Podcasts about padova

Elena Rui"Vedove di Camus"L'Orma Editorewww.lormaeditore.it«Esistono dubbi sul fatto che abbia amato Casarès, l'Unica? Le ha amate tutte, a suo modo, alcune più di altre, e Maria più di tutte, forse. Amate come un uomo, con la vanità di un uomo, l'egoismo di un uomo.»Il 4 gennaio 1960, la Facel Vega guidata dal celebre editore Michel Gallimard sfreccia lungo una strada della Borgogna e va a schiantarsi contro un platano. Sul sedile del passeggero, Albert Camus, che solo tre anni prima era stato insignito del Premio Nobel per la Letteratura, muore sul colpo. Mentre il mondo intero rimane attonito, orfano di uno dei più grandi intellettuali del Novecento, quattro donne si ritrovano all'improvviso “vedove” dell'uomo che amavano: la moglie Francine Faure, la brillante attrice Catherine Sellers, la giovane pittrice Mette Ivers, di origini danesi, e Maria Casarès, immensa interprete del teatro francese, che Camus stesso – fedele ai paradossi del sentimento – definiva «l'Unica».Con estro e rigore, Elena Rui indaga le vite e le voci di queste quattro figure femminili di fronte all'ineluttabilità della disgrazia. Si imbastisce così «un discorso sull'amore» che rifiuta viete certezze morali per restituire la trama sottile, contraddittoria e irriducibile degli affetti, offrendo a chi legge la libertà – e l'onere – di interrogarsi sui confini e sugli abissi dei rapporti umani.Elena Rui, nata a Padova nel 1980, vive in Francia dal 2005. Ha insegnato italiano ad Albi, Tolosa e Parigi. Ha già pubblicato La famiglia degli altri (Garzanti, 2021) e la raccolta di racconti Affetti non desiderati (Arkadia, 2024). Vedove di Camus è il suo ultimo romanzo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

