Podcasts about Nadar

Hoy en La Casa, Manuel Silva, Samuel Rodríguez y Maggie Díaz abren el baúl de los recuerdos para hablar de ese evento canónico por el que todos pasamos: aprender a nadar. Desde las clases aburridas con tablitas de anime, hasta el clásico método latino de ser lanzado al agua "para que aprendas a sobrevivir". Confesamos nuestros mayores traumas en la piscina y cómo logramos no ahogarnos en el intento. Y en nuestro momento de pensamientos intrusivos del día, saltó a la mesa una duda súper random pero genuina: ¿Qué hace exactamente una maestra de preescolar en la actualidad? ¿Siguen mandando a hacer collares con pasta o la educación de los niños cambió por completo con la tecnología? Intentamos descifrar el misterio y le pedimos auxilio a nuestra audiencia para entenderlo.

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Aprovechamos la visita a este complejo para invitar al biólogo Antonio Grulla quien confiesa que participó en la selección de animales para el parque

Aprovechamos la visita a este complejo para invitar al biólogo Antonio Grulla quien confiesa que participó en la selección de animales para el parque

Aprovechamos la visita a este complejo para invitar al biólogo Antonio Grulla quien confiesa que participó en la selección de animales para el parque

Aprovechamos la visita a este complejo para invitar al biólogo Antonio Grulla quien confiesa que participó en la selección de animales para el parque

“Porque ahora vemos por un espejo, veladamente, pero entonces veremos cara a cara. Ahora conozco en parte, pero entonces conoceré plenamente, como he sido conocido. Y ahora permanecen la fe, la esperanza, el amor: estos tres; pero el mayor de ellos es el amor.”1 Corintios‬ ‭13‬:‭12‬-‭13‬ ‭NBLA‬‬

En ce jour de mai 1986, la star du jour au Festival de Cannes, celle pour laquelle un public nombreux et franchement disparate vient s'écraser sur les barrières Nadar ou saturer la croisette, et ben cette star mesure soixante mètres de long.On attend comme tous les jours des acteurs américains, des lunettes noires, des robes du soir, des arrivées en voiture sombre, et ben non, c'est un bateau pirate qui entre dans la baie au ralenti, toutes voiles dehors. Immense coque sombre, trois mâts dressés qui dominent les yachts modernes, avec ses cordages tendus de partout, et surtout, sa rangée de bouches à feu à bâbord comme à tribord. Les gens sur les terrasses n'en croient pas leurs yeux. Mais qu'est-ce que c'est que ce truc ? On le dirait sorti tout droit du XVII° siècle !Ce navire qui n'a rien de mystérieux se nomme en fait, le Neptune. Il a été construit pour Pirates, le nouveau film de Roman Polanski. Et on le constate, là, ce n'est pas un décor de studio, c'est un vrai bateau, qui est fait pour naviguer, avec ses ponts, ses cales, ses trois mâts, ses canons et ses passerelles. Une folie !Quand le bruit court que c'est pour la promotion d'un film, on croit bien évidemment à un coup digne d'Hollywood, et c'est du jamais vu entre parenthèses, pour la promo d'un film américain. Et bien pas du tout, c'est une production française et italienne, il a coûté, on le devine, une fortune, c'est tout bonnement une première à l'échelle européenne.Un projet qui est sur les rails depuis des années. Le budget a été cyclopéen et le tournage compliqué. Polanski veut en effet retrouver l'esprit des grands films d'aventures d'autrefois, ceux où l'on voyait vraiment la mer, la tempête et les abordages.Par contre, pour interpréter le rôle principal, celui du pirate à la barbe noire, Polanski a choisi un acteur américain, une vieille gloire d'Hollywood en fin de carrière. Et pourquoi a-t-il choisi Walter Matthau ? Parce que son film est aussi un pastiche et qu'il lui fallait non seulement un vieux pirate mais aussi une nature comique. Polanski veut en effet refaire le coup de son Bal des vampires, le premier film d'horreur burlesque de l'histoire qui lui avait valu de se faire remarquer dans les années 60. Bref, le même genre de tête fatiguée avec un air filou que son gâteux chasseur de vampires, sauf qu'ici il s'agit d'un capitaine pirate donc, avec un sens de l'autorité quand même !Dois-je vous dire qu'à Cannes, tout le monde parle de cet incroyable bateau. Il fait plus d'effet que le casting : le meilleur acteur du film flotte dans le port, peut-on lire dans un article. C'est méchant car il faut bien le dire : Walter Matthau est extraordinaire.Mais lorsque Pirates est enfin projeté en ouverture du Festival, l'accueil est assez froid. Cela dit, on ne s'en étonne pas plus que ça : à Cannes, il arrive souvent que la promotion réussisse mieux que l'œuvre. Car aujourd'hui encore, quand on reparle de ce Cannes 86 dont beaucoup ont oublié le vainqueur, Mission, très beau film d'ailleurs : l'image qui reste est celle du bateau pirate.Un matin de mai 1986, sur la Croisette, Roman Polanski a amené un galion espagnol pour vendre son film en dolby stéréo et pendant quelques heures, ça a marché. Il faut dire que pour l'heure, le public et Hollywood ont plus la tête dans les nuages que sur l'océan. La preuve : à la rentrée 1986, on ira tous voir Tom Cruise …

 El libro Los viernes reúne algunas de las contratapas que Juan Forn escribió para el diario Página 12 durante más de una década. Nadar de noche es uno de esos textos y lo leí hace mucho tiempo, recuerdo que me quedé con la intención de leer más de Juan Forn y esta me parece que es una buena oportunidad. En una de estas contratapas Juan Forn habla del escritor Augusto Monterroso y me pareció oportuno incluir uno de sus cuentos breves, llamado La jirafa que de pronto comprendió que todo es relativo.Los que quieran escribirme pueden hacerlo a mtsgalletti@gmail.com para recomendarme nuevas lecturas, enviarme sus propios cuentos, contarme desde dónde me escuchan, pedir información sobre las clases de español y también apuntarse en las cenas que hacemos cada jueves en mi casa. Son mucho más que bienvenidos los aportes para ayudarme a darle continuidad a este espacio, por Paypal o cafecito app en los siguientes enlaces:Para donaciones en PayPal⁠⁠⁠https://www.paypal.com/donate/?hosted_button_id=H79YUGWDB9CT8⁠⁠⁠En la app de cafecito⁠⁠⁠https://cafecito.app/matigalletti⁠⁠⁠También invito a todos los estudiantes de español a seguir y compartir el nuevo proyecto ⁠https://realspanishstories.com/⁠⁠https://www.instagram.com/realspanishstories/⁠⁠https://www.youtube.com/@RealSpanishStories⁠y visitar mi página web ⁠https://www.spanishwithmatias.com/⁠Gracias por estar de aquel lado!

Paul and Nadar ensemble performed his new piece, Personal Best as part of What's next?, a concert of four new works developed by early-career composers as part of the 2025 NADAR Summer School. The summer school and international festival commissions were supported by NADAR in partnership with the Contemporary Music Centre, New Music Dublin (Ireland), Gaudeamus (Netherlands), Warsaw Autumn (Poland) and Transit Festival (Belgium).Show NotesPaul ScullyWhat's next? Nadar Summer School @ New Music Dublin 2026New Music Dublin FestivalGaudeamas FestivalWarsaw Autumn FestivalEpisode CreditsRecorded and edited by Jonathan GrimesAdditional editing by Keith FennellHosted by Evonne Ferguson and Jonathan Grimes Hosted on Acast. See acast.com/privacy for more information.

