivre : * Facebook : Rfi appels sur l'actualité * Twitter : @AppelsActu

What you'll learn in this episode: Why an empty mind is the key to creative exploration The difference between an artist-jeweler and a jeweler or artist alone What fair-trade gold is, and how Ute became a pioneer in the ethical jewelry movement Why greenwashing is the newest trend threatening the ethical jewelry market How jewelry creates connections, even when someone wouldn't wear a piece themselves About Ute Decker Ute Decker, born 1969, Germany, lives and works in London, UK. The jewels of Ute Decker are described as “a powerful statement” that “sets a shining ethical example” (Financial Times). The Economist 1843 compares her “avant-garde sculptural pieces” to “swirling sculptures” while Christie's simply calls them “wearable works of art”. Ute's pieces are exhibited internationally and have won prestigious awards including Gold Awards from The Goldsmiths' Craft and Design Council, UK. Public collections include the Victoria & Albert Museum, UK; the Crafts Council, UK; the Goldsmiths' Company, UK; the Spencer Museum, USA; Musée Barbier-Mueller, Switzerland; and the Swiss National Museum. As a political economist-turned-journalist-turned-artist jeweler, Ute Decker is a pioneer of the international ethical jewelery movement. She works predominately in recycled silver and was one of the first worldwide to work in Fairtrade Gold. Additional Resources: Website  Instagram Ute's Facebook Ute's Jewelry Facebook Photos Available on TheJewelryJourney.com  Transcript: When it comes to ethical jewelry, artist-jeweler Ute Decker is the real deal. She was one of the first people to use fair-trade gold when it became available in the U.K., and she has spent her career advocating for the use of truly ethically sourced materials in the jewelry industry. Above all, she's proven that ethical can be beautiful: her sculptural works have won several awards and are in the collection of museums worldwide. She joined the Jewelry Journey Podcast to talk about what fair trade means; how she approaches the creative process; and what makes an artist-jeweler. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is Ute Decker, talking with us from London. Ute is an artist-jeweler who's known for her innovative method of sculpting, bending and twisting metal into three-dimensional, wearable sculptures. She works in fair-trade gold and recycled silver and is considered a pioneer in the international ethical jewelry movement. Welcome back.   So how did all of this lead you into recycled material? Was that something you decided you wanted to do, and that was it? How did it happen?   Ute: As we talked about at the beginning, as a teenager, I wanted to change the world. I was always quite environmentally mindful. Then studying political economics, working as a journalist, you think that is very far removed from being a creative, and at the time it certainly felt like a big break, but in hindsight I think it was an important apprenticeship I needed to take to become the jeweler I am today. As in political economics, you don't just look at the piece and take it as art for art's sake or design for design's sake. You want to know the meaning, the context, the economic, the social, the political, the gender.    All those different histories and intersectionalities, that's my training to look at those. As a journalist, your training is to ask questions, so when I started out making jewelry, I did ask questions. Like many people, I've seen the film “Blood Diamonds,” and I thought, “Oh well, thank god I don't work with diamonds. I work with metals.” Then I started to look into gold, and the story is very similar to “Blood Diamonds” with gold. Of course, my reaction was, “I can't possibly work with this kind of material. I can't be part of the status quo. I'd have blood on my hands. It's discretionary. It's something I'm making. There's absolutely no need for those horrible stories.” So, I researched quite a bit and asked many questions about ethics.    In 2009, when I started, there was no information out there whatsoever. In fact, I was met with a lot of hostility. Once you start asking about the ethics of jewelry, you're tainting the story because jewelry is sold as that beautiful, luxurious love, but it's such a tainted story. So, in the jewelry industry, those questions were certainly not welcome. I was met with either belittlement, “Don't you worry. Everything is fine,” or outright hostility. I think as a journalist that meant, O.K., if people avoid your questions, that means you're asking the right questions.    