David Mayernik is an architect, artist, writer, educator and most of all, he is a life-long student. David grew up in Allentown Pennsylvania. As he tells us during this episode, even at a young age of two he already loved to draw. He says he always had a pencil and paper with him and he used them constantly. His mother kept many of his drawings and he still has many of them to this day.   After graduating from University of Notre Dame David held several positions with various architectural firms. He always believed that he learned more by teaching himself, however, and eventually he decided to leave the professional world of architecture and took teaching positions at Notre Dame. He recently retired and is now Professor Emeritus at Notre Dame.   Our conversation is far ranging including discussions of life, the importance of learning and growing by listening to your inner self. David offers us many wonderful and insightful lessons and thoughts we all can use. We even talk some about about how technology such as Computer Aided Design systems, (CAD), are affecting the world of Architecture. I know you will enjoy what David has to say. Please let me know your thoughts through email at michaelhi@accessibe.com.     About the Guest:   David Mayernik is an architect, artist, writer, and educator. He was born in 1960 in Allentown, Pennsylvania; his parents were children of immigrants from Slovakia and Italy. He is a Fellow of the American Academy in Rome and the British Royal Society for the Encouragement of Arts, Manufactures, and Commerce, and has won numerous grants, awards and competitions, including the Gabriel Prize for research in France, the Steedman Competition, and the Minnesota State Capitol Grounds competition (with then partner Thomas N. Rajkovich). In 1995 he was named to the decennial list of the top forty architects in the United States under forty. In the fall of 2022, he was a resident at the Bogliasco Foundation in Liguria and the Cini foundation in Venice.   His design work for the TASIS campus in Switzerland over twenty-eight years has been recognized with a Palladio Award from Traditional Building magazine, an honorable mention in the INTBAU Excellence Awards, and a jury prize from the Prix Européen d'Architecture Philippe Rotthier. TASIS Switzerland was named one of the nine most beautiful boarding schools in the world by AD Magazine in March 2024. For ten years he also designed a series of new buildings for TASIS England in Surrey.   David Mayernik studied fresco painting with the renowned restorer Leonetto Tintori, and he has painted frescoes for the American Academy in Rome, churches in the Mugello and Ticino, and various buildings on the TASIS campus in Switzerland. He designed stage sets for the Haymarket Opera company of Chicago for four seasons between 2012 and 2014. He won the competition to paint the Palio for his adopted home of Lucca in 2013. His paintings and drawings have been exhibited in New York, Chicago, London, Innsbruck, Rome, and Padova and featured in various magazines, including American Artist and Fine Art Connoisseur.   David Mayernik is Professor Emeritus with the University of Notre Dame, where for twenty years he taught in the School of Architecture. He is the author of two books, The Challenge of Emulation in Art and Architecture (Routledge, UK) and Timeless Cities: An Architect's Reflections on Renaissance Italy, (Basic Books), and numerous essays and book chapters, including “The Baroque City” for the Oxford Handbook of the Baroque. In 2016 he created the online course The Meaning of Rome for Notre Dame, hosted on the edX platform, which had an audience of six thousand followers. Ways to connect with David:   Website: www.davidmayernik.com Instagram: davidmayernik LinkedIn: davidmayernik EdX: The Meaning of Rome https://www.edx.org/learn/humanities/university-of-notre-dame-the-meaning-of-rome-the-renaissance-and-baroque-city     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Well, hi and welcome once again. Wherever you happen to be, to another episode of unstoppable mindset. Today, we get to chat with David Mayernik, unless you're in Europe, and then it's David Mayernik, but either way, we're glad to have him. He is an architect. He is an award winning architect. He's an author. He's done a number of things in his life, and we're going to talk about all of those, and it's kind of more fun to let him be the one to talk more about it, and then I can just pick up and ask questions as we go, and that's what we'll do. But we're really glad that he's here. So David, welcome to unstoppable mindset.   David Mayernik ** 01:57 Oh, thanks so much. Michael, thanks for the invitation. I'm looking forward to it.   Michael Hingson ** 02:02 Well, I know we've been working on getting this set up, and David actually happens to be in Italy today, as opposed to being in the US. He was a professor at Notre Dame for 20 years, but he has spent a lot of time in Europe and elsewhere, and I'm sure he's going to talk about that. But why don't we start, as I mentioned earlier, as I love to do, tell us kind of about the early David growing up.   David Mayernik ** 02:25 Well, so my both of my parents passed away several years ago, and when I was at my mom's funeral, one of our next door neighbors was telling my wife what I was like when I was a kid, and she said he was very quiet and very intense. And I suppose that's how I was perceived. I'm not sure I perceived myself that way I did. The thing about me is I've always drawn my mom. I mean, lots of kids draw, but I drew like credibly, well, when I was, you know, two and three years old. And of course, my mother saved everything. But the best thing about it was that I always had paper and pencil available. You know, we were terribly well off. We weren't poor, but we weren't, you know, well to do, but I never lacked for paper and pencils, and that just allowed me to just draw as much as I possibly could.   Michael Hingson ** 03:16 And so I guess the other question is, of course, do you still have all those old drawings since your mom kept   David Mayernik ** 03:23 them? Well, you know? Yeah, actually, after she passed, I did get her, Well, her collection of them. I don't know that all of them. My father had a penchant for throwing things away, unfortunately. So some of the archive is no longer with us, but no but enough of it. Just odds and bits from different areas of my life. And the thing is, you know, I was encouraged enough. I mean, all kids get encouraged. I think when they're young, everything they do is fabulous, but I had enough encouragement from people who seem to take it seriously that I thought maybe I had something and and it was the kind of thing that allowed me to have enough confidence in myself that I actually enjoyed doing it and and mostly, my parents were just impressed. You know, it just was impressive to them. And so I just happily went along my own way. The thing about it was that I really wanted to find my own path as somebody who drew and had a chance in high school for a scholarship to a local art school. I won a competition for a local art school scholarship, and I went for a couple of lessons, and I thought, you know, they're just teaching me to draw like them. I want to draw like me. So for better or worse, I'm one of those autodidacts who tries to find my own way, and, you know, it has its ups and downs. I mean, the downside of it is it's a slower learning process. Is a lot more trial and error. But the upside of it is, is that it's your own. I mean, essentially, I had enough of an ego that, you know, I really wanted to do. Things my way.   Michael Hingson ** 05:02 Well, you illustrate something that I've believed and articulate now I didn't used to, but I do now a lot more, which is I'm my own best teacher. And the reality is that you you learn by doing, and people can can give you information. And, yeah, you're right. Probably they wanted you to mostly just draw like them. But the bottom line is, you already knew from years of drawing as a child, you wanted to perhaps go a slightly different way, and you worked at it, and it may have taken longer, but look at what you learned.   David Mayernik ** 05:37 Yeah, I think it's, I mean, for me, it's, it's important that whatever you do, you do because you feel like you're being true to yourself somehow. I mean, I think that at least that's always been important to me, is that I don't, I don't like doing things for the sake of doing them. I like doing them because I think they matter. And I like, you know, I think essentially pursuing my own way of doing it meant that it always was, I mean, beyond just personal, it was something I was really committed to. And you know, the thing about it, eventually, for my parents was they thought it was fabulous, you know, loved great that you draw, but surely you don't intend to be an artist, because, you know, you want to have a job and make a living. And so I eventually realized that in high school, that while they, well, they probably would have supported anything I did that, you know, I was being nudged towards something a little bit more practical, which I think happens to a lot of kids who choose architecture like I did. It's a way, it's a practical way of being an artist and and that's we could talk about that. But I think that's not always true.   Michael Hingson ** 06:41 Bill, go ahead, talk about that. Well, I think that the   David Mayernik ** 06:44 thing about architecture is that it's become, well, one it became a profession in America, really, in the 20th century. I mean, it's in the sense that there was a licensing exam and all the requirements of what we think of as, you know, a professional service that, you know, like being a lawyer or a doctor, that architecture was sort of professionalized in the 20th century, at least in the United States. And, and it's a business, you know, ostensibly, I mean, you're, you know, you're doing what you do for a fee. And, and so architecture tries to balance the art part of it, or the creative side, the professional side of it, and the business side. And usually it's some rather imperfect version of all of those things. And the hard part, I think the hardest part to keep alive is the art part, because the business stuff and the professional stuff can really kind of take over. And that's been my trial. Challenge is to try to have it all three ways, essentially.   Michael Hingson ** 07:39 Do you think that Frank Lloyd Wright had a lot to do with bringing architecture more to the forefront of mindsets, mindsets, and also, of course, from an art standpoint, clearly, he had his own way of doing things.   David Mayernik ** 07:54 Yeah, absolutely he comes from, I mean, I wouldn't call it a rebellious tradition, but there was a streak of chafing at East Coast European classicism that happened in Chicago. Louis Sullivan, you know, is mostly responsible for that. And I but, but Right, had this, you know, kind of heroic sense of himself and and I think that his ability to draw, which was phenomenal. His sense that he wanted to do something different, and his sense that he wanted to do something American, made him a kind of a hero. Eventually, I think it coincided with America's growing sense of itself. And so for me, like lot of kids in America, my from my day, if you told somebody in high school you wanted to be an architect, they would give you a book on Frank Lloyd Wright. I mean, that's just, you know, part of the package.   Michael Hingson ** 08:47 Yeah, of course, there are others as well, but still, he brought a lot into it. And of course there, there are now more architects that we hear about and designers and so on the people what, I m Pei, who designed the world, original World Trade Center and other things like that. Clearly, there are a number of people who have made major impacts on the way we design and think of Building and Construction today,   David Mayernik ** 09:17 you know, I mean America's, you know, be kind of, it really was a leader in the development of architecture in the 20th century. I mean, in the 19th century was very much, you know, following what was happening in Europe. But essentially, by the 20th century, the America had a sense of itself that didn't always mean that it rejected the European tradition. Sometimes it tried to do it, just bigger and better, but, but it also felt like it had its, you know, almost a responsibility to find its own way, like me and, you know, come up with an American kind of architecture and and so it's always been in a kind of dialog with architecture from around the world. I mean, especially in Europe, at Frank Lloyd Wright was heavily influenced by Japanese architecture and. And so we've always seen ourselves, I think, in relationship to the world. And it's just the question of whether we were master or pupil to a certain extent,   Michael Hingson ** 10:07 and in reality, probably a little bit of both.   David Mayernik ** 10:12 Yeah, and we are, and I think, you know, acknowledging who we are, the fact that we didn't just, you know, spring from the earth in the United States, where we're all, I mean, essentially all immigrants, mostly, and essentially we, you know, essentially bring, we have baggage, essentially, as a culture, from lots of other places. And that's actually an advantage. I mean, I think it's actually what makes us a rich culture, is the diversity. I mean, even me, my father's family was Slovak, my mother's family Italian. And, you know from when I tell you know Europeans that they think that's just quintessentially American. That's what makes you an American, is that you're not a purebred of some kind.   Michael Hingson ** 10:49 Yeah, yeah. Pure purebred American is, is really sort of nebulous and and not necessarily overly accurate, because you are probably immigrants or part other kinds of races or nationalities as well. And that's, that's okay.   David Mayernik ** 11:08 It's, it's rich, you know, I think it's, it's a richer. It's the extent to which you want to engage with it. And the interesting thing about my parents was that they were both children of first generation immigrants. My mom's parents had been older Italian, and they were already married, and when they came to the States, my father's parents were younger and Slovak, and they met in the United States. And my father really wasn't that interested in his Slovak heritage. I mean, just, you know, he could speak some of the language, you know, really feel like it was something he wanted to hold on to or pass along, was my mom was, I mean, she loved her parents. She, you know, spoke with him in Italian, or actually not even Italian, the dialect from where her parents came from, which is north of Venice. And so she, I think she kind of, whether consciously or unconsciously, passed that on to me, that sense that I wanted to be. I was interested in where I came from, where the origins of my where my roots were, and it's something that had an appeal for me that wasn't just it wasn't front brain, it was really kind of built into who I was, which is why, you know, one of the reasons I chose to go to Notre Dame to study where I also wound up teaching like, welcome back Carter, is that I we had a Rome program, and so I've been teaching in the Rome program for our school, but we, I was there 44 years ago as a student.   Michael Hingson ** 12:28 Yeah. So quite a while, needless to say. And you know, I think, well, my grandmother on my mother's side was Polish, but I I never did get much in the way of information about the culture and so on from her and and my mom never really dealt with it much, because she was totally from The Bronx in New York, and was always just American, so I never really got a lot of that. But very frankly, in talking to so many people on this podcast over almost the last four years, talking to a number of people whose parents and grandparents all came to this country and how that affected them. It makes me really appreciate the kind of people who we all are, and we all are, are a conglomerate of so many different cultures, and that's okay, yeah? I mean,   David Mayernik ** 13:31 I think it's more than okay, and I think we need to just be honest about it, yeah. And, you know, kind of celebrate it, because the Italians brought with them, you know, tremendous skills. For example, a lot of my grandfather was a stone mason. You know, during the Depression, he worked, you know, the for the WPA essentially sponsored a whole series of public works projects in the parks in the town I grew up in Allentown, Pennsylvania. And Allentown has a fabulous park system. And my grandfather built a lot of stone walls in the parks in the 1930s and, you know, all these cultures that came to the states often brought, you know, specialized skills. You know, from where they they came from, and, and they enriched the American, you know, skill set, essentially, and, and that's, you know, again, that's we are, who we are because of that, you know, I celebrated I, you know, I'm especially connected to my Italian heritage. I feel like, in part because my grandfather, the stone mason, was a bit of jack of all trades. He could paint and draw. And my mom, you know, wrote poetry and painted. And even though she mostly, you know, in my life, was a was a housewife, but before she met my father, and they got married relatively late for their day, she had a professional life in World War Two, my mom actually went to Penn State for a couple of years in the start of at the start of the war, and then parents wanted her to come home, and so she did two years of engineering. Penn State. When she came back to Allentown, she actually got a job at the local airplane manufacturing plant that was making fighter planes for the United States called company called volte, and she did drafting for them. And then after World War Two, she got a job for the local power company drafting modern electrical kitchens and and so I've inherited all my mom's drafting equipment. And, you know, she's, she's very much a kind of a child of the culture that she came from, and in the sense that it was a, you know, artistic culture, a creative culture. And, you know, I definitely happy and proud of   Michael Hingson ** 15:37 that. You know, one of the things that impresses me, and I think about a lot in talking to so many people whose parents and grandparents immigrated to this country and so on, is not just the skill sets that they brought, but the work ethic that they had, that they imparted to people. And I think people who have had a number of generations here have not always kept that, and I think they've lost something very valuable, because that work ethic is what made those people who they were   David Mayernik ** 16:08 absolutely I mean, my Yeah, I mean my father. I mean absolutely true is, I mean tireless worker, capable of tremendous self sacrifice and and, you know, and that whole generation, I mean, he fought in World War Two. He actually joined, joined the Navy underage. He lied about his age to get in the Navy and that. But they were capable of self, tremendous self sacrifice and tremendous effort. And, you know, I think, you know, we're always, you know, these days, we always talk about work life balance. And I have to say, being an architect, most architects don't have a great work life balance. Mostly it's, it's a lot of work and a little bit of life. And that's, I don't, you know. I think not everybody survives that. Not every architects marriage survives that mine has. But I think it's, you know, that the idea that you're, you're sort of defined by what you do. I think there's a lot of talk these days about that's not a good thing. I I'm sort of okay with that. I'm sort of okay with being defined by what I do.   Michael Hingson ** 17:13 Yeah, and, and that that's, that's okay, especially if you're okay with it. That's good. Well, you So you went to Notre Dame, and obviously dealt with architecture. There some,   David Mayernik ** 17:28 yeah. I mean, the thing, the great thing about Notre Dame is to have the Rome program, and that was the idea of actually a Sicilian immigrant to the States in the early 20th century who became a professor at Notre Dame. And he had, he won the Paris prize. A guy named Frank Montana who won the Paris prize in the 1930s went to Harvard and was a professor at Notre Dame. And he had the good idea that, you know, maybe sending kids to five years of architecture education in Indiana, maybe wasn't the best, well rounded education possible, and maybe they should get out of South Bend for a year, and he, on his own initiative, without even support from the university, started a Rome program, and then said to the university, hey, we have a Rome program now. And so that was, that was his instinct to do that. And while I got, I think, a great education there, especially after Rome, the professor, one professor I had after Rome, was exceptional for me. But you know, Rome was just the opportunity to see great architecture. I mean, I had seen some. I mean, I, you know, my parents would go to Philadelphia, New York and, you know, we I saw some things. But, you know, I wasn't really bowled over by architecture until I went to Rome. And just the experience of that really changed my life, and it gave me a direction,   Michael Hingson ** 18:41 essentially. So the Rome program would send you to Rome for a year.   David Mayernik ** 18:46 Yeah, which is unusual too, because a lot of overseas programs do a semester. We were unusual in that the third year out of a five year undergraduate degree in architecture, the whole year is spent in Rome. And you know, when you're 20 ish, you know, 20 I turned 21 when I was over there. It's a real transition time in your life. I mean, it's, it was really transformative. And for all of us, small of my classmates, I mean, we're all kind of grew up. We all became a bit, you know, European. We stopped going to football games when we went back on campus, because it wasn't cool anymore, but, but we, we definitely were transformed by it personally, but, it really opened our eyes to what architecture was capable of, and that once you've, once you've kind of seen that, you know, once you've been to the top of the mountain, kind of thing, it can really get under your skin. And, you know, kind of sponsor whatever you do for the rest of your life. At least for me, it   Michael Hingson ** 19:35 did, yeah, yeah. So what did you do after you graduated?   David Mayernik ** 19:40 Well, I graduated, and I think also a lot of our students lately have had a pretty reasonably good economy over the last couple of decades, that where it's been pretty easy for our students to get a job. I graduated in a recession. I pounded the pavements a lot. I went, you know, staying with my parents and. Allentown, went back and forth to New York, knocking on doors. There was actually a woman who worked at the unemployment agency in New York who specialized in architects, and she would arrange interviews with firms. And, you know, I just got something for the summer, essentially, and then finally, got a job in the in the fall for somebody I wanted to work with in Philadelphia and and that guy left that firm after about three months because he won a competition. He didn't take me with him, and I was in a firm that really didn't want to be with. I wanted to be with him, not with the firm. And so I then I picked up stakes and moved to Chicago and worked for an architect who'd been a visiting professor at Notre Dame eventually became dean at Yale Tom Beebe, and it was a great learning experience, but it was also a lot of hours at low pay. You know, I don't think, I don't think my students, I can't even tell my students what I used to make an hour as a young architect. I don't think they would understand, yeah, I mean, I really don't, but it was, it was a it was the sense that you were, that your early years was a kind of, I mean an apprenticeship. I mean almost an unpaid apprenticeship at some level. I mean, I needed to make enough money to pay the rent and eat, but that was about it. And and so I did that, but I bounced around a lot, you know, and a lot of kids, I think a lot of our students, when they graduate, they think that getting a job is like a marriage, like they're going to be in it forever. And, you know, I, for better or worse, I moved around a lot. I mean, I moved every time I hit what I felt was like a point of diminishing returns. When I felt like I was putting more in and getting less out, I thought it was time to go and try something else. And I don't know that's always good advice. I mean, it can make you look flighty or unstable, but I kind of always followed my my instinct on that.   Michael Hingson ** 21:57 I don't remember how old I was. You're talking about wages. But I remember it was a Sunday, and my parents were reading the newspaper, and they got into a discussion just about the fact that the minimum wage had just been changed to be $1.50 an hour. I had no concept of all of that. But of course, now looking back on it, $1.50 an hour, and looking at it now, it's pretty amazing. And in a sense, $1.50 an hour, and now we're talking about $15 and $16 an hour, and I had to be, I'm sure, under 10. So it was sometime between 1958 and 1960 or so, or maybe 61 I don't remember exactly when, but in a sense, looking at it now, I'm not sure that the minimum wage has gone up all that much. Yes, 10 times what it was. But so many other things are a whole lot more than 10 times what they were back then,   David Mayernik ** 23:01 absolutely, yeah. I mean, I mean, in some ways also, my father was a, my father was a factory worker. I mean, he tried to have lots of other businesses of his own. He, you're, you're obviously a great salesman. And the one skill my father didn't have is he could, he could, like, for example, he had a home building business. He could build a great house. He just couldn't sell it. And so, you know, I think he was a factory worker, but he was able to send my sister and I to private college simultaneously on a factory worker salary, you know, with, with, I mean, I had some student loan debt, but not a lot. And that's, that's not possible today.   Michael Hingson ** 23:42 No, he saved and put money aside so that you could do that, yeah, and,   David Mayernik ** 23:47 and he made enough. I mean, essentially, the cost of college was not that much. And he was, you know, right, yeah. And he had a union job. It was, you know, reasonably well paid. I mean, we lived in a, you know, a nice middle class neighborhood, and, you know, we, we had a nice life growing up, and he was able to again, send us to college. And I that's just not possible for without tremendous amount of debt. It's not possible today. So the whole scale of our economy shifted tremendously. What I was making when I was a young architect. I mean, it was not a lot then, but I survived. Fact, actually saved money in Chicago for a two month summer in Europe after that. So, you know, essentially, the cost of living was, it didn't take a lot to cover your your expenses, right? The advantage of that for me was that it allowed me time when I had free time when I after that experience, and I traveled to Europe, I came back and I worked in Philadelphia for the same guy who had left the old firm in Philadelphia and went off on his own, started his own business. I worked for him for about nine months, but I had time in the evenings, because I didn't have to work 80 hours a week to do other things. I taught myself how to paint. And do things that I was interested in, and I could experiment and try things and and, you know, because surviving wasn't all that hard. I mean, it was easy to pay your bills and, and I think that's one of the things that's, I think, become more onerous, is that, I think for a lot of young people just kind of dealing with both college debt and then, you know, essentially the cost of living. They don't have a lot of time or energy to do anything else. And you know, for me, that was, I had the luxury of having time and energy to invest in my own growth, let's say as a more career, as a creative person. And you know, I also, I also tell students that, you know, there are a lot of hours in the day, you know, and whatever you're doing in an office. There are a lot of hours after that, you could be doing something else, and that I used every one of those hours as best I could.   Michael Hingson ** 25:50 Yeah. Well, you know, we're all born with challenges in life. What kind of challenges, real challenges did you have growing up as you look back on it?   David Mayernik ** 26:01 Yeah, my, I mean, my, I mean, there was some, there was some, a few rocky times when my father was trying to have his own business. And, you know, I'm not saying we grew up. We didn't struggle, but it wasn't, you know, always smooth sailing. But I think one of the things I learned about being an architect, which I didn't realize, and only kind of has been brought home to me later. Right now, I have somebody who's told me not that long ago, you know? You know, the problem is, architecture is a gentleman's profession. You know that IT architecture, historically was practiced by people from a social class, who knew, essentially, they grew up with the people who would become their clients, right? And so the way a lot of architects built their practice was essentially on, you know, family connections and personal connections, college connections. And I didn't have that advantage. So, you know, I've, I've essentially had to define myself or establish myself based on what I'm capable of doing. And you know, it's not always a level playing field. The great breakthrough for me, in a lot of ways, was that one of the one of my classmates and I entered a big international competition when we were essentially 25 years old. I think we entered. I turned 26 and it was an open competition. So, you know, no professional requirements. You know, virtually no entry fee to redesign the state capitol grounds of Minnesota, and it was international, and we, and we actually were selected as one of the top five teams that were allowed to proceed onto the second phase, and at which point we we weren't licensed architects. We didn't have a lot of professional sense or business sense, so we had to associate with a local firm in Minnesota and and we competed for the final phase. We did most of the work. The firm supported us, but they gave us basically professional credibility and and we won. We were the architects of the state capitol grounds in Minnesota, 26 years old, and that's because the that system of competition was basically a level playing field. It was, you know, ostensibly anonymous, at least the first phase, and it was just basically who had the best design. And you know, a lot of the way architecture gets architects get chosen. The way architecture gets distributed is connections, reputation, things like that, but, but you know, when you find those avenues where it's kind of a level playing field and you get to show your stuff. It doesn't matter where you grew up or who you are, it just matters how good you are, yeah,   Michael Hingson ** 28:47 well, and do you think it's still that way today?   