El programa de natación por parte del departamento de Parques Regionales es beneficioso para que nuestrxs hijxs puedan disfrutar del agua sin miedo a accidentes. #sonomacounty #parquesregionales #natación #verano #familia

Génesis 1:21a“Y creó Dios los grandes monstruos marinos y todo ser viviente que se mueve, que las aguas produjeron según su especie, y toda ave alada según su especie. Y vio Dios que era bueno”.Un ejemplo inusual de un diseño en la naturaleza que va en contra del sentido común humano se encuentra en las aletas pectorales de la ballena jorobada. El borde de estas aletas, que uno intuitivamente esperaría que sean lisas, en realidad tienen protuberancias espaciadas por igual.Después de todo, los aviones, así como las aves, tienen bordes lisos sobre sus alas. Estas alas lisas parecerían ser las más eficientes para cortar a través del aire, que es un fluido, igual que el agua. Desconcertados por esto, los científicos recientemente hicieron dos modelos de aletas pectorales de una ballena jorobada. Una tenía un borde liso, la otra tenía protuberancias como las aletas reales. Estos modelos fueron llevados a ser probados en un túnel de viento. No es de extrañarse que las aletas de bordes lisos se desempeñaran como un ala estándar. ¡Sin embargo, el modelo de la ballena jorobada lo hizo mucho mejor! Ésta generó 8 por ciento más alza y un tercio menos de arrastre que el diseño estándar. Lo que es más, la aleta con protuberancias podía ponerse en un ángulo de 40 por ciento más pronunciado en el aire que el modelo liso antes de atascarse. Dado que el agua, como el aire, es fluido, estos principios se aplicarían a una verdadera aleta de ballena jorobada, permitiendo que la jorobada sea más ágil en el agua.Este diseño inusual es muy útil para las jorobadas porque se alimentan de bancos de arenques y sardinas ágiles. Obviamente, Dios les dio un diseño especial para ayudarlas a hacer esto.Oración: Padre, Te agradezco que tus pensamientos no son como los nuestros. Ayúdame a pensar más como Tu. Amén.Ref: Scientific American, “Bumpy Flying.”  To support this ministry financially, visit: https://www.oneplace.com/donate/1235/29?v=20251111

“Pedro les dijo: Arrepentíos, y bautícese cada uno de vosotros en el nombre de Jesucristo para perdón de los pecados; y recibiréis el don del Espíritu Santo. Porque para vosotros es la promesa, y para vuestros hijos, y para todos los que están lejos; para cuantos el Señor nuestro Dios llamare.”‭‭HECHOS‬ ‭2‬:‭38‬-‭39‬ ‭RVR1960‬‬

South African theologian Sarojini Nadar joins Daniel for a conversation about the weaponization of the Bible and how the book of Esther has been distorted to normalize violent and harmful ideologies. Sarojini is a South African theologian and Biblical scholar, and director and research chair of the Desmond Tutu Research Chair in Religion and Social Justice at the University of the Western Cape. Her research explores the intersection of gender and religion, with a more broad focus on religion and social justice – spanning issues of race, class, gender and sexuality. Here latest book "Gender, Genocide, Gaza and the Book of Esther" bridges the gap between gendered and geopolitical analyses by interrogating both the sexual and ethnic violence embedded in the Book of Esther and its relationship to the Gaza genocide.Become a monthly supporter of Across the Divide on Patreon at https://www.patreon.com/AcrosstheDivide Follow Across the Divide for more on ⁠Instagram⁠ ⁠⁠⁠‪@AcrosstheDividePodcast‬⁠⁠⁠Across the Divide partners with Peace Catalyst International to amplify the pursuit of peace and explore the vital intersection of Christian faith and social justice in Palestine-Israel.#israel #palestine #gaza #christianity #bible #faith #esther

Nous sommes le 16 mars 1874. Le journal « L'Écho du Parlement » nous annonce que le « Musée fantaisiste » rouvre à la rue du Persil, à deux pas de la place des Martyrs, dans le centre de Bruxelles. Son fondateur, Louis Ghémar, a cassé sa pipe l'année précédente. « Casser sa pipe », en effet, car le farceur n'aurait sans doute pas apprécié la solennité d'un « décéder ». Quelques années plus tard, son ami Nadar, pionnier de la photographie, le décrira ainsi, dans ses Mémoires : « Sa bienveillante facilité, sa générosité, sa belle humeur irradiante, et quelque peu tapageuse en ces placides contrées, lui avaient de longtemps valu toutes les sympathies. Par sa fécondité particulière et comme quotidienne d'imaginations, d'improvisations burlesques et cocasses le plus souvent, pittoresques et décoratives toujours, dont il n'eut manqué de faire profiter les foules, il en vint à se créer une véritable popularité qui lui resta, jusqu'à la fin, fidèle. Dans ses gaîtés à froid, parfois énormes, ce Brabançon exemplairement sobre et qui semblait pourtant enluminé de tous les jus de la Bourgogne, joignait à l'entrain gouailleur du gamin de la Villette le pétillement, la fougue d'un fils de la Canebière. Il n'était pas en cette patrie de kermesses un bourgmestre un peu soucieux de sa cavalcade qui ne vint solliciter de Ghémar une consultation dont il retournait bien vite, triomphant, à ses administrés. Aux aimables pays dont les fabricants de fééries règlent les Constitutions, le bon Ghémar était de droit nommé et acclamé : Directeur de la Joie Publique ». Dessinateur, peintre, photographe, voyageur, lithographe, éditeur, architecte, galeriste, homme de presse, entrepreneur, franc-maçon, chansonnier, marionnettiste, mécène : Louis Ghémar était tout cela et plus encore, il était un amuseur pas dupe, un roi de la Zwanze. _______________________________________________________________ Avec nous : Eliane Van den Ende, historienne. sujets traités : Louis Ghémar, burlesque, photographe, fantaisiste, franc-maçon, chansonnier, marionnettiste, mécène, Zwanze, Nadar Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Vídeos curtos sobre espiritualidade (Lucidez.Religare)

Vídeos curtos sobre espiritualidade (Lucidez.Religare)