I searched high and low and found a like-minded person who's been very active in that field. I was one of the very first to work with fair-trade gold when it was launched in the U.K. It was together with Fair Trade and Fair Mined Gold. Those two organizations have now separated. I know in America more jewelers work with Fair Mined; in Europe, more work with Fair Trade, but it's very similar standards. The main thing is it's fully traceable. We know exactly where it comes from. I know from which mine in the highlands of Peru my gold is coming from. I know it's not smuggled out from the Congo, supporting atrocities there. I know it's not smuggled out of Russia or somewhere else. It's fully traceable, every single gram. I'm registered with the Fair Trade Foundation in the U.K. The mine is registered as well as the importer, and the refiner is registered. We all have a number and we all declare how much we buy, and it's fully traceable. As a smaller maker, I'm audited every two to three years. I have to be able to show every single invoice; every single gram, I have to account for. It's being checked. It is quite bureaucratic, but that is the guarantee. The whole fair-trade ethos is trade not aid. It is about paying a fair price rather than the small-scale miner selling to middlemen, middlemen exploitation. It's very much about dignity: avoiding child labor, more gender equality, environmental standards of not burning down the Amazon. Fair-trade gold and fair-mined gold is a little more expensive, but in the great scheme of things, it is worth it.   It's also quite interesting that we started with just 20 jewelers. In 2009, we launched jewelry. All the other jewelers were also very small, individual jewelers. The entire industry said, “Traceability is not possible. Our gold is clean.” Well, where does it come from? “It's clean.” But where? Traceability is impossible, we were told by the industry. Gold comes from all over the world, it's then refined mostly in hubs like Switzerland or Dubai. The gold from all over the world comes through those hubs and then is distributed again all over the world. Gold has no identity, and they said it is absolutely impossible to have traceability. So, as 20 tiny, little jewelers, and unimportant jewelers in the great scheme of things, we gave the proof of concept that it was something that is possible. The entire industry no longer could deny that this was a possibility. Sometimes you get so disheartened thinking, “Whatever I do as an individual, what difference could it possibly make? It couldn't be more than a drop in the ocean.” But the ocean is nothing but an accumulation of drops. We can change the waves. We can change. So, we have more power than we think we do.   Sharon: First, let me ask you: What is Fair Trade and Fair Mined? What is fair-trade gold?    Ute: I'll answer both of them together because they started out together. It was called Fair Trade and Fair Mined gold. Later those two organizations separated, but they wrote the standards together, so they're still very similar. When I say Fair Trade, you could almost consider it Fair Mined as well. They're almost interchangeable. I think I did once read the standard. It's pages and pages and pages of small print standards of environmental guidelines, of engaging with gender equality. It is about the minimum payments.    Quite often with small-scale miners, it's not a job you do for fun. Artisanal sounds romantic, but it's not. It's a dollar-a-day, often horrible job, sometimes bonded labor, sometimes involving an awful lot of child labor. All of that is why the Fair Trade Foundation or Fair Mined works with the mine for a long time to come up to standard with certain environmental standards. They have to form a cooperative. We pay a premium that is then invested into community development. Women have a voice. Child labor is not allowed. Those mines are audited, and for their efforts they receive more money. It's really enabling those miners to have more dignity, to live in a cleaner environment, to help protect the environment for all of us, and hopefully earn enough money for those children not to go down the shaft, but to go to school.    The question is, “Well, let's just not use any gold at all,” which I also heartily agree with. But as we said, these miners almost subsist on a dollar a day, quite a few of those small-scale miners around the world. 100 million depend on that income, and it's a poverty-stricken income. For us in the West to say, “Well, it would better if you didn't do that,” is not going to work. It is helping those communities to work more environmentally friendly but also to earn more money to eventually get out of mining. It is a slower process. It's not that we have all the answers. It's a process of empowerment.   Sharon: How about the recycled silver you use? Do you only use recycled silver? How did Fair Mined lead you into only working with recycled silver?   Ute: Fair Trade and Fair Mines initially were only gold mines. When you mine gold, in the ore there is some silver, but it's a much smaller percentage. So, there was availability of fair-trade gold, but very, very little of fair-trade silver. Of course, it's much cheaper to work with silver, so there would be a much higher demand. I would occasionally get a few grams of silver. I think now the availability of fair-mined silver is a little bit better. In fact, I've been told that it's quite good now, so I need to look into that again. It is a continuous journey, but at the time and until recently, there was not just enough availability of fair-trade silver. Otherwise, I would prefer to work in fair-trade silver.    Recycled silver—now we call it recycled because we're all so green; we used to call it scrapping. So, we've always done that.  