David Mayernik ** 28:51 There are a lot fewer open professional competitions. They're just a lot fewer of them. It was the and, you know, maybe they learned a lesson. I mean, maybe people like me shouldn't have been winning competitions. I mean, at some level, we were out of our league. I wouldn't say, I wouldn't say, from a design point of view. I mean, we were very capable of doing what the project involved, but we were not ready for the hardball of collaborating with a big firm and and the and the politics of what we were doing and the business side of it, we got kind of crushed, and, and, and eventually they never had the money to build the project, so the project just kind of evaporated. And the guy I used to work with in Philadelphia told me, after I won the competition, he said, you know, because he won a competition. He said, You know, the second project is the hardest one to get, you know, because you might get lucky one time and you win a competition, the question is, how do you build practice out of that?   Michael Hingson ** 29:52 Yeah, and it's a good point, yeah, yeah.   David Mayernik ** 29:55 I mean, developing some kind of continuity is hard. I mean, I. Have a longer, more discontinuous practice after that, but it's that's the hard part.   Michael Hingson ** 30:07 Well, you know, I mentioned challenges before, and we all, we all face challenges and so on. How do we overcome the challenges, our inherited challenges, or the perceived challenges that we have? How do we overcome those and work to move forward, to be our best? Because that's clearly kind of what you're talking about here.   David Mayernik ** 30:26 Yeah, well, the true I mean, so the challenges that we're born with, and I think there are also some challenges that, you know, we impose on ourselves, right? I mean, in this, in the best sense, I mean the ways that we challenge ourselves. And for me, I'm a bit of an idealist, and you know, the world doesn't look kindly on idealist. If you know, from a business, professional point of view, idealism is often, I'm not saying it's frowned upon, but it's hardly encouraged and rewarded and but I think that for me, I've learned over time that it's you really just beating your head against the wall is not the best. A little bit of navigating your way around problems rather than trying to run through them or knock them over is a smarter strategy. And so you have to be a little nimble. You have to be a little creative about how you find work and essentially, how you keep yourself afloat and and if you're if you're open to possibilities, and if you take some risks, you can, you can actually navigate yourself through a series of obstacles and actually have a rich, interesting life, but it may not follow the path that you thought you were starting out on at the beginning. And that's the, I think that's the skill that not everybody has.   Michael Hingson ** 31:43 The other part about that, though, is that all too often, we don't really give thought to what we're going to do, or we we maybe even get nudges about what we ought to do, but we discount them because we think, Oh, that's just not the way to do it. Rather than stepping back and really analyzing what we're seeing, what we're hearing. And I, for 1am, a firm believer in the fact that our inner self, our inner voice, will guide us if we give it the opportunity to do that.   David Mayernik ** 32:15 You know, I absolutely agree. I think a lot of people, you know, I was, I for, I have, for better or worse, I've always had a good sense of what I wanted to do with my life, even if architecture was a you know, conscious way to do something that was not exactly maybe what I dreamed of doing, it was a, you know, as a more rational choice. But, but I've, but I've basically followed my heart, more or less, and I've done the things that I always believed in it was true too. And when I meet people, especially when I have students who don't really know what they love, or, you know, really can't tell you what they really are passionate about, but my sense of it is, this is just my I might be completely wrong, but my sense of it is, they either can't admit it to themselves, or they can't admit it to somebody else that they that, either, in the first case, they're not prepared to listen to themselves and actually really deep, dig deep and think about what really matters to them, or if they do know what that is, they're embarrassed to admit it, or they're embarrassed to tell somebody else. I think most of us have some drive, or some internal, you know, impetus towards something and, and you're right. I mean, learning to listen to that is, is a, I mean, it's rewarding. I mean, essentially, you become yourself. You become more, or the best possible self you can be, I guess.   Michael Hingson ** 33:42 Yeah, I agree. And I guess that that kind of answers the question I was was thinking of, and that is, basically, as you're doing things in life, should you follow your dreams?   David Mayernik ** 33:53 You know, there's a lot, a lot of people are writing these days, if you read, if you're just, you know, on the, on the internet, reading the, you know, advice that you get on, you know, the new services, from the BBC to, you know, any other form of information that's out there, there's a lot of back and forth by between the follow your dreams camp and the don't follow your dreams camp. And the argument of the don't follow your dreams camp seems to be that it's going to be hard and you'll be frustrated, and you know, and that's true, but it doesn't mean you're going to fail, and I don't think anybody should expect life to be easy. So I think if you understand going in, and maybe that's part of my Eastern European heritage that you basically expect life to be hard, not, not that it has to be unpleasant, but you know it's going to be a struggle, but, but if you are true to yourself or follow your dreams, you're probably not going to wake up in the middle of your life with a crisis. You know, because I think a lot of times when you suppress your dreams, they. Stay suppressed forever, and the frustrations come out later, and it's better to just take them on board and try to again, navigate your way through life with those aspirations that you have, that you know are really they're built in like you were saying. They're kind of hardwired to be that person, and it's best to listen to that person.   Michael Hingson ** 35:20 There's nothing wrong with having real convictions, and I think it's important to to step back and make sure that you're really hearing what your convictions are and feeling what your convictions are. But that is what people should do, because otherwise, you're just not going to be happy.   David Mayernik ** 35:36 You're not and you're you're at one level, allowing yourself to manipulate yourself. I mean, essentially, you're, you know, kind of essentially deterring yourself from being who you are. You're probably also susceptible to other people doing that to you, that if you don't have enough sense of yourself, a lot of other people can manipulate you, push you around. And, you know, the thing about having a good sense of yourself is you also know how to stand up for yourself, or at least you know that you're a self that's worth standing up for. And that's you know. That's that, that thing that you know the kids learn in the school yard when you confront the bully, you know you have to, you know, the parents always tell you, you know, stand up to the bully. And at some level, life is going to bully you unless you really are prepared to stand up for something.   Michael Hingson ** 36:25 Yeah, and there's so many examples of that I know as a as a blind person, I've been involved in taking on some pretty major tasks in life. For example, it used to be that anyone with a so called Disability couldn't buy life insurance, and eventually, we took on the insurance industry and won to get the laws passed in every state that now mandate that you can't discriminate against people with disabilities in providing life insurance unless you really have evidence To prove that it's appropriate to do that, and since the laws were passed, there hasn't been any evidence. And the reason is, of course, there never has been evidence, and insurance companies kept claiming they had it, but then when they were challenged to produce it, they couldn't. But the reality is that you can take on major tasks and major challenges and win as long as you really understand that that is what your life is steering you to do,   David Mayernik ** 37:27 yeah, like you said, and also too, having a sense of your your self worth beyond whatever that disability is, that you know what you're capable of, apart from that, you know that's all about what you can't do, but all the things that you can do are the things that should allow you to do anything. And, yeah, I think we're, I think it's a lot of times people will try to define you by what you can't do, you   Michael Hingson ** 37:51 know? And the reality is that those are traditionally misconceptions and inaccurate anyway, as I point out to people, disability does not mean a lack of ability. Although a lot of people say, Well, of course it, it is because it starts with dis. And my response is, what do you then? How do you deal with the words disciple, discern and discrete? For example, you know the fact of the matter is, we all have a disability. Most of you are light dependent. You don't do well with out light in your life, and that's okay. We love you anyway, even though you you have to have light but. But the reality is, in a sense, that's as much a disability is not being light dependent or being light independent. The difference is that light on demand has caused so much focus that it's real easy to get, but it doesn't change the fact that your disability is covered up, but it's still there.   David Mayernik ** 38:47 No, it's true. I mean, I think actually, yeah, knowing. I mean, you're, we're talking about knowing who you are, and, you know, listening to your inner voice and even listening to your aspirations. But also, I mean being pretty honest about where your liabilities are, like what the things are that you struggle with and just recognizing them, and not not to dwell on them, but to just recognize how they may be getting in the way and how you can work around them. You know, one of the things I tell students is that it's really important to be self critical, but, but it's, it's not good to be self deprecating, you know. And I think being self critical if you're going to be a self taught person like I am, in a lot of ways, you you have to be aware of where you're not getting it right. Because I think the problem is sometimes you can satisfy yourself too easily. You're too happy with your own progress. You know, the advantage of having somebody outside teaching you is they're going to tell you when you're doing it wrong, and most people are kind of loath do that for themselves, but, but the other end of that is the people who are so self deprecating, constantly putting themselves down, that they never are able to move beyond it, because they're only aware of what they can't do. And you know, I think balancing self criticism with a sense of your self worth is, you know, one of the great balancing acts of life. You.   Michael Hingson ** 40:00 Well, that's why I've adopted the concept of I'm my own best teacher, because rather than being critical and approaching anything in a negative way, if I realize that I'm going to be my own best teacher, and people will tell me things, I can look at them, and I should look at them, analyze them, step back, internalize them or not, but use that information to grow, then that's what I really should do, and I would much prefer the positive approach of I'm my own best teacher over anything else.   David Mayernik ** 40:31 Yeah, well, I mean, the last kind of teachers, and I, you know, a lot of my students have thought of me as a critical teacher. One of the things I think my students have misunderstood about that is, it's not that I have a low opinion of them. It's actually that I have such a high opinion that I always think they're capable of doing better. Yeah, I think one of the problems in our educational system now is that it's so it's so ratifying and validating. There's so we're so low to criticize and so and the students are so fragile with criticism that they they don't take the criticism well, yeah, we don't give it and, and you without some degree of what you're not quite getting right, you really don't know what you're capable of, right? And, and I think you know. But being but again, being critical is not that's not where you start. I think you start from the aspiration and the hope and the, you know, the actually, the joy of doing something. And then, you know, you take a step back and maybe take a little you know, artists historically had various techniques for judging their own work. Titian used to take one of his paintings and turn it away, turn it facing the wall so that he couldn't see it, and he would come back to it a month later. And, you know, because when he first painted, he thought it was the greatest thing ever painted, he would come back to it a month later and think, you know, I could have done some of those parts better, and you would work on it and fix it. And so, you know, the self criticism comes from this capacity to distance yourself from yourself, look at yourself almost as as hard as it is from the outside, yeah, try to see yourself as other people see you. Because I think in your own mind, you can kind of become completely self referential. And you know, that's that. These are all life skills. You know, I had to say this to somebody recently, but, you know, I think the thing you should get out of your education is learning how to learn and like you're talking about, essentially, how do you approach something new or challenging or different? Is has to do with essentially, how do you how do you know? Do you know how to grow and learn on your own?   Michael Hingson ** 42:44 Yeah, exactly, well, being an architect and so on. How did you end up going off and becoming a professor and and teaching? Yeah, a   David Mayernik ** 42:52 lot of architects do it. I have to say. I mean, there's always a lot of the people who are the kind of heroes when I was a student, were practicing architects who also taught and and they had a kind of, let's say, intellectual approach to what they did. They were conceptual. It wasn't just the mundane aspects of getting a building built, but they had some sense of where they fit, with respect to the culture, with respect to history and issues outside of architecture, the extent to which they were tied into other aspects of culture. And so I always had the idea that, you know, to be a full, you know, a fully, you know, engaged architect. You should have an academic, intellectual side to your life. And teaching would be an opportunity to do that. The only thing is, I didn't feel like I knew enough until I was older, in my 40s, to feel like I actually knew enough about what I was doing to be able to teach somebody else. A lot of architects get into teaching early, I think, before they're actually fully formed to have their own identities. And I think it's been good for me that I waited a while until I had a sense of myself before I felt like I could teach somebody else. And so there was, there was that, I mean, the other side of it, and it's not to say that it was just a day job, but one of the things I decided from the point of your practice is a lot of architects have to do a lot of work that they're not proud of to keep the lights on and keep the business operating. And I have decided for myself, I only really want to do work that I'm proud of, and in order to do that, because clients that you can work for and be you know feel proud of, are rather rare, and so I balanced teaching and practice, because teaching allowed me to ostensibly, theoretically be involved with the life of the mind and only work for people and projects that interested me and that I thought could offer me the chance to do something good and interesting and important. And so one I had the sense that I had something to convey I learned. Enough that I felt like I could teach somebody else. But it was also, for me, an opportunity to have a kind of a balanced life in which practice was compensated. You know that a lot of practice, even interesting practice, has a banal, you know, mundane side. And I like being intellectually stimulated, so I wanted that. Not everybody wants   Michael Hingson ** 45:24 that. Yeah, so you think that the teaching brings you that, or it put you in a position where you needed to deal with that?   David Mayernik ** 45:32 You know, having just retired, I wish there had been more of that. I really had this romantic idea that academics, being involved in academics, would be an opportunity to live in a world of ideas. You know? I mean, because when I was a student, I have to say we, after we came back from Rome, I got at least half of my education for my classmates, because we were deeply engaged. We debated stuff. We, you know, we we challenged each other. We were competitive in a healthy way and and I remember academics my the best part of my academic formation is being immensely intellectually rich. In fact, I really missed it. For about the first five years I was out of college, I really missed the intellectual side of architecture, and I thought going back as a teacher, I would reconnect with that, and I realized not necessarily, there's a lot about academics that's just as mundane and bureaucratic as practice can be so if you really want to have a satisfying intellectual life, unfortunately, you can't look to any institution or other people for it. You got to find it on your own.   46:51 Paperwork, paperwork,   David Mayernik ** 46:55 committee meetings, just stuff. Yeah, yeah,   Michael Hingson ** 47:00 yeah. Yeah, which never, which never. Well, I won't say they never help, but there's probably, there's probably some valuable stuff that you can get, even from writing and doing, doing paperwork, because it helps you learn to write. I suppose you can look at it that way.   David Mayernik ** 47:16 No, it's true. I mean, you're, you're definitely a glass half full guy. Michael, I appreciate that's good. No. I mean, I, obviously, I always try to make get the most out of whatever experience I have. But, I mean, in the sense that there wasn't as much intellectual discourse, yeah, you know, as my I would have liked, yeah, and I, you know, in the practice or in the more academic side of architecture. Several years ago, somebody said we were in a post critical phase like that. Ideas weren't really what was driving architecture. It was going to be driven by issues of sustainability, issues of social structure, you know, essentially how people live together, issues that have to do with things that weren't really about, let's call it design in the esthetic sense, and all that stuff is super important. And I'm super interested in, you know, the social impact of my architecture, the sustainable impact of it, but the the kind of intellectual society side of the design part of it, we're in a weird phase where it that's just not in my world, we just it's not talked about a lot. You know,   Michael Hingson ** 48:33 it's not what it what it used to be. Something tells me you may be retired, but you're not going to stop searching for intellectual and various kinds of stimulation to help keep your mind active.   David Mayernik ** 48:47 Oh, gosh, no, no. I mean, effectively. I mean, I just stopped one particular job. I describe it now as quitting with benefits. That's my idea of what I retired from. I retired from a particular position in a particular place, but, but I haven't stopped. I mean, I'm certainly going to keep working. I have a very interesting design project in Switzerland. I've been working on for almost 29 years, and it's got a number of years left in it. I paint, I write, I give lectures, I you know, and you obviously have a rich life. You know, not being at a job. Doesn't mean that the that your engagement with the world and with ideas goes away. I mean, unless you wanted to, my wife's my wife had three great uncles who were great jazz musicians. I mean, some quite well known jazz musicians. And one of them was asked, you know, was he ever going to retire? And he said, retire to what? Because, you know, he was a musician. I mean, you can't stop being a musician, you know, you know, if, some level, if you're really engaged with what you do, you You never stop, really,   Michael Hingson ** 49:51 if you enjoy it, why would you? No, I   David Mayernik ** 49:54 mean, the best thing is that your work is your fun. I mean, you know, talking about, we talked about it. I. You that You know you're kind of defined by your work, but if your work is really what you enjoy, I mean, actually it's fulfilling, rich, enriching, interesting, you don't want to stop doing that. I mean, essentially, you want to do it as long as you possibly can. Yeah,   Michael Hingson ** 50:13 and it's and it's really important to do that. And I think, in reality, when you retire from a job, you're not really retiring from a job. You're retiring, as you said, from one particular thing. But the job isn't a negative thing at all. It is what you like to do.   David Mayernik ** 50:31 Yeah. I mean, there's, yeah, there's the things that you do that. I mean, I guess the job is the, if you like, the thing that is the, you know, the institution or the entity that you know, pays your bills and that kind of stuff, but the career or the thing that you're invested in that had the way you define yourself is you never stop being that person, that person. And in some ways, you know, what I'm looking forward to is a richer opportunity to pursue my own avenue of inquiry, and, you know, do things on my own terms, without some of the obligations I had   Michael Hingson ** 51:03 as a teacher, and where's your wife and all that.   David Mayernik ** 51:06 So she's with me here in LUCA, and she's she's had a super interesting life, because she she she studied. We, when we were together in New York, she was getting a degree in art history, Medieval and Renaissance studies in art history at NYU, and then she decided she really wanted to be a chef, and she went to cooking school in New York and then worked in a variety of food businesses in New York, and then got into food writing and well, food styling for magazines, making food for photographs, and then eventually writing. And through a strange series of connections and experiences. She got an opportunity to cook at an Art Foundation in the south of France, and I was in New York, and I was freelancing. I was I'd quit a job I'd been at for five years, and I was freelancing around, doing some of my own stuff and working with other architects, and I had work I could take with me. And you know, it was there was there was, we didn't really have the internet so much, but we had FedEx. And I thought I could do drawings in the south of France. I could do them in Brooklyn. So, so I went to the south of France, and it just happens to be that my current client from Switzerland was there at that place at that time, scouting it out for some other purpose. And she said, I hear you're architect. I said, Yeah. And I said, Well, you know, she said, I like, you know, classical architecture, and I like, you know, traditional villages, and we have a campus, and we need a master plan architect. And I was doing a master plan back in Delaware at that time, and my wife's you know, career trajectory actually enabled me to meet a client who's basically given me an opportunity to build, you know, really interesting stuff, both in Switzerland and in England for the last, you know, again, almost 29 years. And so my wife's been a partner in this, and she's been, you know, because she's pursued her own parallel interest. But, but our interests overlap enough and we share enough that we our interests are kind of mutually reinforcing. It's, it's been like an ongoing conversation between us, which has been alive and rich and wonderful.   Michael Hingson ** 53:08 You know, with everything going on in architecture and in the world in general, we see more and more technology in various arenas and so on. How do you think that the whole concept of CAD has made a difference, or in any way affected architecture. And where do you think CAD systems really fit into all of that?   David Mayernik ** 53:33 Well, so I mean this, you know, CAD came along. I mean, it already was, even when I was early in my apprenticeship, yeah, I was in Chicago, and there was a big for som in Chicago, had one of the first, you know, big computers that was doing some drawing work for them. And one of my, a friend of mine, you know, went to spend some time and figure out what they were capable of. And, but, you know, never really came into my world until kind of the late night, mid, mid to late 90s and, and, and I kind of resisted it, because I, the reason I got into architecture is because I like to draw by hand, and CAD just seemed to be, you know, the last thing I'd want to do. But at the same time, you, some of you, can't avoid it. I mean, it has sort of taken over the profession that, essentially, you either have people doing it for you, or you have to do it yourself, and and so the interesting thing is, I guess that I, at some point with Switzerland, I had to, basically, I had people helping me and doing drawing for me, but I eventually taught myself. And I actually, I jumped over CAD and I went to a 3d software called ArchiCAD, which is a parametric design thing where you're essentially building a 3d model. Because I thought, Look, if I'm going to do drawing on the computer, I want the computer to do something more than just make lines, because I can make lines on my own. But so the computer now was able to help me build a 3d model understand buildings in space and construction. And so I've taught myself to be reasonably, you know, dangerous with ArchiCAD and but the. Same time, the creative side of it, I still, I still think, and a lot of people think, is still tied to the intuitive hand drawing aspect and and so a lot of schools that gave up on hand drawing have brought it back, at least in the early years of formation of architects only for the the conceptual side of architecture, the the part where you are doodling out your first ideas, because CAD drawing is essentially mechanical and methodical and sort of not really intuitive, whereas the intuitive marking of paper With a pencil is much more directly connected to the mind's capacity to kind of speculate and imagine and daydream a little bit, or wander a little bit your mind wanders, and it actually is time when some things can kind of emerge on the page that you didn't even intend. And so, you know, the other thing about the computer is now on my iPad, I can actually do hand drawing on my iPad, and that's allowed me to travel with it, show it to clients. And so I still obviously do a lot of drawing on paper. I paint by hand, obviously with real paints and real materials. But I also have found also I can do free hand drawing on my iPad. I think the real challenge now is artificial intelligence, which is not really about drawing, it's about somebody else or the machine doing the creative side of it. And that's the big existential crisis that I think the profession is facing right now.   Michael Hingson ** 56:36 Yeah, I think I agree with that. I've always understood that you could do free hand drawing with with CAD systems. And I know that when I couldn't find a job in the mid 1980s I formed a company, and we sold PC based CAD systems to architects and engineers. And you know, a number of them said, well, but when we do designs, we charge by the time that we put into drawing, and we can't do that with a CAD system, because it'll do it in a fraction of the time. And my response always was, you're looking at it all wrong. You don't change how much you charge a customer, but now you're not charging for your time, you're charging for your expertise, and you do the same thing. The architects who got that were pretty successful using CAD systems, and felt that it wasn't really stifling their creativity to use a CAD system to enhance and speed up what they did, because it also allowed them to find more jobs more quickly.   David Mayernik ** 57:35 Yeah, one of the things it did was actually allow smaller firms to compete with bigger firms, because you just didn't need as many bodies to produce a set of drawings to get a project built or to make a presentation. So I mean, it has at one level, and I think it still is a kind of a leveler of, in a way, the scale side of architecture, that a lot of small creative firms can actually compete for big projects and do them successfully. There's also, it's also facilitated collaboration, because of the ability to exchange files and have people in different offices, even around the world, working on the same drawing. So, you know, I'm working in Switzerland. You know, one of the reasons to be on CAD is that I'm, you know, sharing drawings with local architects there engineers, and that you know that that collaborative sharing process is definitely facilitated by the computer.   Michael Hingson ** 58:27 Yeah, information exchange is always valuable, especially if you have a number of people who are committed to the same thing. It really helps. Collaboration is always a good thing,   David Mayernik ** 58:39 yeah? I mean, I think a lot of, I mean, there's always the challenge between the ego side of architecture, you know, creative genius, genius, the Howard Roark Fountainhead, you know, romantic idea. And the reality is that it takes a lot of people to get a building built, and one person really can't do it by themselves. And So collaboration is kind of built into it at the same time, you know, for any kind of coherence, or some any kind of, let's say, anything, that brings a kind of an artistic integrity to a work of architecture, mostly, that's got to come from one person, or at least people with enough shared vision that that there's a kind of coherence to it, you know. And so there still is space for the individual creative person. It's just that it's inevitably a collaborative process to get, you know, it's the it's the 1% inspiration, 99% perspiration. Side architecture is very much that there's a lot of heavy lifting that goes into getting a set of drawings done to get