Dime qué piensas del episodio.Mi invitado de hoy es Gerardo del Villar @gerardodelvillar, buzo, fotógrafo y explorador. Ha nadado con tiburones blancos, tiburones toro y orcas, y ha dedicado su vida a documentar depredadores incomprendidos y a trabajar en algunos de los entornos más extremos del planeta.En esta conversación hablamos de miedo y de las historias que nos contamos para enfrentarlo. De experiencias cercanas a la muerte, de cómo manejar la adrenalina cuando el riesgo es real y de por qué la paciencia y la calma pueden marcar la diferencia entre sobrevivir o no. También hablamos de fracaso, reinvención y de lo que Gerardo ha aprendido del mar para la vida fuera de él.Por favor ayúdame y sigue Cracks Podcast en YouTube aquí."Las metas claras y el propósito fuerte hacen que todo se acomode."-  Gerardo del Villar @gerdelvillarComparte esta frase en TwitterEste episodio es presentado por Hospital Angeles Health System que cuenta con  el programa de cirugía robótica más robusto en el sector privado en México y por LegaLario la empresa de tecnología legal que ayuda a reducir costos y tiempos de gestión hasta un 80%.Qué puedes aprender hoyCómo convertir el dolor en propósitoCómo enfrentar miedos realesCómo liderar cuando eres el más joven*Este episodio es presentado por Hospital Angeles Health SystemLos avances en cirugía robótica permiten intervenciones con menos sangrado, menos dolor, cicatrices más pequeñas y una recuperación más rápida.Hospital Angeles Health System tiene el programa de cirugía robótica más robusto en el sector privado en México. Cuenta con 13 robots DaVinci, el más avanzado del mundo y con el mayor número de médicos certificados en cirugía robótica ya que tiene el único centro de capacitación de cirugía robótica en el país.Este es el futuro de la cirugía. Si quieres conocer más sobre el programa de cirugía robótica de Hospital Angeles Health System y ver el directorio de doctores visita cracks.la/angeles*Este episodio es presentado por LegaLario, la Legaltech líder en México.Con LegaLario, puedes transformar la manera en que manejas los acuerdos legales de tu empresa. Desde la creación y gestión de contratos electrónicos hasta la recolección de firmas digitales y la validación de identidades, LegaLario cumple rigurosamente con la legislación mexicana y las normativas internacionales.LegaLario ha ayudado a empresas de todos los tamaños y sectores a reducir costos y tiempos de gestión hasta un 80%. Y lo más importante, garantiza la validez legal de cada proceso y la seguridad de tu información, respaldada por certificaciones ISO 27001.Para ti que escuchas Cracks, LegaLario ofrece un 20% de descuento visitando www.legalario.com/cracks. Ve el episodio en Youtube

15 Datos del megalodón para pensar dos veces antes de nadar en el océano Learn more about your ad choices. Visit megaphone.fm/adchoices

PRE-SAVE: Preguarda mi próximo disco mediante este enlace: https://ffm.to/elultimojardin ¡Tercera entrega de episodios especiales! En ellos lanzo un concurso para que uno de vosotros proponga tres discos prestados, pirateo mi propio disco, y charlo sobre música con invitados «históricos» del programa. ¡Os lo explico! El disco: 'El último jardín' es un disco conceptual sobre la relación entre el ser humano y la tecnología. No lo publicaré hasta el 6 de febrero de 2026, pero en cada uno de estos episodios os avanzaré una canción entera. El concurso: Consistirá en encontrar dos diferencias entre la versión de las canciones que avanzaré en el pódcast y la que llegará a las plataformas el 6 de febrero. El ganador se decidirá por sorteo entre las cien primeras personas que escriban a discoprestado@proton.me acertando las dos diferencias. Para participar: Pre-save: Preguarda 'El último jardín' en tu plataforma de música mediante este enlace: https://ffm.to/elultimojardin -- y deja tu correo electrónico. Ve escuchando las canciones que avanzaré en esta serie de episodios. A partir del 6 de febrero, escucha 'El último jardín' directamente en tu plataforma de música. Cuando hayas encontrado las dos diferencias escribe a discoprestado@proton.me y, si estás entre los cien primeros en acertar, entrarás en el concurso ;) Tras el sorteo, el ganador podrá proponer tres discos y la audiencia votará por su favorito. Un invitado y yo dedicaremos varios episodios a comentar el disco más votado. Los discos propuestos deberán pertenecer al mundo del rock o la música alternativa, así como ser de artistas internacionalmente conocidos. En el episodio de hoy... Me acompaña Álvaro Méndez, viejo amigo, discoprestamista original y corresponsable de la web de fotografía Photolari. A propósito del aspecto futurista de mi nuevo disco, le propongo a Álvaro varias predicciones para el año 2036 y nos charlamos sobre si es posible que se cumplan. También os avanzo las canciones «Singularidad» y «Soma». Aquí tenéis las letras: Singularidad: Hoy es un día para celebrar / Nadar en los cielos de la singularidad / Soltar los problemas y peregrinar / al templo de la diversión / Es una experiencia no secuencial / por las autopistas del espacio temporal / Colores que estallan desde otro lugar / Vibrando con la pulsación Soma: Que empiece la fiesta en el último jardín / Hemos reservado una entrada para ti / Tenemos soma para no dejar de sonreír jamás / Ya empieza la fiesta en el último jardín / Hemos reservado un enchufe para ti / Tenemos soma para no dejar de sonreír / Que siga la fiesta en el último jardín / Hemos reservado un enchufe para ti / Tenemos soma para no dejar de sonreír / Termina la fiesta en el último jardín / Hemos simulado el paraíso para ti / Tenemos soma para no dejar de sonreír jamás Espero que os gusten estos episodios, a mí me hacen muchísima ilusión :) ¡Salud y buena música! Marc Aliana marcaliana.com

No deberías arriesgarte a nadar en estos lugares, y no es una broma Learn more about your ad choices. Visit megaphone.fm/adchoices