We've never thrown away precious metals. For me, it is not necessarily an ethical proposition to work in recycled. It is a little bit better than nothing, but I wouldn't say I'm working ethical because I'm using recycled materials. I think that's almost the bare minimum we should be using.    But then we come back to your earlier questions about art jewelry, artist jewelry, ethical jewelry. I don't like the term ethical at all, ethical jewelry. It seems to be a standard term now. Sustainable jewelry, it definitely isn't sustainable. We're using finite resources. Responsible is probably a better term. I quite like mindful, but then mindful is so occupied with other things, so you can't use that term. So, I use ethical jewelry as a term because I think we all know what we mean by that, but I don't particularly like the term.   Sharon: Do your clients care? When you're having a showing or people call about your jewelry and you mention it, does it make a difference to them how you're working, whatever you want to call it? Do they care?   Ute: Not as much as I would have thought. Not as much as I do. It is not what people call a unique selling point; it's not. If you do make small wedding bands, I think young couples, especially younger people, are much more engaged in that sustainable question. For them it's much more important. People find their way first and foremost because there is something that speaks to you about the forms I make. It's only afterwards, when they look closer and they see the materials I use. I think it is a certain appreciation of individually made, sculpted pieces that are unique even when I make a series, because they're all hand sculpted. I will never be able to make the same piece again, so even with a series, pieces are unique.    If that somebody goes to the trouble and cares to choose the best material possible, I think that is appreciated, but nobody comes to me to buy a ring because it's made in fair trade. I would love to stop talking about this subject because I would love it to be normal, nothing special anymore, but after being met with so much hostility all those years ago in 2011, if you look at any website of jewelers now—especially high street—they all proclaim to have responsible sourcing, conflict-free diamonds. As a consumer, if you look, you think, “Oh, thank god all of it has been sorted.” I think our biggest problem now—because there are more and more responsible and ethical options available—is greenwash.   Sharon: Greenwash, did you say?   Ute: Yeah, greenwash. Greenwash means painting the status quo green, changing nothing, just making it sound green. Unless you have fully traceable, unless you know 100% where your materials come from, you can't make those claims. For me, using recycled is not necessarily ethical because there are huge issues with recycled. I'm always asked about that. I put a whole section on my website with several articles: “Is recycled or fair mined better?” because a lot of jewelers want to do the best. Rather than answering that question each time, I put quite a few articles on my website.    Sharon: May I ask you this about your jewelry, about something you said before? It's always seemed to me that if you're doing a show, you're putting your work out there for people to judge. “Yes, I want a ring like that,” or “No, it doesn't appeal to me,” and they move onto the next thing. It must take thick skin.   Ute: Interesting question. You would think so. Before I outed myself, I made jewelry for myself for nearly 20 years. I made what I wanted to wear, what I enjoyed. For me, it was totally unimportant if anybody else liked it.    Sharon: Are the pieces you make for the shows pieces you like or pieces you want to make?   Ute: When I started out only making jewelry for myself, I didn't show it to anybody. I made it for myself. It was out of interest and the creative joy of it. I wore the pieces, and it didn't matter whether somebody liked it. Then I accidentally showed my work for the first time, and I thought, “Who else is going to like this? I love it and some of my friends do, but maybe they're just being nice.” I did win a prize and things happened. It's quite amazing, to my greatest surprise, that several of my pieces are now in several museums including the V&A. I would have never, ever thought so. I think as any creative, to be authentic, you can't try to please everybody. You don't want to please everybody. It's wonderful that there are several people out there in the world who think that what I do speaks to them, but I'm quite happy for many people to just walk past.   Sharon: It doesn't matter.   Ute: Yes, it doesn't matter. There are some lovely older ladies who come. They giggle and say, “Oh, you couldn't do the gardening with that one.” I love that comment. It's still engaging, and they're interested in the shapes. It's so obvious it's not for them, but they still engage in a way. Jewelry, for me, is a way of making connections. You can't connect with absolutely everybody, but when it makes those connections, it's beautiful.  