Nei primi sei mesi del 2025 si registrano 51 morti sul lavoro in Veneto, quasi il doppio rispetto al 2024 (28 decessi). Il 40% delle vittime è straniero. La regione è seconda solo alla Lombardia per numero di decessi, con Verona in testa, seguita da Padova, Vicenza, Treviso, Venezia e Rovigo. Il Veneto resta in zona arancione per incidenza di mortalità superiore alla media nazionale; Vicenza e Rovigo in zona rossa.

Pubblichiamo l'intervento del Professor Brandalise “Filosofia mistica intercultura” recentemente tenutosi a Padova, buon ascolto!

Listen to Mike Warren highlight aspects of his journey walking from Puglia to Padova with his dog Beau. Mike wrote and published 'The Italian Walk' chronicling this epic adventure. His book is available on Amazon in paperback format as well as an audiobook, as well as on Goodreads. 

Giorgio Mezzalira"Ciò che era giusto"Eredità e memoria di Alexander LangerGoffredo FofiAlphabeta Verlaghttps://www.raetia.com/it/territorio-gesellschaft/1086-cio-che-era-giusto.htmlCon i contributi di Gad Lerner, Peter Kammerer, Daniel Cohn-BenditCosa resta di Alexander Langer (1946-1995), del suo multiforme pensiero, del suo impegno civile, del suo messaggio universale? Goffredo Fofi ripercorre la vicenda politica e umana dell'amico Alex, ricordando in modo schietto e vibrante l'intellettuale eterodosso e visionario, l'instancabile attivista, il fautore della nonviolenza, il precursore dell'ambientalismo, lo strenuo sostenitore della pacifica convivenza etnica. A trent'anni esatti dalla sua morte – che ha chiuso, simbolicamente, un'epoca di lotte e speranze, e di “buona politica” – emerge il profilo di un caparbio uomo del dialogo, dalle solide radici cristiane, stretto tra coerenza etica e inevitabili contraddizioni, generosi sforzi e fragilità nascoste. Quasi il ritratto di una generazione “sconfitta”, ma non “perduta”.Da altre testimonianze “eccellenti” di chi lo ha conosciuto e frequentato, dalla sua biografia, ma soprattutto dai suoi scritti – raccolti nel presente volume –, prende forma un'eredità spirituale che costituisce una sorgente di idee e di pratiche per immaginare e costruire un futuro differente. In un mondo scosso da conflitti armati e nuovi nazionalismi, e in un modello di sviluppo sempre più fondato sullo sfruttamento indiscriminato di risorse naturali e umane, quella di Langer rimane una figura di straordinaria, talvolta sorprendente, attualità. «Il sentiero di cresta su cui Alex si è mosso (e l'immagine gli si addice: uomo di montagna e di confine) è stato, spinto fin quasi all'estremo, il più esemplare ed educativo di tutti quelli percorsi dalla sua generazione, il più aperto al confronto con le contraddizioni della politica e anche il più autenticamente, coerentemente, lucidamente drammatico e vero.»(Goffredo Fofi)Giorgio Mezzalira, nato a Padova (1954), risiede a Bolzano. Studi di Storia contemporanea all'Università di Bologna (A.A. 1981-1982, laureato con lode), socio fondatore del gruppo “Storia e regione/Geschichte und Region”, presidente del Comitato di indirizzo della Fondazione Museo storico del Trentino, membro del comitato scientifico della rivista “Qualestoria”, socio Sissco. Fa parte della “Fondazione Alexander Langer Stiftung” ed è co-curatore dell'Archivio di Alexander Langer. Editorialista del “Corriere dell'Alto Adige” e del “Corriere del Trentino”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Pubblichiamo l'intervento del Prof. Brandalise, che lo scorso 6 ottobre ha partecipato all'incontro dal titolo “L'incontro d'amore tra filosofia e psicanalisi” all'interno della rassegna “La Fiera delle Parole” a Padova, in compagnia del Prof. Susanetti. 