SHOW 12-2-2026 THE SHOW BEGIJS WITH DOUBTS ABOUT AI --  a useful invetion that can match the excitement of the first decades of Photography. November 1955 NADAR'S BALLOON AND THE BIRTH OF PHOTOGRAPHY Colleague Anika Burgess, Flashes of Brilliance. In 1863, the photographer Nadar undertook a perilous ascent in a giant balloon to fund experiments for heavier-than-air flight, illustrating the adventurous spirit required of early photographers. This era began with Daguerre's 1839 introduction of the daguerreotype, a process involving highly dangerous chemicals like mercury and iodine to create unique, mirror-like images on copper plates. Pioneers risked their lives using explosive materials to capture reality with unprecedented clarity and permanence. NUMBER 1 PHOTOGRAPHING THE MOON AND SEA Colleague Anika Burgess, Flashes of Brilliance. Early photography expanded scientific understanding, allowing humanity to visualize the inaccessible. James Nasmyth produced realistic images of the moon by photographing plaster models based on telescope observations, aiming to prove its volcanic nature. Simultaneously, Louis Boutan spent a decade perfecting underwater photography, capturing divers in hard-hat helmets. These efforts demonstrated that photography could be a tool for scientific analysis and discovery, revealing details of the natural world previously hidden from the human eye. NUMBER 2 SOCIAL JUSTICE AND NATURE CONSERVATION Colleague Anika Burgess, Flashes of Brilliance. Photography became a powerful agent for social and environmental change. Jacob Riis utilized dangerous flash powder to document the squalid conditions of Manhattan tenements, exposing poverty to the public in How the Other Half Lives. While his methods raised consent issues, they illuminated grim realities. Conversely, Carleton Watkins hauled massive equipment into the wilderness to photograph Yosemite; his majestic images influenced legislation signed by Lincoln to protect the land, proving photography's political impact. NUMBER 3 X-RAYS, SURVEILLANCE, AND MOTION Colleague Anika Burgess, Flashes of Brilliance. The discovery of X-rays in 1895 sparked a "new photography" craze, though the radiation caused severe injuries to early practitioners and subjects. Photography also entered the realm of surveillance; British authorities used hidden cameras to photograph suffragettes, while doctors documented asylum patients without consent. Finally, Eadweard Muybridge's experiments captured horses in motion, settling debates about locomotion and laying the technical groundwork for the future development of motion pictures. NUMBER 4 THE AWAKENING OF CHINA'S ECONOMY Colleague Anne Stevenson-Yang, Wild Ride. Returning to China in 1994, the author witnessed a transformation from the destitute, Maoist uniformity of 1985 to a budding export economy. In the earlier era, workers slept on desks and lacked basic goods, but Deng Xiaoping's realization that the state needed hard currency prompted reforms. Deng established Special Economic Zones like Shenzhen to generate foreign capital while attempting to isolate the population from foreign influence, marking the start of China's export boom. NUMBER 5 RED CAPITALISTS AND SMUGGLERS Colleague Anne Stevenson-Yang, Wild Ride. Following the 1989 Tiananmen crackdown, China reopened to investment in 1992, giving rise to "red capitalists"—often the children of party officials who traded political access for equity. As the central government lost control over local corruption and smuggling rings, it launched "Golden Projects" to digitize and centralize authority over customs and taxes. To avert a banking collapse in 1998, the state created asset management companies to absorb bad loans, effectively rolling over massive debt. NUMBER 6 GHOST CITIES AND THE STIMULUS TRAP Colleague Anne Stevenson-Yang, Wild Ride. China's growth model shifted toward massive infrastructure spending, resulting in "ghost cities" and replica Western towns built to inflate GDP rather than house people. This "Potemkin culture" peaked during the 2008 Olympics, where facades were painted to impress foreigners. To counter the global financial crisis, Beijing flooded the economy with loans, fueling a real estate bubble that consumed more cement in three years than the US did in a century, creating unsustainable debt. NUMBER 7 STAGNATION UNDER SURVEILLANCE Colleague Anne Stevenson-Yang, Wild Ride. The severe lockdowns of the COVID-19 pandemic shattered consumer confidence, leaving citizens insecure and unwilling to spend, which stalled economic recovery. Local governments, cut off from credit and burdened by debt, struggle to provide basic services. Faced with economic stagnation, Xi Jinping has rejected market liberalization in favor of increased surveillance and control, prioritizing regime security over resolving the structural debt crisis or restoring the dynamism of previous decades. NUMBER 8 FAMINE AND FLIGHT TO FREEDOM Colleague Mark Clifford, The Troublemaker. Jimmy Lai was born into a wealthy family that lost everything to the Communist revolution, forcing his father to flee to Hong Kong while his mother endured labor camps. Left behind, Lai survived as a child laborer during a devastating famine where he was perpetually hungry. A chance encounter with a traveler who gave him a chocolate bar inspired him to escape to Hong Kong, the "land of chocolate," stowing away on a boat at age twelve. NUMBER 9 THE FACTORY GUY Colleague Mark Clifford, The Troublemaker. By 1975, Jimmy Lai had risen from a child laborer to a factory owner, purchasing a bankrupt garment facility using stock market profits. Despite being a primary school dropout who learned English from a dictionary, Lai succeeded through relentless work and charm. He capitalized on the boom in American retail sourcing, winning orders from Kmart by producing samples overnight and eventually building Comitex into a leading sweater manufacturer, embodying the Hong Kong dream. NUMBER 10 CONSCIENCE AND CONVERSION Colleague Mark Clifford, The Troublemaker. The 1989 Tiananmen Squaremassacre radicalized Lai, who transitioned from textiles to media, founding Next magazine and Apple Daily to champion democracy. Realizing the brutality of the Chinese Communist Party, he used his wealth to support the student movement and expose regime corruption. As the 1997 handover approached, Lai converted to Catholicism, influenced by his wife and pro-democracy peers, seeking spiritual protection and a moral anchor against the coming political storm. NUMBER 11 PRISON AND LAWFARE Colleague Mark Clifford, The Troublemaker. Following the 2020 National Security Law, authorities raided Apple Daily, froze its assets, and arrested Lai, forcing the newspaper to close. Despite having the means to flee, Lai chose to stay and face imprisonment as a testament to his principles. Now held in solitary confinement, he is subjected to "lawfare"—sham legal proceedings designed to silence him—while he spends his time sketching religious images, remaining a symbol of resistance against Beijing's tyranny. NUMBER 12 FOUNDING OPENAI Colleague Keach Hagey, The Optimist. In 2016, Sam Altman, Greg Brockman, and Ilya Sutskever founded OpenAI as a nonprofit research lab to develop safe artificial general intelligence (AGI). Backed by investors like Elon Musk and Peter Thiel, the organization aimed to be a counterweight to Google's DeepMind, which was driven by profit. The team relied on massive computing power provided by GPUs—originally designed for video games—to train neural networks, recruiting top talent like Sutskever to lead their scientific efforts. NUMBER 13 THE ROOTS OF AMBITION Colleague Keach Hagey, The Optimist. Sam Altman grew up in St. Louis, the son of an idealistic developer and a driven dermatologist mother who instilled ambition and resilience in her children. Altmanattended the progressive John Burroughs School, where his intellect and charisma flourished, allowing him to connect with people on any topic. Though he was a tech enthusiast, his ability to charm others defined him early on, foreshadowing his future as a master persuader in Silicon Valley. NUMBER 14 SILICON VALLEY KINGMAKER Colleague Keach Hagey, The Optimist. At Stanford, Altman co-founded Loopt, a location-sharing app that won him a meeting with Steve Jobs and a spot in the App Store launch. While Loopt was not a commercial success, the experience taught Altman that his true talent lay in investing and spotting future trends rather than coding. He eventually succeeded Paul Graham as president of Y Combinator, becoming a powerful figure in Silicon Valley who could convince skeptics like Peter Thiel to back his visions. NUMBER 15 THE BLIP AND THE FUTURE Colleague Keach Hagey, The Optimist. The viral success of ChatGPT shifted OpenAI's focus from safety to commercialization, despite early internal warnings about the existential risks of AGI. Tensions over safety and Altman's management style led to a "blip" where the nonprofit board fired him, only for him to be quickly reinstated due to employee loyalty. Elon Musk, having lost a power struggle for control of the organization, severed ties, leaving Altman to lead the race toward AGI. NUMBER 16

NADAR'S BALLOON AND THE BIRTH OF PHOTOGRAPHY Colleague Anika Burgess, Flashes of Brilliance. In 1863, the photographer Nadar undertook a perilous ascent in a giant balloon to fund experiments for heavier-than-air flight, illustrating the adventurous spirit required of early photographers. This era began with Daguerre's 1839 introduction of the daguerreotype, a process involving highly dangerous chemicals like mercury and iodine to create unique, mirror-like images on copper plates. Pioneers risked their lives using explosive materials to capture reality with unprecedented clarity and permanence. NUMBER 1 1870 siege of the Paris Commune.

durée : 00:58:55 - Toute une vie - par : Laetitia Le Guay - Connu dans tout Paris pour sa silhouette aux longues jambes, sa chevelure rouge et son incroyable énergie, Félix Tournachon, dit Nadar, reste dans l'histoire de la photographie, celui qui inventa un nouvel art du portrait. - réalisation : Nathalie Salles

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THE 1874 EXHIBITION AND THE BIRTH OF IMPRESSIONISM Colleague Sebastian Smee. In the spring of 1874, a group of painters including Degas, Monet, Pissarro, and Renoir gathered at the studio of the photographer Nadar to exhibit their work outside the established "Salon" system. This group, organizing themselves as the "Société Anonyme," had grown tired of the Salon's hierarchical preference for large-scale history and religious paintings over landscapes and contemporary life. The movement received its name from a critic who wrote a parody of the exhibition, seizing upon the title of Claude Monet's painting, Impression, Sunrise, to mock the work as unfinished sketches lacking structure or deep meaning. While photography existed, these painters sought to tell the story of their times through a revolutionary style that defied convention. Notably absent from this founding exhibition was Édouard Manet, the group's "blood brother" and inspiration, who still believed success required acceptance within the official Salon. NUMBER 1 1849 MONET