So no, I don't have thick skin, because I guess enough sparkling eyes gives me joy as well. I see artwork that others are enthused about, and it doesn't speak to me. Maybe a few years later it does. So no, I'm not trying to please anybody. It's a joy that there are many people I can share the work with.    Sharon: Your work is unusual, but if your work is not for gardening, as these women say, who is it for? Is it for younger people? Is it for people who appreciate the art and when they go garden, they'll put it aside? Who is it for?   Ute: Every piece I make is a piece I want to wear. Maybe in a way it's firstly for me, so I can keep making them. I sell my work to support my habit. Mostly the people who are drawn to my work are mature, mostly women, but also men. Mature people who are confident that come in all shapes, sizes, ages, everything, but who feel quite confident wearing a piece like the ring I'm wearing or the beautiful ring you're wearing.    Jewelry can also be very empowering. You put on a piece, and here I am talking nonstop, but I can be quite shy. Being in a gathering of people, especially for me to go up to somebody, yeah, I dread being in groups of people. When you wear a piece, it allows other people to approach you. It gives that invitation to speak to you. It doesn't say, “Hey, look what a cool piece I'm wearing.” It says, “Yes, I'm open to have a conversation.” It's amazing how many doors wearing my jewelry has opened. Then you start a conversation, and it naturally flows. Coming back to the question, it is for confident people, but it's also for non-confident people like myself. It's both.   Sharon: I can see how it would be for confident people. I invite everybody to take a look at our website. We'll have picture. It's very unusual jewelry. I really appreciate you being here today. Thank you so much.   Ute: Thank you. That time passed very quickly, Sharon. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

durée : 00:45:46 - Avignon – Fictions - Pour la troisième fois, Sofiane Zermani monte sur le plateau du Musée Calvet pour France Culture, il s'empare des "Sonnets de Shakespeare" et des extraits de "Deux gentilshommes de Vérone".

What you'll learn in this episode: Why an empty mind is the key to creative exploration The difference between an artist-jeweler and a jeweler or artist alone What fair-trade gold is, and how Ute became a pioneer in the ethical jewelry movement Why greenwashing is the newest trend threatening the ethical jewelry market How jewelry creates connections, even when someone wouldn't wear a piece themselves About Ute Decker Ute Decker, born 1969, Germany, lives and works in London, UK. The jewels of Ute Decker are described as “a powerful statement” that “sets a shining ethical example” (Financial Times). The Economist 1843 compares her “avant-garde sculptural pieces” to “swirling sculptures” while Christie's simply calls them “wearable works of art”. Ute's pieces are exhibited internationally and have won prestigious awards including Gold Awards from The Goldsmiths' Craft and Design Council, UK. Public collections include the Victoria & Albert Museum, UK; the Crafts Council, UK; the Goldsmiths' Company, UK; the Spencer Museum, USA; Musée Barbier-Mueller, Switzerland; and the Swiss National Museum. As a political economist-turned-journalist-turned-artist jeweler, Ute Decker is a pioneer of the international ethical jewelery movement. She works predominately in recycled silver and was one of the first worldwide to work in Fairtrade Gold. Additional Resources: Website  Instagram Ute's Facebook Ute's Jewelry Facebook Photos Available on TheJewelryJourney.com  Transcript: When it comes to ethical jewelry, artist-jeweler Ute Decker is the real deal. She was one of the first people to use fair-trade gold when it became available in the U.K., and she has spent her career advocating for the use of truly ethically sourced materials in the jewelry industry. Above all, she's proven that ethical can be beautiful: her sculptural works have won several awards and are in the collection of museums worldwide. She joined the Jewelry Journey Podcast to talk about what fair trade means; how she approaches the creative process; and what makes an artist-jeweler. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guest is Ute Decker, talking with us from London. Ute is an artist-jeweler who's known for an innovative method of sculpting, bending and twisting metal into three-dimensional, wearable sculptures. She works in fair-trade gold and recycled silver and is considered a pioneer in the international ethical jewelry movement. We'll hear more about her jewelry journey today. Ute, welcome to the program.   Ute: Sharon, thank you very much for having me. It's a pleasure to be here.   Sharon: So glad to have you. Tell us about your jewelry journey. How did you end up doing what you're doing?   Ute: Yes, it was rather unplanned. I'm the daughter of winemakers, several generations of winemakers. As a child, I thought that's what I wanted to be, making wine. So, I grew up in beautiful nature. As I grew up, I was more and more interested in politics, history, philosophy, and I ended up in political economics, because already as a teenager, I wanted to change the world. I thought it was best to have some understanding of how things work. During university, I did a six-month internship at the United Nations. It was also a real eye opener on how slow progress is made and lobbying, so I was quite disheartened after that internship. Then I worked as a journalist for a while, doing news, current affairs. I probably failed in that because I'm not a good storyteller. Words are not my medium.    