Roberto Fassina"Lilith"Apogeo Editorehttps://www.remweb.it/scheda-libro/roberto-fassina/lilith-9791281386310-228.htmlI quindici racconti di questo libro spaziano dalla fiaba al testo satirico e alla narrazione filosofica e sono legati da un fil rouge di riflessioni sul senso della vita, la sofferenza e la morte. Le storie si susseguono, si intrecciano, fanno sorridere e rattristano, esplorando la realtà con curiosità e ironia, descrivendo personaggi autentici o improbabili. A volte prevalgono i dialoghi, altre volte il diario silenzioso, altre ancora l'ambiente e il contesto storico. Tuttavia è il pensiero la cifra che caratterizza l'intero libro: pensare genera pensieri, utili per raggiungere un livello di consapevolezza maggiore. Alcuni racconti hanno un carattere fortemente simbolico: "Il premio letterario" è una critica fantozziana al sottobosco poetico italiano, fatto di business e premi di consolazione. "Lilith", che dà il titolo alla raccolta, è la trasposizione metaforica della prima donna single, ripudiata da Adamo, ribelle e amorale, interiormente libera e sessualmente emancipata, demonizzata nel tempo dalla cultura maschilista. "Piccola storia" e "Argo" rappresentano il mondo animale e ambientale, con riflessioni sull'uso dannoso del territorio da parte dell'uomo. "Eden" e "Il pellegrino" si sviluppano sul piano ontologico biblico; altri racconti come "Sara", "Il musicante" e "Il porta parola" contengono profili onirici e surreali. "El Ciuna" e "L'intervista" narrano l'umanità, con le sue debolezze e astuzie. Infine, altri quattro racconti sono incentrati satiricamente sul mondo medico e sulle nevrosi dei pazienti.Roberto Fassina è nato a Curtarolo (Padova) il 18/12/50. Dopo la maturità classica, conseguita nel 1968 presso il Collegio Salesiano Manfredini di Este, si è iscritto alla Facoltà di Medicina e Chirurgia dell'Università di Padova, dove si è laureato nel 1975 e poi specializzato in Ginecologia nel 1979. Dal 1979 ha vissuto e lavorato a Curtarolo come Medico di Famiglia.Nel 1991 ha pubblicato “Nihilissimo Canto” (poesia) per i tipi delle Edizioni del Leone di Venezia. In quel periodo ha collaborato con poesie e racconti nella rivista milanese ‘Alla Bottega'.Nel 1998 ha pubblicato il romanzo “Equazione Ultima”per i tipi delle Edizioni Amadeus di Treviso.Nel 2003 ha pubblicato la silloge poetica “pesca sabèa” con la Casa Editrice ‘all'antico mercato saraceno', di Treviso. Sue poesie sono presenti in varie antologie poetiche.Suoi testi teatrali satirici, aventi per oggetto il mondo medico, sono stati rappresentati  a Padova, nel 2005, nel 2006,  nel 2007,  nel 2012,  nel 2016 e nel 2019.Nel 2011 ha pubblicato la raccolta poetica “Tangheide – lapsus in fabula” con la Casa Editrice ‘all'antico mercato saraceno', di Treviso.Nel 2015 ha pubblicato il romanzo “Il pensiero verticale” per i tipi di Ibiskos Editrice Risolo di Firenze.Nel 2019 ha pubblicato la silloge “Historia Medica”, con la Casa Editrice Anterem Edizioni di Verona.Per molti anni ha curato la pagina culturale del Bollettino dell'Ordine dei Medici di Padova con saggi e note critiche.Nel 2021 è stato coautore del libro “La diagnosi ritrovata”. Il Pensiero Scientifico Editore, Roma.Nel 2022 è stato coautore del libro “Interpretazione clinica degli esami di laboratorio”. Il Pensiero Scientifico Editore, Roma.Nel 2023 è stato coautore del libro online “Guida alla professione di medico”. La biblioteca del libro.Dal 1996 è docente nella Scuola di Formazione Specifica in Medicina Generale della Regione Veneto.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Cosa è la Extended Reality? Come si misura l'immversività di un utente in un mondo virtuale? E quali sono le sfide più importanti che si trova davanti chi sviluppa applicazioni per la realtà estesa e la realtà virtuale? Ne parliamo con Federica Battisti, docente di telecomunicazioni all'Università di Padova.

Cosa è la Extended Reality? Come si misura l'immversività di un utente in un mondo virtuale? E quali sono le sfide più importanti che si trova davanti chi sviluppa applicazioni per la realtà estesa e la realtà virtuale? Ne parliamo con Federica Battisti, docente di telecomunicazioni all'Università di Padova.

L'omicidio di Mikis Mantakas, gli anni di piombo il filo nero che lega Roma a Padova. Puntata speciale: True Crime "Summer" Diaries.Il 28 febbraio 1975 lo studente greco Mikis Mantakas viene ucciso a Roma davanti a pochi passi dalla sede del FUAN di via Ottaviano 9 a Roma. Ha 23 anni, è iscritto a Medicina, milita nel FUAN, il Fronte Universitario d'Azione Nazionale, movimento giovanile della destra missina. La sua morte diventa uno dei simboli più tragici degli anni di piombo: un'esecuzione politica a sangue freddo che segna in modo indelebile una generazione.Ma chi era davvero Mikis Mantakas? Quali furono le circostanze che portarono alla sua uccisione? E perché la sua morte rappresenta un filo nero che lega Roma a Padova durante gli anni di piombo? In questa puntata di True Crime Diaries Jacopo Pezzan e Giacomo Brunoro raccontano questa storia direttamente dai luoghi in cui Mantakas venne freddato da Alvaro Lojacono, esponente di spicco delle Brigate Rosse che farà parte anche del commando stragista di via Fani.Un racconto lucido e inquietante su una pagina ancora irrisolta della storia italiana, in cui il delitto di un giovane studente diventa il punto di partenza per esplorare il filo nero che lega Roma a Padova in un'epoca in cui ideologia e sangue si mescolavano senza pietà.#annidipiombo #mikismantakas #brigaterosse #roma #truecrimediaries #truecrime #jacopopezzan #giacomobrunoro--Qui trovi i nostri  libri!

Pubblichiamo l'intervento del Prof. Brandalise, che lo scorso 4 ottobre ha partecipato all'incontro dal titolo “Le prigioniere divine. Il teatro d'opera come dramma delle differenze” all'interno della rassegna “La Fiera delle Parole” a Padova.

Nel cuore del Veneto si consuma una vera emergenza silenziosa: quella delle morti sul lavoro. I dati sono spietati. Nei primi cinque mesi del 2025, le vittime registrate in regione sono state 38, quasi il doppio rispetto allo stesso periodo del 2024. Padova e Vicenza si trovano in cima alla tragica classifica con nove morti ciascuna, seguite da Venezia, Verona, Treviso e Rovigo. In media, in Italia, muoiono tre lavoratori al giorno. Un bilancio che – a detta degli esperti – peggiora mese dopo mese.

Italopodcastissa päivitetään suomalaispelaajien tilannetta ja ihmetellään mitä kummaa Padovassa oikein tapahtuu.* Pyyhtiä Modenaan + Joronen & Vertainen (4:17)* Viimeisimpiä siirtoja & Padova (37:44)* Signor Nessuno (1:00:20)* Fritto Misto (1:06:15)Italopodcastin jaksoissa Kimmo Kantolan vakiovieraana on italialaisen jalkapallon ekspertti Mitri Pakkanen. Jakso nauhoitettu to 17.7. Seuraa Instagramissa:https://www.instagram.com/seinakolmannelle/ (@seinakolmannelle)X:ssä:x.com/SKolmannelle

Lella Toscano"Hostal Levante"Apogeo Editorewww.rembweb.ittLeda è una donna di cinquantaquattro anni: una donna libera, attraente, che rifugge legami troppo impegnativi e relazioni stabili. Nella sua vita, l'eros si è gradualmente trasformato in una sorta di ossessione e ha finito per occupare un posto peculiare: la sessualità è diventata così – per lei – un mezzo per sconfiggere il fluire del tempo, mantenersi giovani, accedere ad una dimensione libera e totale dell'esistenza. Come ogni estate, Leda si recherà in Andalusia, nella “sua” Tarifa, una terra calda e avvolta dal vento tra due mari: qui conosce Lucia, un'artista di strada, e da questo incontro tra due potenti figure femminili nascerà qualcosa di nuovo e inatteso.Lella Toscano è nata nel 1966, vive e lavora a Rovigo, ama scrivere e viaggiare. Nel 2020 ha frequentato a Lìbrati, la Libreria delle donne di Padova, il corso di scrittura creativa Virginia Woolf. Dal 2016 è un counselor ad indirizzo psicogenealogico, dopo essersi formata in Psicogenealogia a Parigi, Bologna e Torino. Hostal Levante è il suo romanzo di esordio.Barbara Buoso, vive e lavora a Padova. Nel 2003 pubblica il suo romanzo d'esordio Aspettami con Croce Editore. Nel 2014, su segnalazione di Emma Dante, esce L'ordine innaturale degli elementi (Baldini & Castoldi). Escono, nel 2018, E venni al mondo (Apogeo editore) e nel 2023, per Vita Activa Nuova, la raccolta Espropriazioni. Il suo ultimo romanzo, Padre terra, è uscito a settembre 2024 per Fernandel Editore. Insegna scrittura creativa alla Scuola di scrittura Virginia Woolf.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Tratto dalla diretta video Facebook e YouTube "METALITALIA PUB" del 14 luglio 2025, l'ora che segue rappresenta il resoconto di una chiacchierata tra Jacopo Casati (giornalista, promotion manager e digital specialist), David Scatigna e Luca Pessina (due dei proprietari di Metalitalia.com), Carlo Paleari (redattore di Metalitalia.com) con tema principale l'analisi del giorno dopo del grandioso concerto degli Iron Maiden allo Stadio Euganeo di Padova di domenica 13 luglio 2025. Una prestazione assurda del vocalist Bruce Dickinson e una celebrazione in grande stile dei 50 anni della band simbolo dell'heavy metal mondiale. Parliamo delle emozioni provate assistendo allo show, delle scelte artistiche e di molto altro coinvolgendo la community che commentava in diretta con noi l'episodio.Ospite della puntata Frank Travagli (amministratore di Iron Maiden Italia).Il podcast è disponibile su Spotify, Apple Music, Amazon Music, Google Podcasts, YouTube, Deezer, Spreaker e molti altri.

In un paese dove il 35% del territorio è montano e le sfide legate allo spopolamento si fanno sempre più urgenti, l'Università di Padova risponde con un'iniziativa innovativa e lungimirante: due corsi di formazione, chiamati Rimont e Newmont, pensati per chi vuole tornare a vivere - o iniziare a farlo - nelle terre alte.

Pubblichiamo l'intervento del Prof. Brandalise, che ha partecipato in compagnia di Davide Susanetti e Davide Antonio Pio lo scorso 3 ottobre all'incontro dal titolo “L'essenziale è non fare nulla” all'interno della rassegna “La Fiera delle Parole” a Padova. Buon ascolto!

A confermarlo un’ampia analisi australiana pubblicata sul British Journal of Sports Medicine che sottolinea che chi riesce a passare da uno stile di vita sedentario a uno più attivo riduce del 22% il rischio di mortalità per tutte le cause rispetto a chi rimane inattivo. A Obiettivo Salute il commento del prof. Antonio Paoli, Ordinario di scienze dell'esercizio fisico all'Università di Padova

Una piccola riflessione personale sul passare del tempo e sulle persone che a volte perdi di vista e a volte ritrovi.....nello sfondo il concerto degli afterhours allo sherwood festival di Padova 2025.

Oltre mille ex parlamentari ricorrenti attendono il verdetto che potrebbe annullare il taglio ai loro vitalizi. Con Maurizio Paniz, ex deputato di Forza Italia e legale di molti di loro cerchiamo di capire le ragioni giuridiche di un dietrofront.Protesta durante l'orale di maturità a Padova. Uno studente di Padova si è rifiutato di sostenere l'esame orale adducendo di aver già raggiunto i crediti necessari alla promozione. Ne discutiamo con Enrico Galiano, docente e scrittoreLa bresaola Usa per aggirare i dazi. In risposta alla minaccia di dazi americani fino al 17%, il ministro Lollobrigida ha avanzato una proposta sorprendente: produrre una sorta di «bresaola italiana» usando carne americana ormonata destinata esclusivamente all'export verso gli Stati Uniti. Commentiamo l'idea con Alberto Grandi, docente di Storia dell'alimentazione

«– I romanzi radiofonici, giovanotto, – mormorò Josefina Sánchez, come se commettesse un sacrilegio. – Stanno diventando sempre più strambi.» (Mario Vargas Llosa, La zia Julia e lo scribacchino) Nel biennio 2022-2023 portammo in tour Radio Ufo 78, un radiodramma/concerto, un melologo, una sghemba e psichedelica suite con scrittori, musicisti e «caverna dell'antimateria». I due scrittori erano Wu Ming 1 e Jadel Andreetto, quest'ultimo in doppia veste, in quanto bassista del Bhutan Clan. I musicisti erano quelli del Bhutan Clan, appunto: band cresciuta a Bologna sonorizzando trekking urbani e serate letterarie, nel contesto del cantiere culturale permanente Resistenze in Cirenaica. Per varie ragioni il gruppo si è sciolto come tale nel 2024, ma le sperimentazioni proseguono sotto l'egida di Melologos, «laboratorio di fonologia narrativa» che ora è al lavoro su Gli uomini pesce. «Caverna dell'antimateria» è come chiamavamo, in omaggio al pittore situazionista Giuseppe Pinot Gallizio, l'ambiente sonoro pazientemente ingegnerizzato in studio che ogni tanto erompeva nell'esecuzione dal vivo. I testi dello spettacolo erano in gran parte tratti da Ufo 78, ma alcuni brani – come già avveniva nel romanzo – gettavano ponti verso un altro mondo narrativo: quello del «Ciclo di Tanino & Karl» di Jadel Andreetto & Guglielmo Pispisa. Finora ne sono usciti due episodi: Tutta quella brava gente (firmato con lo pseudonimo «Marco Felder», Rizzoli 2019) e La parola amore uccide (Rizzoli, 2022). Anzi, tre, perché il terzo è in forma di podcast: Morte di un giallista bolzanino (RaiPlaySound, 2023). Radio Ufo 78 era un'unica suite della durata di circa un'ora e 15 minuti. Prima di salire sul palco, chiedevamo al pubblico di applaudire soltanto alla fine. Dopo una prova aperta allo Spazio Stria di Padova, sempre disponibile per i nostri lanci di ballons d'essai, Radio Ufo 78 si mise in strada. La formula era anfibia e strana e non proponibile ovunque, gli incastri di impegni non erano semplici... Insomma, riuscimmo a mettere in fila solamente sette date. Di alcune resta testimonianza. La migliore registrazione, realizzata a tracce separate dal mixer (ringraziamo il fonico Gianluca Fabbri), è quella della serata in piazza a S. Giovanni in Marignano, in provincia di Rimini. Era la sera del 9 luglio 2023, l'evento era organizzato da Rapsodia, su iniziativa del nostro amico Emiliano Visconti. Stefano D'Arcangelo di Melologos ha lavorato su quelle tracce, per far emergere ogni suono con la massima chiarezza, e oggi, alla buon'ora, possiamo rendere disponibile all'ascolto Radio Ufo 78, per chi non c'era alle serate e anche per chi c'era e vuole riascoltarlo. Lo facciamo a due anni esatti da quell'esibizione. La formazione: Wu Ming 1 – voce e vociferazioni Jadel Andreetto – voce e basso Giroweedz – basso e ingegneria sonora Bruno Fiorini – chitarra Stefano D'Arcangelo – tastiere, elettronica, antimateria Michele Koukoussis – batteria Con la partecipazione di Filo Sottile (nella parte di Carmen) e Donatella Allegro (nella parte di Milena).