À Paris, le musée Marmottan-Monet présente jusqu'au 1ᵉʳ mars 2026 l'exposition « L'empire du sommeil », qui regroupe 130 œuvres venues de Florence, de Montréal ou de Dublin : dessins, peintures, de l'Antiquité au XXᵉ siècle qui racontent la fascination des artistes pour cet état mystérieux qu'est le sommeil. « On a encore pas vraiment compris pourquoi on dort. Et pourquoi pas seulement les Hommes dorment, mais pourquoi tous les êtres vivants doués d'un cerveau dorment ? », fait remarquer Laura Bossi, commissaire de l'exposition L'empire du sommeil mais aussi neurologue et historienne des sciences. « Même les méduses, les poissons, on pensait qu'ils ne dormaient pas, mais en fait, apparemment, ils dorment aussi. Les oiseaux dorment parfois avec une partie du cerveau. On a beaucoup, beaucoup d'écrits. Mais le sommeil reste un mystère », poursuit-elle. C'est ce mystère que les visiteurs tentent de percer. Un état de conscience modifié dans lequel nous sommes plongés un tiers de notre vie. Un sujet qui a toujours fasciné les artistes, comme le montre la très riche exposition du musée Marmottan-Monet. « On a voulu montrer que c'est compliqué. Le sommeil est souvent aussi ambigu, parce qu'il y a le sommeil qui peut rappeler la mort ou bien l'amour, comme c'est d'ailleurs très bien dit dans les mythes grecs où le dieu du sommeil, Hypnos, est en même temps le plus doux des dieux. Mais en même temps, c'est le frère de la mort, et les deux sont les enfants de la nuit en même temps. L'Empire, c'est aussi l'empire sur nous-même. Nous n'avons pas le pouvoir de nous soustraire au sommeil. Et d'ailleurs, la privation de sommeil est une véritable torture. Il y a des rares maladies génétiques où les personnes qui ne peuvent pas dormir meurent », développe la commissaire de l'exposition. « On peint le lit de mort » Toutes les facettes du sommeil, du doux rêve à l'hallucination cauchemardesque, de l'endormi à l'insomniaque, sont évoquées dans l'exposition. Peindre le sommeil, c'est aussi peindre l'intime. « Dès qu'on sait tenir un crayon, qu'on dessine, on a envie de peindre le sommeil des modèles. On peint ses bébés, on peint ses maîtresses et ses amants. On peint le lit de mort. Il y a eu énormément d'artistes qui ont voulu, pour la mémoire d'abord, souvent pour eux-mêmes, peindre les dernières images de leur amour. Et ici, on montre deux tableaux de Monet, très peu connus et très intimes, qui sont son fils Jean, bébé, avec sa poupée endormie dans le berceau. Et on montre sa femme, Camille, morte sur son lit de mort, qui est un tableau que moi, je trouve parmi les plus émouvants de l'exposition où elle est, comme on faisait à l'époque, habillée avec sa robe de mariée et son voile de mariée », expose Laura Bossi. Victor Hugo, photographié par Nadar sur son lit de mort en 1885, côtoie le masque mortuaire qu'en fit Aimé-Jules Dalou. Dans la section consacrée aux troubles du sommeil, un tableau du Tchécoslovaque Maximilian Pirner, une somnambule en équilibre sur une corniche, nous donne le vertige. Ou un autoportrait plutôt angoissant d'Edvard Munch, les yeux caverneux, intitulé « Le Noctambule ». Et après la mort, le désir, avec beaucoup de belles endormies : l'exposition consacre une belle salle, entièrement couverte de rouge, à l'érotisme que convie parfois le sommeil. Pour aller plus loin : Exposition L'empire du sommeil