I was a little bit lost for a while as to what I really wanted to do. When I grew up, in primary and secondary school, art classes were all about figurative drawing and making. I admired it in other people when they can do it, but that's not my interest, and certainly I can't draw a stickperson to save my life. So, I left school thinking I'm actually not very creative or artistic because I failed in what was required. It was probably not until my mid-30s or maybe late 20s when friends said when I made something, “Oh, that's interesting.” For years I was a closet creator. I went to evening classes and all kinds of workshops, whether it's large-scale sculptures, textiles—I love ceramics—several photography workshops. It really was doing workshops that I kept going back.    Nearly for 20 years before offering myself as a jeweler, friends said, “You should do something with your jewelry,” and I said, “Absolutely not.” I loved it so much. There's no way I would like to make it something professional, to have that kind of pressure. I enjoyed it far too much, but then I was invited to take part in a group show. I thought, “It's fine; I'll add a few pieces and just see.” That was quite amazing. That was in 2009. I won a prize and tons of press, and a couple of major collectors bought my pieces. I thought, “Wow, that's nice! I'll maybe do that one more time.” Soon afterwards, I got a proper, full-time studio. The rest is history, really.   Sharon: I don't know if it's still in progress or you just finished up a solo exhibition at the Elisabetta Cipriani Gallery. Tell us about that. Did you feel it was fulfilling, the adulation?   Ute: Elisabetta Cipriani Gallery is absolutely wonderful. We met, I think, in 2013 at Design Basel where they gave me a spotlight showcase, and we've been working together ever since. As you know—you've done an interview with Elisabetta—Elisabetta primarily represents jewelry by artists. Probably the best known is Rebecca Horn. She does collaborations with fine artists, and I was the first one that was more of an art jeweler than a fine artist making jewelry. Now she works with a few more art jewelers. Elisabetta is Italian and it's always “bella.” What a joy to work with somebody who has a really keen eye, interesting observations, does some wonderful projects, is incredibly supportive and is just a joy to be with.    For that exhibition, it's been in discussion for years. I maybe procrastinated a bit because it feels like—it's the same with how I never wanted to show my jewelry. It feels like you're offering it for others to judge. For me, it's a private thing in a way; it's my way of expressing. A solo show is similar. Here is me at this time. I didn't quite like the idea, but of course it's crazy to postpone an offer of a solo show. Then I finally said to Elisabetta, “Look, I will never be ready. Let's just set a date.” So, we did, and then Covid happened, so it was delayed even more. But I created a new body of work for that show called “Creating Waves.” If you have a chance to see it on Elisabetta's or my website—   Sharon: Which we'll list afterwards with show images.   Ute: Yeah. I've also worked with some system of loops because, for me, jewelry is about making connections. It's making personal connections, but it's making broader connections. Coming from that political/economic background in journalism, it's connections of materiality; it's connections where the material comes from. For me, the interlinking loops—and quite a few of those loops are open, so you can change which connections you would like to make and configure the piece. That's another strand that I developed for the solo show, yeah.   Sharon: I can see. We'll hopefully have a picture of it posted with the podcast. You're wearing one of your rings. Were the loops something you saw in front of you when the metal is flat? Was that something that came to you when you were playing around with it? How did that happen?   Ute: For me, making is very much an exploration. I might have certain ideas when I go into the studio and sit, but I'm very fascinated by Japanese Zen philosophy. That philosophy talks a lot about emptiness as well as empty mind. We in the West see emptiness as a void of something we absolutely, quickly need to fill, as something missing, while in that philosophy, emptiness is the vast openness for potential. For me, I don't want to come to the studio with a fixed idea of what I'd like to do, because then I've already determined it as if I know. I don't need to explore anymore if I feel I know. So, I always kind of know what I'd like to do, but then I usually do something completely different. It's that almost empty mind of exploring metal, shapes.    