Sotto il profilo normativo (e non solo), in questi giorni sono tanti gli elementi di novità che riguardano (o possono riguardare) il mondo dell’autotrasporto. A partire dal nuovo codice della strada per arrivare al Decreto flussi varato dal governo. E poi la questione dell’accesso alla professione. Su tutto questo facciamo il punto con Claudio Donati, segretario generale di Assotir.All’interporto di Padova è operativo un sistema di vigilanza e sicurezza a 360 gradi assicurato dai droni. Si tratta di una novità assoluta a livello nazionale. Ne parliamo con Roberto Tosetto, direttore generale dell’Interporto.

Difficile capire se l'attacco di Israele e Stati Uniti all'Iran motivato dalla necessità di neutralizzarne le capacità di arricchimento nucleare abbia realmente raggiunto il suo obiettivo. Intervengono Giuseppe Zollino, Professore di Tecnica ed Economia dell’Energia e di Impianti Nucleari all’Università di Padova ed Enrico Verga, analista geopolitico.

Stefano Vicentini"La firma del paron"Giulio NascimbeniIl signore della terza paginaPrefazione di Marzio BredaIanieri Edizioniwwwianieriedizioni.comIn occasione dell'anniversario dei 100 anni dalla nascita di Giulio Nascimbeni (27 ottobre 1923), giornalista veronese-milanese attivo per quasi mezzo secolo al “Corriere della Sera” e da tutti affettuosamente chiamato “Paron della Terza Pagina”, questo libro vuole ripercorrere gli anni d'oro della Cultura del quotidiano. Nascimbeni ebbe l'onore di gestire, da redattore capo, scrittori del calibro di Moravia, Pasolini, Calvino, Parise, Biagi e Montanelli, e se ne occupò con un metodo che ha fatto poi scuola a numerosi professionisti e collaboratori, a partire dagli anni del passaggio dalla cultura d'élite a quella di massa fino ad arrivare all'alba delle nuove tecnologie del giornalismo. Qui si analizzano cento articoli firmati da Nascimbeni per testimoniare che lui è stato un punto di riferimento alla cultura, cambiando la forma mentis del Paese quando la Terza Pagina era il fiore all'occhiello del giornalismo italiano. Nei capitoli del libro – tra il manuale di scrittura, il saggio di critica letteraria e la biografia professionale – si affrontano il lead e lo sviluppo di un articolo, le recensioni e gli elzeviri, le grandi interviste – Borges, Simenon, Montale, Eco, Zanzotto, Grass… – e le rubriche sulla lingua – “In altre parole” e “Esame di giornalismo”–, più due appendici dedicate alla cronaca nera e allo sport del calcio. Oltre agli articoli di Nascimbeni, si approfondiscono i suoi libri di taglio giornalistico, Potere Violenza Famiglia e Il calcolo dei dadi, ma anche i giudizi di altri professionisti della carta stampata sul valore della Terza Pagina. In tempi di utilizzo del giornalismo digitale e avvio dell'intelligenza artificiale, si rievocano i valori di informazione e formazione dell'antica “saggia” Terza Pagina, con un pizzico di nostalgia.Stefano Vicentini, nato a Legnago di Verona nel 1973, è docente di liceo e giornalista pubblicista.Laureato in Lettere moderne con lode all'Università di Padova con una tesi su Giulio Nascimbeni, insegna materie letterarie al Liceo “Giovanni Cotta” di Legnago e collabora con il quotidiano “L'Arena” di Verona dal 1997, oggi alla pagina “Cultura & Spettacoli”.Ha pubblicato 4 volumi di critica letteraria La letteratura paziente (QuiEdit), raccogliendo i suoi articoli dal 2010 al 2022, e il saggio Manzoni. La tradizione in viaggio (Solfanelli) con altri autori per il Progetto nazionale “Manzoni 150” nell'anniversario della scomparsa (2023).Ha ricevuto numerosi premi e segnalazioni a concorsi nazionali per ricerche di giornalismo e saggistica letteraria, nonché per testi poetici con gli alunni del Laboratorio di Poesia, che tiene da anni al liceo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Nella puntata 568 del nostro podcast scientifico preferito si parla di due protagonisti davvero curiosi: i fenicotteri e le cellule zombie. Ai microfoni, per la prima volta insieme, ci sono Francesca e Ilaria, pronte a raccontarci storie sorprendenti dal mondo della scienza. Francesca ci porta nelle acque fangose dove vivono i fenicotteri. Questi eleganti uccelli non si limitano a filtrare l'acqua in modo passivo come molti pensano. Al contrario, i fenicotteri sono veri e propri cacciatori attivi. Usano le zampe, il becco a forma di L e movimenti precisi della testa per creare flussi d'acqua e vortici che intrappolano minuscole prede, come  le scimmiette di mare. sfuggenti. Non sono quindi semplici filtratori ma predatori ingegnosi che sfruttano il loro becco come strumento di pesca. Nel contributo esterno, Giuliana intervista nuovamente il professor Marco Bellano, già nostro ospite nella puntata precedente. Bellano è docente di History of Animation presso il dipartimento dei beni culturali dell'Università degli Studi di Padova e ci parla delle stelle nei film. Attenzione, non potrete più guardare serenamente un cielo stellato al cinema! Di ritorno in studio, dopo una barzelletta terribile (come da tradizione!), Ilaria ci parla di un argomento tanto curioso quanto inquietante: le cellule zombie. Alcuni scienziati pensano che l'invecchiamento del corpo dipenda anche da come il cervello gestisce le riserve di energia. Con il tempo, alcune cellule smettono di dividersi e si trasformano in “cellule zombie”. Queste cellule, invece di andarsene in silenzio, rilasciano segnali che chiedono molta energia. Il cervello se ne accorge e riduce il consumo di energia in altre parti del corpo. Questo potrebbe spiegare alcuni segni dell'invecchiamento, come i capelli grigi o la stanchezza. Fenicotteri ingegnosi e cellule che non vogliono morire: due mondi diversi, ma entrambi capaci di sorprenderci. Ascolta la puntata per scoprire tutti i dettagli!Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/scientificast-la-scienza-come-non-l-hai-mai-sentita--1762253/support.

Quattro famiglie e quattro generazioni dedicate alla lavorazione e commercializzazione dei bovini. Centro Carni Company è uno dei principali operatori del settore in Italia: 110 tonnellate di carne lavorate al giorno e un fatturato di 173 milioni di euro nel 2024 con export in 24 Paesi. La storia inizia nel territorio di Tombolo, in provincia di Padova, dove già alla fine dell'Ottocento le famiglie Beghetto e Pilotto lavoravano nel settore dell'allevamento e del commercio di bestiame.Nella foto Nicola Pilotto Dir. Amm. finanza e controllo di gestione

Eterna Cenerentola dei dibattiti sull'energia rinnovabile, la geotermia sta finalmente vivendo un momento di grande trasformazione ed evoluzione tecnologica. L'obiettivo è duplice: da un lato, esplorare forme evolute grazie allo sviluppo di nuove tecnologie e approcci innovativi come la geotermia a ciclo chiuso; dall'altro, rivalutare gli 8.000 pozzi esauriti per l'estrazione di gas e petrolio presenti solo in Italia, convertendoli in pozzi geotermici.Considerando che circa il 40% dei costi e gran parte dei rischi imprenditoriali di un progetto geotermico sono legati proprio alle attività di perforazione, il riutilizzo di questi pozzi abbandonati rappresenta un'opportunità enorme. Dopo averne parlato in una puntata precedente, torniamo sull'argomento presentando alcune delle più interessanti case history che stanno prendendo forma nel nostro paese, con applicazioni sia in ambito civile che industriale.Ne parliamo con Antonio Galgaro, professore di Geofisica dell'Università di Padova.

Maria Grazia Tolfo"Caterina Visconti"Prima duchessa di MilanoEdizioni Meravigliwww.meravigliedizioni.itLa Saga dei Visconti si arricchisce di un nuovo, prezioso e appassionante capitolo!Caterina Visconti (1362-1404), pur essendo figlia di Bernabò, cugina e moglie di Gian Galeazzo e quindi prima duchessa di Milano, nonché reggente a nome dell'erede minorenne Giovanni Maria, è semplicemente sparita dalla nostra memoria. Quando scompare dal suo castello di Monza, non ha i dovuti funerali di Stato, ma nemmeno esequie coi suoi congiunti né una tomba. Cos'è successo di tanto grave da farla totalmente dimenticare?Con questo libro Maria Grazia Tolfo ha raccolto la sfida di rimettere Caterina come protagonista nel suo periodo storico, con un metodo non diverso da quello degli anatomo-patologi che ricostruiscono volti da poche ossa. Nel suo caso aveva un nome senza corpo, conosceva tutte le sue relazioni, il contesto sociale, le eredità genetiche e poteva basarsi su qualche miniatura. Ma soprattutto ha ascoltato i silenzi e annotato le importanti omissioni…Maria Grazia Tolfo (Milano, 1949), laureata in Psicologia dell'educazione degli adulti a Padova, specializzata in Storia dell'arte a Parma, nel 1980 è entrata nel Settore Educazione del Comune di Milano come docente di Educazione permanente. Dal 1989 ha fondato con Paolo Colussi un servizio per la diffusione presso un pubblico non specialistico delle ricerche universitarie e dei dati rinchiusi nei numerosi archivi relativi alla storia di Milano. Il suo ambito di ricerca spaziava dalla nascita di Milano all'età dei Visconti. Dopo la chiusura del Centro Educazione Permanente nel 2003, parte delle monografie dei corsi sono state salvate sul sito storiadimilano.it. Dal 2006 si è dedicata a ricerche di geografia storica europea, allo studio del vedico e dei culti preistorici dell'arco alpino. È l'autrice della scheda sulle raffigurazioni astrologiche della Sala di Griselda nel Museo del Castello Sforzesco, in origine nel Castello di Roccabianca (Parma)IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Hear how people of all ages enjoy a day at the baths in Budapest, where doctors commonly prescribe a relaxing day at the spa. Then learn about a sacred geothermal river located deep in Amazonian Peru: It's huge, deadly hot, and might contain clues to the origins of life on Earth. And get advice for enjoying the splendor of Padua, located just half an hour from the crowds of Venice, and home to one of Europe's oldest universities. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

In this episode, Kimberly and Tommaso share their experiences in Treviso, Italy, offering travel tips and historical insights. They explore Treviso's charm, cuisine, and proximity to other Italian destinations. Key Points: Treviso: An Unheralded Italian Gem: Treviso is near Venice, offering similar canals and architecture but with fewer tourists. Despite attracting hundreds of thousands of visitors, it remains less crowded than Venice. Treviso's blend of canals, medieval palaces and colorful facades create a visually appealing experience. Travel Tip: Photograph Everything: Document rental car damage with photos of the car, the other driver's information, and interactions with rental agencies. This precaution can help resolve potential disputes with rental car companies. Historical and Cultural Highlights: Porta San Tommaso: An ornate gate featuring the Venetian lion, showcasing the city's history. Fontana Delle Tette: The Fountain of Breasts, a sculpture that once spouted wine during the election of a new mayor, symbolizing the city's rich past. Cuisine and Wine of Treviso: Prosecco: The popular wine of the Veneto region, with vine-covered hills recognized as UNESCO World Heritage sites. Incrocio Manzoni: A local white wine similar to Riesling, enhancing the region's diverse wine offerings. Tiramisu: Treviso is the birthplace of tiramisu, first introduced on a menu in 1972 at the restaurant Le Becchiere. Episode Highlights: Memorable aperitivo experiences include both elegant settings under arcades and laid-back atmospheres. Treviso is a great base for visiting vineyards, Padova, Vicenza, Trieste, and the Dolomites. Staying in Treviso offers a less crowded and more authentic experience compared to Venice, especially in the off season.