SHOW 11-28-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR 1963   The Genius of Early Photography: Nadar, Daguerre, and Dangerous Chemistry — Anika Burgess — Burgess details the risky and adventurous origins of photography as a practical medium. She examines Nadar, a visionary figure who deployed a giant balloon named Léon to fund experiments in heavier-than-air flight, having previously conducted innovative photographic expeditions into Paris's catacombs. Burgess also recounts Daguerre's 1839 presentation of the daguerreotype—a remarkably realistic, singular image created using hazardous chemicals including iodine and mercury, which posed significant occupational and health risks to early practitioners. Early Photography's Scientific Reach: Lunar and Underwater Photography — Anika Burgess — Burgessexplores early photography's critical scientific applications, noting that François Arago predicted the daguerreotype would enable detailed mapping of the lunar surface. Early astrophotographers encountered formidable technical challenges involving distance calculations, celestial motion, and insufficient ambient light. James Nasmyth controversially photographed plaster casts and molds of the lunar surface, which contemporary observers praised as scientifically truthful. Burgess also highlights Louis Boutan, who persistently developed practical underwater photography using pressurized hard-hat diving equipment, establishing a new scientific capability. Photography and Social Justice: Riis, Watkins, and the Question of Truth — Anika Burgess — Burgessdemonstrates how photography became a transformative tool for social advocacy and reform. Jacob Riis, a newspaper journalist documenting Manhattan's tenement poverty, employed flash powder ignited in cast-iron frying pans to photograph the grim, overcrowded interior conditions of slums for his landmark book How the Other Half Lives, frequently without obtaining subject consent. Burgess also discusses Carleton Watkins, who transported over 2,000 pounds of large-format photographic equipment to Yosemite Valley, producing images that proved instrumental in securing federal preservation and protection of the landscape. From X-Rays to Motion Pictures: Expanding the Photographic Medium — Anika Burgess — Burgess traces the expansion of photographic technology beyond conventional image capture. She examines Alice Austin'sintimate and playful photographs documenting her social circle with candid authenticity. The discovery of X-raysby Wilhelm Röntgen was rapidly branded as "the new photography" or "shadow photography," adopted swiftly for both entertainment and medical diagnostic applications despite practitioners possessing no understanding of severe radiation hazards. Burgess concludes with Paul Martin's candid street photography using concealed cameras hidden within top hats and Eadweard Muybridge's sequential motion studies, which directly enabled the invention of motion pictures. Angelica Schuyler: Albany, Elopement, and the Start of the Revolution — Molly Beer — Beer discusses her book Angelica, focusing on Angelica Schuyler Church, daughter of General Philip Schuyler. Her mother, Katherine, oversaw construction of their Albany residence, The Pastures, a substantial estate reflecting family prominence. Angelica received a rigorous education consistent with Dutch cultural traditions emphasizing women's financial and business literacy for family management. In 1777, during Burgoyne's invasion of New York, Angelica profoundly disappointed her mother by eloping with John Carter, an Englishman she found intellectually engaging and cosmopolitan. Angelica and the Founders: The Revolution and the Hamilton Connection — Molly Beer — Beer examines Angelica's pivotal role during the American Revolution, including her service alongside Rochambeau's army, traveling to Yorktown shortly after delivering her third child. Her sister Elizabeth ("Betsy") married Alexander Hamilton, who deliberately married into the prominent Schuyler family to elevate his social standing and political prospects. Following the war, Angelica's eldest son, Philip, founded the town of Angelica in western New York, the community where Beer herself was subsequently raised. Angelica in Europe: John Church, London Society, and Diplomacy — Molly Beer — Following ratification of the peace treaty, Angelica and her husband sailed to Paris to collect outstanding payments owed by the Frenchgovernment. John Carter leveraged the wartime amnesty to settle accumulated debts, reconcile with his estranged family, and legally adopt the name John Barker Church. Angelica relocated to London's elegant Mayfairneighborhood, where she established herself as a prominent American patriot. She strategically positioned herself at the intersection of cultural and diplomatic negotiations, entertaining influential figures including Lafayette and the Adamses, while exerting subtle influence over American diplomatic representatives toward negotiated peace. Angelica's Later Life: Return, Tragedy, and Founding Angelica, NY — Molly Beer — Angelica visited the United States for President Washington's 1789 inauguration but quickly returned to London, disappointed that the nascent republic fell short o Woke Capitalism: Origins, ESG, DEI, and the Power of BlackRock — Charles Gasparino — Gasparinotraces the origins of "woke capitalism," detailing how corporate America shareholder returns toward stakeholder capitalism models. L The Flashpoints of Woke Capitalism: Occupy Wall Street and the SEC — Charles Gasparino — Gasparinoidentifies the 2008 financial crisis and the ensuing progressive populist backlash, including the Occupy Wall Streetencampment at Zuccotti Park, as pivotal flashpoints accelerating corporate woke adoption.... Disney and ESPN: Running a Blue Company in a Red State — Charles Gasparino — Gasparino analyzes the radicalization of the Walt Disney Company, noting that CEO Bob Iger brought progressive cultural affinities while the company.... Go Woke, Go Broke: The Financial Backlash and Corporate Retreat — Charles Gasparino — Gasparinoreports that woke capitalism is experiencing significant financial retrenchment as corporations suffer bottom-line consequences... Freedom's Forge: FDR, WWII Mobilization, and Bill Knudsen — Arthur Herman — Herman discusses his book Freedom's Forge, detailing the extraordinary challenge FDR confronted in May 1940 to prepare America for modern industrial warfare. The preeminent industrialist summoned for this task was Bill Knudsen, CEO of General Motors. Knudsen, a Danish immigrant and former Ford executive, possessed unparalleled expertise in flexible mass production—the capacity to modify production line processes continuously while maintaining output. Knudsen applied these revolutionary manufacturing techniques to transform the American automobile industry into an "Arsenal of Democracy," producing critical war materiel including military trucks and armored tanks. Henry Kaiser: The Builder of Liberty Ships — Arthur Herman — Herman profiles Henry Kaiser, the second transformative figure in Freedom's Forge. Kaiser, a road construction entrepreneur who had previously coordinated monumental infrastructure projects including the Boulder Dam, demonstrated relentless commitment to ambitious thinking and delivery ahead of schedule and under budget constraints. In late 1940, Kaiser persuaded both Britishand American governments to contract him to construct "throwaway freighters"—Liberty ships—despite possessing no prior shipbuilding experience. Between 1941 and 1945, Kaiser successfully built 2,710 Liberty ships, fundamentally enabling Allied logistics and supply operations. The B-29 Superfortress and the Battle of Omaha — Arthur Herman — Herman recounts the genesis of the B-29 Superfortress bomber, conceived after General Hap Arnold consulted with Charles Lindbergh in 1939. The B-29 represented the ultimate expression of air supremacy doctrine, demanding revolutionary technologies including pressurized crew cabins and remote-controlled gun turrets that did not yet exist. Bill Knudsen directed the program, overcoming severe delays and persistent technical deficiencies. Knudsen won the "Battle of Omaha" by insisting that aircraft be extensively modified after assembly to achieve operational flight status, thereby integrating a massive female industrial workforce into B-29 production processes. Lessons from WWII: Unleashing Private Enterprise — Arthur Herman — Herman explores the strategic tension during WWII between New Deal administrators favoring centralized government command and industrialists prioritizing private sector innovation and operational flexibility. FDR and Knudsen learned from the disastrous centralized economic control failures of WWI, choosing instead to permit American private enterprise to "determine production methodologies and develop solutions for urgent national requirements." The fundamental secret to Allied victory was unleashing private sector dynamism, entrepreneurial expertise, and competitive energy. Herman draws contemporary parallels, arguing that modern defense strategy must replicate this model, contrasting bureaucratic NASA operations with innovative private enterprises including SpaceX.

The Genius of Early Photography: Nadar, Daguerre, and Dangerous Chemistry — Anika Burgess — Burgessdetails the risky and adventurous origins of photography as a practical medium. She examines Nadar, a visionary figure who deployed a giant balloon named Léon to fund experiments in heavier-than-air flight, having previously conducted innovative photographic expeditions into Paris's catacombs. Burgess also recounts Daguerre's 1839 presentation of the daguerreotype—a remarkably realistic, singular image created using hazardous chemicals including iodine and mercury, which posed significant occupational and health risks to early practitioners. PARIS