Quite often it's the sculptural form that I explore. As I said, I can't draw, so I make maquettes in garden wire or in brass and explore the shape for its sculptural form. It's quite often only later that I decide for which part of the body that sculpture form would work best. Then it's weeks of tweaking the brass maquettes. I'm quite often seen wearing the maquettes, because when you create such large sculptural forms, they really need to balance and sit well on the body. It's important that I work that out while wearing them, how they engage with the body. It's only then, when I'm happy, I make the final pieces. It's only then, once the pieces are in front of me, that there's another thought process and those pieces remind me of something, remind me of the loops, how they're interconnected, how we can change our connections, other waves.    I think if you gave me a commission to make a piece about waves, I would fail. It is rather I make a piece, and then it reminds me of waves when I see them. It's kind of arresting time of that kind of movement. I'm very happy with some of the pieces that have become quite special to me. Maybe if we can add a particular armpiece for your listeners to see, it is very much a large wave, but when you put the several maquettes next to each other and you don't have any idea of scale, some people who saw the maquettes said, “Oh, that looks like a Richard Serra that you could walk into.” I think that's also why I give my pieces relatively open titles, because I don't want to pre-determine people's associations, just like I don't want to predetermine what reaction I might have to it. We all come with our own backgrounds, with our own thoughts to a piece, and it's the same. Any great artwork will elicit different reactions depending on what state of life we're in and recent experiences. I like to give pieces very open titles for the viewer and wearer to make it their own.   Sharon: So, you say you're an artist-jeweler. What is the difference between that and an artist alone or a jeweler alone? What is an artist-jeweler to you?   Ute: That is the eternal question, isn't it? That is the eternal question, and I still don't know how to answer that. When I'm asked what I do, if we're face-to-face it's very easy, because I usually wear one of my pieces. I hold it up and say, “This is what I do,” and then you decide what that means to you. The other times when you say you're a jeweler, very few people know about the art jewelry world, really surprisingly. So, most people think you're designing little hearts for the high street shops. I think that's why an artist-jeweler will then elicit another question where you can go deeper into it, but it's all just words. This is what I'm doing.    Sharon: No, it is. It's a very difficult question to answer. I usually ask people what they consider a collector, which also is a very difficult question. When you find the answer, give me a call.    You tried textiles. You tried photography. You tried sculpture. What is it about the kind of jewelry you do; why did it attract you? Why did it stand out?   Ute: I guess jewelry is not called the most intimate of art forms for nothing. I love that you can disappear in your studio and quietly work. I create everything myself with my two hands. I sculpt everything myself. With large-scale sculpture, there's much more immediacy with jewelry because I can bend the shapes with my own hands. In fact, my jewelry studio has very few tools, has no nasty chemicals. It's really my hands, a few pliers, a few mallets, mandrels. I like being able to have a spark and immediately translate that into a shape. That's also why I love ceramics. I think in my next life I'll try ceramics as well, explore that.   After setting up as a jeweler, I was commissioned to make some large-scale sculptures, and I thought, “That's amazing. That's what you wanted to do, of course.” But they're so large I had to work with a fabricator. It was a fantastic fabricator who had done it for very well-known artists, the YBAs, the Young British Artists, and did a fantastic job. But for me, it felt unfinished. I handed over the maquette. The fabricator did a wonderful job making a large piece, but usually when I finish a piece of jewelry, I then go and tweak it. It sits there for weeks, and I continue working on it. Here, I was handed over something finished. I don't want something finished. You can't bend it any more with your hands. So, it was surprisingly unsatisfying to make very large sculptures, but I'll do table-size sculptures where I can still be fully hands on. That is something I enjoy doing.   Sharon: Do you do that now, make table-size sculptures similar to jewelry that you bend?   Ute: Yeah, quite a few pieces. In fact, that is one of my favorite reactions when I show my work. People say, “Oh, this is a sculpture. I'm sure you can't wear it,” and then I put it on my hand and the person's hand, and I say, “But surely you can't wear that piece,” and it's wearable. Quite a few pieces look like they only could possibly be sculptures and there's no way to wear them. That's what I really enjoy. Many pieces have been purchased purely for the sole purpose of displaying them rather than wearing them. It's the liminal space between sculpture and wearable sculpture, and again, it's your choice.