Sie brachten 1925 ein wenig Ordnung in die chaotische Welt der Quanten – allen voran Werner Heisenberg. Ausserdem: Wo steht der Hype um Taurin als Wundermittel gegen das Altern heute? Und: Wir schauen nochmals genau hin, was kam im Lötschental runter, was liegt nun da und was bedeutet das jetzt? (00:00) Schlagzeilen (00:45) Die Geburtsstunde der Quantenmechanik: Vor 100 Jahren brachte der 23-jährige Werner Heisenberg die Quantenmechanik auf der Insel Helgoland aufs Papier. Dorthin war er vor den Pollen gelüchtet. Er lüftet Nase und andere Schleimhäute und offenbar auch seinen Kopf. (07:22) Meldungen: Das ungewisse Schicksal der Wissenschaft in den USA; der Schutz der Nashörner in Südafrika (12:36) Gehyptes Taurin: Vor zwei Jahren wurde Taurin in der Fachzeitschrift Science als Wundermolekül gehypt: Die in zahlreiche biologische Prozesse involvierte Aminosäure verlangsame den Alterungsprozess. Eine neue Science-Studie kommt nun zum gegenteiligen Schluss – Taurin eigne sich nicht als Biomarker fürs Altern. Ein Lehrstück über ein Forschungsfeld, das auch von kommerziellen Interessen getrieben ist. (19:06) Unverrückbare Schutthalde: Beim Bergsturz von Blatten donnerte keine Fels- und Schuttlawine ins Tal, sondern ein Gletscher mit Geröll obendrauf. Dies machte diesen Bergsturz so zerstörerisch und ist mit ein Grund, warum sich der mächtige Schuttkegel über dem Dorf nicht so einfach wegräumen lässt. Welche Rolle spielen Gletscher bei Bergstürzen und wie spielt dabei der Klimawandel mit? Links: Sachbuch: Thomas de Padova, Quantenlicht. Das Jahrzehnt der Physik 1919-1929 hanser-literaturverlage.de/personen/thomas-de-padova-p-1343 Enthornte Nashörner : science.org/doi/10.1126/science.ado7490 Taurin-Studie: science.org/doi/10.1126/science.adl2116

Valerio Di Donato"La via di Emilio"Ronzani Editorewww.ronzanieditore.itUn viaggio nella memoria di Emilio Sergi, personaggio liberamente ispirato a Giacomo Scotti, uno degli intellettuali più rappresentativi della minoranza italiana residente in Croazia.Un viaggio nella memoria di Emilio Sergi, personaggio liberamente ispirato a Giacomo Scotti, uno degli intellettuali più rappresentativi della minoranza italiana residente in Croazia. Emilio ha ormai superato i 95 anni e vive in un palazzone di Fiume con la moglie Dorina, rintanato nel suo piccolo appartamento. Vi si trasferì diciannovenne, attratto dagli ideali del socialismo titino. Stimolato nelle riflessioni da una impertinente voce interiore, Emilio ricostruisce i passaggi più importanti della sua vita coincidenti, per lo più, con eventi salienti della grande Storia: l'esodo degli italiani dalla Venezia Giulia, il cosiddetto ‘controesodo' dei monfalconesi, l'orrore dell'Isola Calva, le guerre in Croazia e in Bosnia dopo la dissoluzione del 1991, l'assiduo impegno come inviato di guerra e animatore di iniziative umanitarie e pacifiste. Impegnato attivamente come giornalista presso «La Voce del popolo», quotidiano in lingua italiana dell'Istria e Quarnero, nel 1960 finisce in carcere come ‘nemico del popolo' per un articolo contrario all'ortodossia ufficiale e il giornale lo licenzia perché considerato poco malleabile alle direttive politiche. Nelle difficoltà di sfamare la famiglia, Emilio trova la sua via di salvezza nella poesia e nelle collaborazioni con i giornali italiani. Valerio di Donato (Teramo, 1955) cresciuto e ha studiato a Treviso, e si è laureato in Scienze Politiche a Padova. Alla fine degli anni '80 si è trasferito a Brescia, dove tutt'ora risiede e ove è stato per ventidue anni giornalista presso il «Giornale di Brescia» nella sezione interni/esteri. Attivamente impegnato nel mondo della divulgazione culturale, scrive per il blog «Il Diario online». Nel 2006 ha pubblicato ISTRIANIERI. Storie di esilio (Liberedizioni, Gavardo, bs), e nel 2021 Le fiamme dei Balcani (Oltre Edizioni). Nei primi anni Novanta si appassiona alla ‘questione istriana', alle vicende degli esuli giuliano-dalmati e alle guerre in ex Jugoslavia. Ha realizzato articoli e reportage sul territorio in Istria, Croazia, Serbia e Bosnia, anche come inviato del «Giornale di Brescia» a Belgrado durante e dopo le guerre degli anni Novanta. Da questa esperienza trae l'ispirazione per i suoi romanzi.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Giuliano Pisani"L'ignoranza e la scelta"Etica per un'umanità disorientataRonzani Editorewww.ronzanieditore.itGli uomini hanno smarrito la conoscenza e sono in balia di una propaganda vile e abietta, di messaggi fuorvianti, folli, criminali. L'ingiustizia prepara terreni fertili alle sementi dell'odio. Il nemico mortale è l'ignoranza, l'amathia. È qui che attecchisce il fanatismo. La conoscenza dei fatti e la capacità di interrogarli possono cambiare il mondo. Abbiamo il dovere di provarci.L'etica si nutre di libertà. In una società disorientata come l'attuale, che impone ogni giorno scelte complesse, nessuno di noi può permettersi il lusso di non saper distinguere il bene dal male, di non saper tracciare un confine netto tra informazione, propaganda e manipolazione. Qual è il rischio dell'inconsapevolezza? L'ignoranza etica – l'amathia del pensiero greco – è agli antipodi dell'insegnamento socratico, che muove dal dubbio metodico (“so di non sapere”) e ha come fine il rispetto del primo motto delfico: “conosci te stesso”, che interroga il nostro ruolo sociale e ci mette in condizione di prendere decisioni. L'amathès, convinto di sapere ciò che non sa, è facile preda di ideologie e alienazioni e mina alla base, con la sua acriticità, l'obiettivo sociale per definizione: la pacifica convivenza. Come evitare, ciascuno di noi, di cadere vittima della stessa sirena? È lungo il lavoro da fare per riuscire a costruire un nuovo modo di pensare che ci configuri comunità consapevole; ma sarà bene provarci, tenendo a mente che essere coerenti non significa vedere sempre le cose nello stesso modo, ma agire in conformità a ciò che è giusto e doveroso in quel preciso momento, di fronte a quella specifica scelta.Giuliano PisaniFilologo classico e storico dell'arte, è autore di studi, edizioni e traduzioni dal greco e dal latino (Platone, Plutarco, Marsilio Ficino). Ha fornito un'interpretazione innovativa della Cappella degli Scrovegni (I volti segreti di Giotto, Milano, Rizzoli, 2008; La rivoluzione di Giotto, Milano, Skira, 2020) individuandone la chiave di lettura negli scritti di Sant'Agostino. Studi innovativi ha dedicato anche a Orazio, Raffaello e Canova. Ha tenuto seminari e conferenze in molte università e centri culturali europei (spesso in collaborazione con le ambasciate italiane). Ha pubblicato il romanzo Raphael (Milano, GMlibri, 2019) e promosso con Antonia Arslan il progetto “Padova. Casa dei Giusti”, nel cui ambito si inserisce il “Giardino dei Giusti del Mondo di Padova”. Socio effettivo dell'Accademia Galileiana di Scienze, Lettere ed Arti e di altre prestigiose istituzioni, è dal 2017 Cavaliere dell'Ordine al Merito della Repubblica Italiana. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

A due giorni dalle presidenziali in Polonia, previste per domenica 1 giugno, i media si preparano al silenzio elettorale. Gli ultimi sondaggi mostrano un testa a testa tra Rafal Trzaskowski e Karol Nawrocki. Ne parliamo con Fabio Turco, giornalista Centrum Report.Una corte federale d'appello degli Stati Uniti ha temporaneamente sospeso la sentenza della Corte del commercio internazionale che mercoledì aveva bloccato alcuni dazi imposti dal presidente Donald Trump. Ne parliamo con Stefano Luconi, professore di Storia del Nord America all'Università di Padova. Ha scritto “La corsa alla Casa Bianca 2024” (GoWare) e “L'immigrazione negli Stati Uniti” (Il Mulino).Elon Musk si dimette da DOGE mentre la Cina lancia con successo una missione spaziale verso un asteroide. Ne parliamo con Emilio Cozzi, giornalista esperto di spazio, autore del podcast originale di Radio 24 “La geopolitica dello spazio” insieme a Giampaolo Musumeci.

Uno studio chiamato “Analisi di possibili traiettorie per la transizione energetica in Sardegna”, realizzato dal Politecnico di Milano in collaborazione con le università di Padova e di Cagliari, ha fatto emergere che l'Isola può e deve puntare a diventare la prima regione italiana con un sistema elettrico totalmente basato sulle fonti rinnovabili, dal momento che lo scenario 100% FER è anche quello che prevede il costo dell'energia più basso in assoluto. La Sardegna gode certamente di condizioni speciali: è estremamente ricca di sole e di vento. Ma ha subìto una forte deindustrializzazione e a breve disporrà di nuove interconnessioni elettriche col continente che le consentiranno una grande flessibilità sia in importazione che in esportazione. Di tutto questo, parliamo con Fabrizio Pilo, professore di Sistemi Elettrici per l'Energia, coautore dell'articolo e prorettore al Territorio e all'Innovazione dell'Università di Cagliari.

Mauro Sambi"Cura"Ronzani Poesiawww.ronzanieditore.itLa poesia è una cura che va al di là del soggetto stesso e si offre con generosità e naturalezza al tu, ossia a tutti noi. Naturalezza è una parola chiave per la poesia di Sambi: anche il colpo più duro può trovare una intonazione, una vibrazione musicale che si modella con leggerezza, senza sforzo alcuno, dentro lo spartito del sonetto, la forma più amata.«Mettere in versi la vita» era il programma poetico di Giovanni Giudici, uno degli autori senz'altro più amati e frequentati da Mauro Sambi. Il quale può «trascrivere fedelmente, senza tacere / particolare alcuno l'evidenza» della propria condizione umana, e può come in questo nuovo libro, intenso e necessario, mettere in versi l'inciampo inatteso e spiazzante della malattia.Una malattia che chiama immediatamente in causa il bisogno e la responsabilità della cura, termine che ha molte sfaccettature ma che per Sambi è soprattutto legato all'esistenza stessa della poesia, alla possibilità che la poesia ha – con le parole dell'autore – di «tentare una forma di salvezza non effimera e non fallace di tutto ciò che abbiamo perduto, di tutto ciò che ha patito l'ingiustizia della fine e della morte, [e] farlo risuonare in una piccola durata che persiste quanto il presente della nostra eternità». La poesia è una cura, in questo senso, che va al di là del soggetto stesso e si offre con generosità e naturalezza al tu, ossia a tutti noi. Naturalezza è una parola chiave per la poesia di Sambi: anche il colpo più duro può trovare una intonazione, una vibrazione musicale che si modella con leggerezza, senza sforzo alcuno, dentro lo spartito del sonetto, la forma più amata. Da qui nasce una voce poetica che sa essere intimamente personale e insieme farsi attraversare e irrorare dalle voci del «grande stile» novecentesco.Mauro Sambi (Pola, 1968) insegna Chimica generale e delle superfici all'Università di Padova. Ha pubblicato Di molte quinte vuote (Campanotto, 1998), L'alloro di Pound (Edit, 2009), Diario d'inverno (Lietocolle, 2015) e, con Ronzani Editore, Una scoperta del pensiero e altre fedeltà (2018), Quel tanto nella voce (2021), 14 sonetti di Shakespeare (con Isabella Panfido, 2022). Per Ronzani ha curato l'opera narrativa della scrittrice polese Nelida Milani (Di sole, di vento e di mare, 2019; Cronaca delle Baracche, 3 voll., 2021); Martin Muma del poeta rovignese Ligio Zanini (2022); A Fiume, un'estate (2022) e Dizionario fiumano passato minimo (2023) dello scrittore fiumano Ezio Mestrovich.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Gino Cecchettin, in occasione di un evento musicale benefico ad Arsego, in provincia di Padova, scrive un appello a rapper e trapper e stila due vademecum, uno per cantanti, uno per case discografiche, chiedendo attenzione all'uso delle parole, ma anche per l'equità di genere in tutto il sistema produttivo della musica. Per molte persone, è un esempio di censura: rap e trap, in quanto forme d'arte, devono rimanere libere di esprimersi come vogliono. Ma forse, dipende da come prendiamo le parole di Cecchettin? L'espressione della settimana è resting bitch face. - La notizia su Skytg24- La mia intervista per Skytg24- Testo della lettera e dei vademecum della Fondazione Cecchettin- A Prospective Study of Exposure to Rap Music Videos and African American Female Adolescents' Health- The Good, the Bad, and the Narrative: How Youth Experience the ‘Gangsta' in Rap Music- Il DOP, Dizionario di Ortografia e Pronunzia Il link per abbonarti al Post e ascoltare la puntata per intero. Learn more about your ad choices. Visit megaphone.fm/adchoices