The Early Days of Photography: Insights from Anika Burgess Discover the fascinating stories behind early photography, from Anna Atkins' cyanotypes to the Daguerre‑Talbot rivalry, women's hidden studios, and the first surveillance photos of suffragettes—highlights from Anika Burgess' interview on the “10 Frames Per Second” podcast.  The “10 Frames Per Second” podcast is a go‑to resource for anyone interested in photojournalism history, yet this particular episode dives deep into the origins of photography itself. If you're a photographer, educator, historian, or simply a curious visual storyteller, the episode offers insights and details from technical to social, on the rise of photography Meet Anika Burgess – Photo Historian & Author Title: Photo editor, writer, and author of Flashes of Brilliance: The Genius of Early Photography and How It Transformed Art, Science, and History (W.W. Norton). Background: History & Law degrees, early career at Penguin Books (Modern Classics), later freelance photo‑researcher. Passion: Uncovering hidden stories—especially of women, scientists, and “oddball” characters—in the birth of photography. From Law School to Photo Editing Anika's journey is a reminder that career pivots can lead to groundbreaking work: Law → Photo Editing: A short course in photo research opened the door to a role at Penguin's Modern Classics series. On‑the‑Job Learning: She describes freelance work as an “accelerated masterclass” in assigning, commissioning, and archival research. Teaching Lens: As a photo‑history instructor, Anika emphasizes the value of primary sources—old photo journals, newspapers, and diaries. Pioneers of Early Photography Anna Atkins & the First Photo Book Who: English botanist & cyanotype pioneer. Milestone: Created Photographs of British Algae: Cyanotype Impressions (1843), the first photographic book—and made by a woman. Rediscovery: Mis‑attributed as “AA” until the 1970s when Larry Scharf revived her story. Women Photographers in the 1840s‑1850s Studio Advertisements: Journals show Miss Wigley and others openly marketing portrait studios. Color Tinting: Una Howard promoted women's employment in hand‑tinting photographs, even establishing a school for the craft. Editorial Debates: Early photo‑journals featured heated arguments about photography's purpose—art vs. science—with women actively contributing. Surprising Finds in the Archives Skin & Nail Prints: Some 19th‑century journals reported people printing photographs onto their own skin or fingernails. Psychic Photography: Experiments aimed to capture thoughts, dreams, or “effluvia”—the supposed visual aura of a soul. X‑Ray Curiosities: Early images of snakes, crayfish, and snowflakes (thanks to Wilson Bentley) showed how photography became a tool for scientific discovery. Early Photography: The Daguerre vs. Talbot Rivalry Aspect Louis Daguerre William Henry Fox Talbot Process Daguerreotype (metal‑silver plate) Calotype (paper negative → positive) Business Model Government‑funded French pension → free public release Aggressive patent enforcement, licensing fees Impact Dominated the first decade, especially in France and England Laid groundwork for modern negative/positive workflow, but hindered by patents Anika notes that Talbot's patents slowed adoption, while Daguerre's state‑backed release accelerated his method's popularity—an early example of how capitalism shapes technology diffusion. Early Photography Chemical Hazards & “You‑Tube‑Free” Learning Deadly Substances: Cyanide, mercury, and strong acids were common in darkrooms. No Antidotes: For cyanide, there was no effective remedy, underscoring the danger. Community Knowledge: Early photo clubs circulated “antidote tables”—precautions rather than cures. “There were no textbooks, no YouTube tutorials—just trial, error, and sometimes tragedy.” – Anika Science Meets Art: X‑Rays, Snowflakes & Psychic Photography X‑Ray Explorations (1890s): Photographs of snakes and crayfish revealed anatomy unseen by the naked eye. Wilson Bentley (Vermont): Captured over 5,000 snowflake images using a microscope—blending meteorology and artistry. Effluvia Photography: Early attempts to photograph the “spirit” of a person, predating modern AI‑generated ethereality. Early Surveillance: The Suffragette Photo‑Ops Arthur Barrett's Top‑Hat Camera (1908): Secretly photographed suffragists inside a London courtroom. He even coughed to mask the shutter sound. Government Commission: The British Home Office later hired Barrett to take long‑lens photographs of suffragists in Holloway Prison. Legacy: This marks one of the first documented uses of photography for covert surveillance—a precursor to today's CCTV debates. Lessons for Modern Photojournalists Transparency Matters: Early manipulators like Oskar Rieslander openly disclosed composite techniques—mirroring today's call for AI‑generated image labeling. Innovation Stems from Limits: Nadar's underground catacomb portraits show how technical constraints spark creative solutions. Community Sharing Wins: Photo clubs of the 19th century were the original knowledge‑exchange platforms—modern equivalents are online forums, workshops, and open‑source libraries. What's Next for Anika? After a seven‑year labor of love, Anika hints at a potential sequel covering 1910‑present—a period that includes modernist photography, wartime photojournalism, and the digital revolution. She's also considering shorter books focused on women pioneers and photographic chemistry. Quick Takeaways Anna Atkins wrote the first photographic book, and women have been key players since the 1840s. Daguerre's free release vs. Talbot's patents illustrates how policy shapes tech adoption. Early photographers faced real chemical dangers—no antidotes for cyanide, mercury, or acids. Surveillance photography began with suffragist courtroom shots, foreshadowing modern privacy concerns. Transparency in image manipulation is a historic constant, now relevant in the age of AI. Frequently Asked Questions Question Answer Where can I find Anna Atkins' cyanotype collection? The New York Public Library hosts a fully digitized archive online. Is the “top‑hat camera” video still available? Yes—search “suffragist reunion British Pathé” on YouTube. What was the first photo‑journalistic use of a hidden camera? Arthur Barrett's 1908 courtroom photos of suffragists. How did early photographers tint images? Women like Una Howard hand‑colored prints using water‑based pigments; later, labs introduced mechanical tinting. Can I listen to the full podcast episode? New episodes drop every Tuesday on 10fps.net and all major podcast platforms. Final Thoughts Anika Burgess' conversation on “10 Frames Per Second” proves that the early history of photography is far from a static timeline—it's a vibrant tapestry woven by inventors, women entrepreneurs, scientists, and activists. Understanding this past not only enriches our appreciation of current visual culture but also equips today's photojournalists with perspective on ethics, innovation, and the ever‑present tension between art and science. Ready to dive deeper? Grab a copy of Flashes of Brilliance, explore the NYPL digital collections, and let the stories of Anna Atkins, Una Howard, and Arthur Barrett inspire your next visual project. For more on “ghost” photography and William Mumler, check out our past episode with Peter Manseau, author of a book The Apparitionists, exploring Mumler’s creations. Keywords: early photography, history of photography, women photographers, Anna Atkins, Daguerre vs Talbot, photojournalism history, photographic chemistry hazards, X‑ray photography, suffragette surveillance, photo manipulation early, 10 Frames Per Second podcast ________ photojournalism, early photography, Anna Atkins, cyanotype, women photographers, Julia Margaret Cameron, Nadar, Daguerre, William Henry Fox Talbot, X‑ray photography, Wilson Bentley (snowflake photography), spirit photography, psychic photography/effluviography, photo manipulation, suffragette surveillance photography, top‑hat hidden camera, dry‑plate process, wet collodion process, chemical hazards in photography (cyanide, mercury), 1840s women‑run photo studios, hand‑tinting (colorizing photographs), archival research (NYPL, Met), Penguin Modern Classics photo editing, photographic patents and licensing, darkroom safety, early photo journals and newspapers, mechanical vs artistic classification in exhibitions, scientific photography, photography‑and‑art debate, early photographic portrait experience.The post Episode 167: Anika Burgess (Early Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

Nadar Kare Ta Simaria Jai, ਨਦਰਿ ਕਰੇ ਤਾ ਸਿਮਰਿਆ ਜਾਇ (Sri Guru Granth Sahib Ang 661 Sabad 1740)

Buenos días, soy Yoani Sánchez y en el "cafecito informativo" de este jueves 9 de octubre de 2025 abordo estos temas: - El Estado impulsa las farmacias en dólares - Recomiendan "soluciones tropicales" para reparar viviendas - Del servicio militar al campo: entregan tierras en usufructo - Nadar en Seco: Poesía cubana en NY Gracias por compartir este podcast y te espero para el programa de mañana. Suscríbete a este canal de YouTube para no perderte ni un solo programa: https://www.youtube.com/@YoaniSanchezPeriodista

Buenos días, soy Yoani Sánchez y en el "cafecito informativo" de este lunes 6 de octubre de 2025 abordo estos temas: - Nueve tomos de obras de Raúl Castro en medio de una profunda crisis editorial - Cárdenas, epicentro de los virus en Cuba - A falta de petróleo, desechos de moringa para hornear el pan - "Nadar en Seco": poesía cubana en NY Gracias por compartir este podcast y te espero para el programa de mañana. Suscríbete a este canal de YouTube para no perderte ni un solo programa: https://www.youtube.com/@YoaniSanchezPeriodista

Por primera vez en casi 100 años, cientos de personas saltaron al río Chicago para nadar. Unos 300 nadadores

Vivez un spectacle vivant hors du commun25 COMÉDIENS 25 comédiens incarnent Jules Verne et ses plus grands héros : Phileas Fogg, le capitaine Némo, Passepartout mais aussi George Sand, Thomas Edison, Nellie Bly, Nadar. Avec eux, rêvez, vibrez et voyagez dans le temps ! Un spectacle extraordinaire qui enchante toutes les générations.8 DÉCORS ÉPOUSTOUFLANTSPar petits groupes, vous voyagez de pièce en pièce et progressez ainsi dans l'histoire. Le Nautilus, la fusée, la montgolfière, l'imprimerie : nos décors monumentaux vous plongent dans l'univers extraordinaire de Jules Verne.1H DE SPECTACLEJusqu'au 3 Novembre 2025, départ toutes les 10 min.Les vendredis et samedis de 14h à 21h - Les dimanches de 10h40 à 17h40Le créateur et metteur en scène, Charles Mollet, est notre invitée en studio pour nous faire voyager dans le monde fantastique de Jules Vernehttps://www.legrandhoteldesreves.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Presas del país reportan un 50% de llenado: Conagua  Alerta en Yucatán por Marea Roja se prohíbe pesca y meterse al mar  Papa León XIV pide oraciones por la paz en el mundo  Más información en nuestro podcast

¡Por primera vez en 100 años, ! La ciudad

Reconocer el genocidio no es un acto simbólico. Permite buscar soluciones legales para sus víctimas y supervivientes. De ello habló la Nobel de la Paz Nadia Murad, quien espera que el Congreso de los Diputados retome el reconocimiento del genocidio yazidí. The Economist Intelligence Unit publicó su Índice de ciudades más habitables en 2025. Copenhague es la primera de la lista y Damasco la última, así que hablamos de la una y la otra con los periodistas Marta Montojo y Miguel Flores.En 1923 fue la última vez que el Sena estuvo abierto al nado público. Ahora, tras las pruebas en 2024 para los Juegos Olímpicos, París albergará en su río un sitio en el que nadar, como nos contó Carlos Cuevas, estudiante que se bañó allí en su primer día abierto.La Casa Real Británica anunció que dejará de usar el Tren Real  después de más de 180 por cuestiones presupuestarias. Hablamos de ello con David Mathieson, abogado y exasesor de Robin Cook.

Había en cierta granja un mulo viejo que dio un paso en falso y fue a dar al fondo de un pozo. El pobre campesino, que era su dueño, oyó el desesperado y resonante rebuzno y se acercó al pozo. Sintió lástima de su mulo, pero después de pensarlo bien, decidió que no valía la pena tratar de salvar ni el mulo ni el pozo. Así que llamó a sus vecinos, les contó lo sucedido y les pidió que le ayudaran a llenar de tierra el pozo. De ese modo el pozo serviría por lo menos como tumba, y el mulo no sufriría más. Cuando comenzaron a lloverle los primeros montones de tierra, el mulo casi se muere del susto. Pero al sentir el golpe de la cuarta y la quinta palada, se le ocurrió una idea. Cayó en la cuenta de que cada vez que le caía encima un montón de tierra, debía quitársela de encima sacudiéndose, y dar un paso hacia arriba, pisoteando la tierra que caía. En efecto, eso es lo que hizo, golpe tras golpe, palada tras palada, montón tras montón. «¡Sacúdete y sube! ¡Sacúdete y sube! ¡Sacúdete y sube!», se repetía en voz alta para no perder el ánimo. Aguantó el dolor de los golpes de la tierra que caía y sofocó la angustia que sentía, y así, sacudiéndose y subiendo, venció el pánico que lo invadía. Después de mucho sacudirse y pisotear, y ante el asombro general, el viejo mulo, exhausto y maltratado, dio el último paso hacia arriba, por encima de la orilla del pozo, ¡y pisoteó triunfante la tierra firme del campo! Lo que pudo haberlo enterrado, a la postre lo desenterró. Había logrado convertir en bendición esa segura maldición, y todo porque supo enfrentarse a la adversidad. He aquí la moraleja en verso: Si al fondo llegas, y te echan tierra, en lugar de desesperarte, ¡anímate, mira hacia arriba y usa la tierra para desenterrarte! Esta simpática fábula ilustra el siguiente refrán: «Nadar río abajo no cuesta trabajo; nadar río arriba: ¡eso sí que cuesta fatiga!»1 Pensémoslo bien. Si con la sola fuerza de voluntad somos capaces de nadar contra la corriente, ¿cuánto más podremos hacer en tiempos de angustia si acudimos a Dios? Con el Señor a nuestro lado, podemos vencer los obstáculos más imponentes de la vida. Esa fue precisamente la conclusión a la que llegó David cuando el Señor lo libró del rey Saúl y de todos sus enemigos. De ahí que el salmista de Israel le dedicara al Señor los siguientes versos: Me enredaron los lazos del sepulcro,             y me encontré ante las trampas de la muerte. En mi angustia... clamé a mi Dios,             y... ¡mi clamor llegó a sus oídos!... Me sacó a un amplio espacio;             ... contigo, Dios mío, podré asaltar murallas.2 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Refranero general ideológico español, compilado por Luis Martínez Kleiser (Madrid: Editorial Hernando, 1989), p. 198. 2 Sal 18:5,6,19,29

En La W, la nadadora ultramaratonista Eva Buzo compartió detalles sobre su travesía de nado abierto en Colombia, que partirá desde la playa de Juanchaco hasta el Malecón Bahía de la Cruz.

Invité a Luigi, comediante e improvisador venezolano viviendo en Santiago de Chile, a conversar sobre la comedia, vivir en chile, crecer en Venezuela y más. Tuvimos grandes conclusiones ... o quizás no.Conoce nuestro patrocinantes y sus hermosos productos: https://www.instagram.com/ascensionorgonitesRecuerda que siempre puedes ayudar a este podcast ingresando a: https://patreon.com/lanadiamariaY Siempre puedes ayudar dejando tu comentario y calificando con 5 estrellas todos los episodios que te gusten.@lanadiamaria en: instagram, tiktok, X y facebook.

In this episode we revisit our conversation with Indian champion Kiran Nadar. Kiran talks about representing India at bridge tournaments around the world, and the interplay between that and her roles as a philanthropist and museum founder. Plus, she shares her top tip for developing players. But first, we kibitz!SUPPORT THE SHOW!! -Join the Sorry, Partner Posse at PATREON. Get AD-FREE episodes and other perks.BE PART OF THE FUN ...-Join our MAILING LIST. We'll email you a link to every new episode and occasional other information.-Send your bridge stories and comments to sorrypartnerpodcast@gmail.com.These links are also available on our website at sorrypartner.comFind all our recommended books HERE. Get bonus content on PatreonSupport this show http://supporter.acast.com/sorry-partner. Hosted on Acast. See acast.com/privacy for more information.

DIF CDMX atiende reportes de violencia en agravio de infancias El 16 de abril inicia el Jolgorio Acapulqueño 2025Conagua advierte sobre riesgos de nadar en presasMás información en nuestro Podcast

Imagina estar disfrutando de tus lujosas vacaciones en un crucero. Piña colada, diversión, sol y de repente entras en crisis porque el barco se queda parado. Tormentas, olas gigantes y todo el mundo asustado. Mantente al día con los últimos de 'El Bueno, la Mala y el Feo'. ¡Suscríbete para no perderte ningún episodio!Ayúdanos a crecer dejándonos un review ¡Tu opinión es muy importante para nosotros!¿Conoces a alguien que amaría este episodio? ¡Compárteselo por WhatsApp, por texto, por Facebook, y ayúdanos a correr la voz!Escúchanos en Uforia App, Apple Podcasts, Spotify, y el canal de YouTube de Uforia Podcasts, o donde sea que escuchas tus podcasts.'El Bueno, la Mala y el Feo' es un podcast de Uforia Podcasts, la plataforma de audio de TelevisaUnivision.