Piero Martin"Questo è quanto"La fisica quantistica in cinque ideeEditori Laterzawww.laterza.itSi può restare senza fiato di fronte alla maestosità delle Dolomiti anche senza doverle per forza scalare. Ci si può emozionare di fronte a un brano musicale senza essere Mozart. Allo stesso modo, è possibile avvicinarsi al mondo dei quanti anche senza essere dei fisici. Questo libro spiega come.La fisica quantistica è probabilmente la più profonda rivoluzione della scienza e del pensiero moderni. Frutto di uno sforzo corale permeato di umanità, ci ha costretto ad abbandonare solide certezze tanto da farsi rinnegare da alcuni tra coloro che l'avevano pensata.La quantistica ci ha permesso di superare i limiti della fisica classica nello spiegare l'infinitamente piccolo e ha schiuso una finestra su un panorama di conoscenze che dà brividi ed emozioni, conducendoci al cuore del mondo.Questo libro non ha la pretesa di trasformare lettrici e lettori in donne e uomini di scienza (fosse così facile!) ma permetterà di stupirsi e godere della meraviglia di una tra le più affascinanti conquiste dell'intelletto umano, attraverso cinque idee fondamentali che sono alla base della rivoluzione dei quanti: discontinuità, identità, futuro, indeterminazione, relazione. Cinque idee intrise di umanità, perché poche branche della fisica sono riuscite a coinvolgere tanti aspetti del nostro vivere in una delle costruzioni più geniali dell'intelletto.In cinque atti unici, alla portata di tutti e di tutte, scopriremo i capisaldi dell'architettura quantistica, che danno forma a tante applicazioni che hanno cambiato e cambieranno il mondo e miglioreranno l'ambiente, dal laser alla medicina, dai computer quantistici alle celle solari.Piero Martin è professore ordinario di Fisica sperimentale all'Università di Padova, attualmente distaccato presso il Centro Interdisciplinare “B. Segre” dell'Accademia Nazionale dei Lincei e visiting professor presso la Columbia University di New York. Studia la fusione quale sorgente di energia. Fellow dell'American Physical Society, è stato responsabile scientifico di grandi progetti internazionali e oggi coordina le attività di fisica di DTT, il nuovo grande esperimento di fusione italiano. Scrive per “Domani” e “La Stampa” e ha vinto il Premio Fiuggi Scienza. Ha pubblicato L'era dell'atomo (con A. Viola, Il Mulino 2014), Zerologia (con C. Bartocci e A. Tagliapietra, Il Mulino 2016) e Trash. Tutto quello che dovreste sapere sui rifiuti (con A. Viola, Codice edizioni 2018, finalista al Premio Galileo 2018 e vincitore del Premio nazionale di divulgazione scientifica, sezione Scienze). Per Laterza è autore di Le 7 misure del mondo (2021, tradotto in molte lingue e finalista al Premio Galileo 2022) eStorie di errori memorabili (2024, vincitore del Premio Trieste Next. Science Book of the Year e del Premio nazionale di divulgazione scientifica, sezione Scienze).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Andrea AlbertinUn Gesù deludente?I "no" che rendono figli nel Quarto VangeloEdizioni Messaggero Padovawww.edizionimessaggero.itÈ mai possibile che Gesù possa deludere? L'autore del vangelo secondo Giovanni narra quattro episodi in cui Gesù delude sonoramente delle persone che lo interpellano per varie esigenze: come mai? Che funzione narrativa e retorica svolge la descrizione di un Gesù deludente? Che cosa intende deludere Gesù? A che scopo? Il presente volume cerca di rispondere a questi interrogativi, che hanno risvolti sia di sapore esegetico sia spirituale. Riconosciuto e precisato nei suoi elementi essenziali il “paradigma della delusione” presente nei brani esaminati, l'autore spiega cosa esso ci dice riguardo a Gesù e alla nostra salvezza. Si evidenzia così cosa significa essere figli di Dio per coloro che credono nel Figlio Unigenito. Anche nella fede le delusioni contribuiscono a crescere?Andrea Albertin, presbitero della Diocesi di Padova, ha conseguito il dottorato in Scienze Bibliche presso il Pontificio Istituto Biblico di Roma. È docente di Sacra Scrittura presso la Facoltà Teologica del Triveneto, l'Istituto Superiore di Scienza Religiose (di cui è Direttore), e l'Istituto di Liturgia Pastorale di S. Giustina. Accompagnatore di pellegrinaggi nelle terre bibliche, è collaboratore stabile nelle parrocchie dell'Unità pastorale alla Guizza di Padova. Ha al suo attivo vari articoli e contributi, e i volumi: A che ora è la fine del mondo? I testi apocalittici nella Bibbia (2017); Leggere con sapienza la Bibbia. Un percorso di consapevolezza (2023); Ricominciare a credere. Itinerario biblico-liturgico per giovani e adulti (2023).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Tra poche ore i cardinali entreranno in conclave per eleggere il nuovo papa. Dei 133 aventi diritto, solo 53 sono europei. 23 provengono dall'Asia, 18 dall'Africa, 16 dall'America del Nord.Il “peso” di questi continenti diventa sempre più marcato, e il pontefice precedente, Francesco, aveva intuito la forza delle realtà emergenti, il ruolo che possono giocare nel presente e nel futuro della Chiesa cattolica. Perché guardare verso il Sud del mondo può davvero aiutare il Nord a ritrovare la “fede perduta” in Europa. Gli edifici religiosi si svuotano, i seminari sono quasi deserti, si assiste ad un curioso mix di neo paganesimo, disinteresse, rassegnazione, quando si parla di Chiesa. Il nuovo pontefice avrà anche il compito di comprendere lo sviluppo delle nuove forme di comunicazione religiosa e imparare dai continenti storicamente lontani da Roma come portare avanti fede, tradizione, identità e storia della Chiesa.Con Gerolamo Fazzini, saggista, consulente di direzione del settimanale “Credere” e coautore con il fratello Antonio della biografia del cardinale filippino Luis Antonio Tagle, Padre Giuseppe Cavallini, direttore di “Nigrizia” e il Prof. Vincenzo Pace, docente di sociologia delle religioni all'Università di Padova.

Silvia Segalla"In montagna"Paesaggi letterari e passaggi d'epocaRosenberg & Sellierwww.rosenbergsellier.itNel costruire i propri universi narrativi, i romanzi possono ritrarre o capovolgere il mondo sociale e il contesto ambientale da cui scaturiscono, ma non possono mai prescinderne. Per questo, i paesaggi offerti dalla narrativa si offrono come formidabile strumento di osservazione della realtà sociale: auto-etnografie da leggere in relazione alle trasformazioni materiali e culturali dei contesti di produzione. Nell'indagare le rappresentazioni della montagna in tre romanzi della recente letteratura italiana, assai diversi per autore, stile e contenuti – Bàrnabo delle montagne (Dino Buzzati), I Brusaz (Giovanna Zangrandi), Le otto montagne (Paolo Cognetti) –, il volume analizza, facendo propri gli strumenti della sociologia e della critica letteraria, il riflettersi della società nei paesaggi letterari che produce. Tra rocce e crinali, orti alpini e rododendri, emergono strutture sociali e familiari, dinamiche di genere, generazione e classe, così come il deflagrare della crisi nel rapporto tra gli esseri umani e quella “natura” di cui la montagna è fatta epitome.Prefazione di Mimmo CangianoSilvia Segalla ha conseguito il Dottorato in Scienze Sociali presso l'Università degli Studi di Padova e svolge attività di ricerca che vedono dialogare metodi e strumenti delle scienze sociali e della critica letteraria. I suoi ambiti di interesse riguardano la sociologia dell'alimentazione, il genere, il lavoro, nonché la montagna come orizzonte culturale e sociale.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

A TUTTA C con Luca Calamai. Ospite: Matteo Andreoletti, allenatore Padova

Censorship in the Sciences: Interdisciplinary Perspectives Conference: https://dornsife.usc.edu/cesr/censorship-in-the-sciences-interdisciplinary-perspectives/    How Woke Warriors Destroyed Anthropology - Elizabeth Weiss https://www.youtube.com/watch?v=RpWN_CsuiRc&t=392s    Clark, C. J., Jussim, L., Frey, K., Stevens, S. T., Al-Gharbi, M., Aquino, K., ... & von Hippel, W. (2023). Prosocial motives underlie scientific censorship by scientists: A perspective and research agenda. Proceedings of the National Academy of Sciences, 120(48), e2301642120.    The vertebra of Galileo in Palace Bo in Padova: https://heritage.unipd.it/en/vertebra-galileo/    The association between early career informal mentorship in academic collaborations and junior author performance https://www.nature.com/articles/s41467-020-19723-8    Stefano Comino, Alberto Galasso, Clara Graziano, Censorship, industry structure, and creativity: evidence from the Catholic Inquisition in Renaissance Venice, The Journal of Law, Economics, and Organization, 2024, ewae015, https://doi.org/10.1093/jleo/ewae015    Bernouilli's fallacy https://aubreyclayton.com/bernoulli  Jerzy Neyman: A Positive Role Model in the History of Frequentist Statistics https://daniellakens.blogspot.com/2021/09/jerzy-neyman-positive-role-model-in.html

Acquista il piano biennale di NordVPN per iniziare a proteggerti online, otterrai 4 Mesi Extra e come al solito 30 giorni di soddisfatti o rimborsati Vai su https://nordvpn.com/dentrolastoria Il nostro canale Youtube: https://www.youtube.com/channel/UC1vziHBEp0gc9gAhR740fCw Il Nostro SITO: https://www.dentrolastoria.net/ Sostieni DENTRO LA STORIA su Patreon: https://www.patreon.com/dentrolastoria Abbonati al canale: https://www.youtube.com/channel/UC1vziHBEp0gc9gAhR740fCw/join Il nostro store in Amazon: https://www.amazon.it/shop/dentrolastoria Sostienici su PayPal: https://paypal.me/infinitybeat "Arrendersi o perire!" Con queste parole, il CLN-AI comunica l'avvio della fase finale dell'offensiva contro gli occupanti nazisti e i loro fiancheggiatori fascisti. Il 25 aprile 1945 scatta l'ultima fase della guerra di Liberazione: dopo mesi di colloqui clandestini tra Allen Dulles, Karl Wolff e gli stessi comandanti partigiani, si rompono gli indugi. Lo sciopero generale è il segnale per l'inizio dell'ultimo assalto che riguarda le grandi città. Bologna e Genova sono già libere, tocca a Torino, Milano, Padova, Verona e Venezia che una dopo l'altra imbracciano le armi e cacciano gli occupanti. Da quel giorno nasce una nuova idea di Italia che recupera i valori risorgimentali e liberali e chiude la buia parentesi del Ventennio e del conflitto. Learn more about your ad choices. Visit megaphone.fm/adchoices

I computer quantistici rappresentano una delle tecnologie più affascinanti e discusse degli ultimi anni. Promettono di rivoluzionare il calcolo e di risolvere problemi che i computer tradizionali impiegherebbero millenni a elaborare. Ma a che punto siamo davvero?Ne parliamo con Simone Montangero, professore di fisica teorica all'Università di Padova e Direttore del Centro di Calcolo e Simulazioni Quantistiche. Insieme esploriamo le basi di questa tecnologia, spiegando cosa rende un computer quantistico diverso da uno classico e come il concetto di qbit cambi radicalmente le regole del gioco.L'attenzione è puntata anche sulle applicazioni concrete e sulle sfide ancora da superare.Ma non è tutto oro ciò che luccica. Il termine “quantistico” è stato spesso abusato per dare credibilità a teorie pseudoscientifiche e prodotti dalle dubbie basi scientifiche. Dai presunti medici quantistici ai fantomatici manager che “modellano il futuro” con tecniche ispirate alla meccanica quantistica, la disinformazione ha trovato terreno fertile.Un viaggio affascinante tra tecnologia, ricerca e scetticismo per capire meglio il presente e il futuro dell'informatica quantistica. Ospite: Simone MontangeroRedazione: Elisa Baioni, Clarissa Esposti, Manuela Gialanella, Diego Martin, Matteo Melchiori, Giuseppe Molle, Alex Ordiner, Dasara Shullani, Matilde Spagnolo, Cristiano Ursella, Chiara Vitaloni, Enrico ZabeoAltri riferimenti:Il computer impossibile Musiche: Epidemic SoundSeguiteci sui profili social del CICAP:Facebook: https://www.facebook.com/@cicap.orgInstagram: https://www.instagram.com/cicap_it/Newsletter: https://eepurl.com/ihPeWL

La riflessione di Andrea Candiani al ritorno dalla sua visita alla Cappella degli Scrovegni di Padova.

Dazi: mentre Stati Uniti e Cina duellano, l’Unione Europea invita alla calma e intanto prepara una strategia a doppio binario negoziazioni-contromisure. Ci colleghiamo con Beda Romano, corrispondente de Il Sole 24 Ore da Bruxelles. Oggi trasmettiamo in diretta da Verona in occasione della 57esima edizione del Vinitaly. Tra le tendenze del mercato c’è sicuramente quella legata ai vini dealcolati. Ne parliamo con Eugenio Pomarici, professore di Agraria all’Università di Padova. L’Antitrust multa le biglietterie del Colosseo per 20 milioni: biglietti introvabili perché acquistati dai bot. Sentiamo Massimiliano Dona, presidente dell’Unione Nazionale Consumatori.