Podcasts about padova

Daniele Savino"Sui sogni"Thomas BrowneNino Aragno Editorewww.ninoaragnoeditore.itScritto da uno dei geni più sfuggenti e poliedrici del XVII secolo, il saggio Sui sogni è un trattato in miniatura sull'interpretazione dei sogni caratterizzato da anticipazioni junghiane, visioni melanconiche e radici che affondano nell'antica oniromanzia e nella medicina moderna.Thomas Browne  (1605-1682), scrittore eclettico, filosofo e medico formatosi tra Oxford, Montpellier, Padova e Leida, visse prevalentemente a Norwich, dove fu nominato cavaliere da Carlo II Stuart. Il successo di Religio Medici lo spinse a dedicarsi a un'attività letteraria in cui confluiscono un genio sibillino ed elusivo e una sapienza onnivora nella quale tutto, dalla botanica alla metafisica, dalla cabala all'archeologia, contribuisce a dar forma a un mosaico nelle cui tessere si possono scorgere, quasi in filigrana, simboli ermetici e misteriosi geroglifici ancora indecifrati. Daniele Savino  ha studiato filosofia presso l'Università Cattolica del Sacro Cuore di Milano, conseguendo in seguito l'abilitazione all'insegnamento nei licei e un master in studi biblici e approfondendo gli studi di archeologia biblica a Gerusalemme. Ha curato opere di S. Johnson, J.G. Hamann, Lord Bolingbroke, A. Cowley, T. Browne, O. Goldsmith, G. Spencer Cavendish, A. Verri, J. Evelyn e H. Fielding.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Pobedom u Nemačkoj MM93 postao drugi vozač u istoriji sa Agostinijem koji ima 10 pobeda u kraljevskoj klasi na istoj stazi. Marco Bezzecchi padom ispao sa prve pozicije u šampionatu, nažalost i povređen. Da li je Ai Ogura zaista rival za titulu? Prva trka bez poena za Diggiu...IGRAJ I OSVOJI PUT NA TRKU F1 Red Bull TryOuts: https://www.redbull.com/rs-sr/projects/red-bull-tryouts

Manuela Faccon"La fabbrica delle donne"Feltrinelli Editorewww.feltrinellieditore.itSola da tempo dopo la scomparsa dei genitori, la giovane Elsa lavora come operaia al lanificio Frizzi, l'unica grande fabbrica di Valsarto, un paese del Nord Italia. Siamo nei primi anni venti, i turni sono lunghi e massacranti, e basta un solo attimo di distrazione per rischiare la vita: tutte ingiustizie che Elsa non è più disposta a tollerare. Sognatrice ma con i piedi ben piantati a terra, Elsa sa che per migliorare le condizioni in cui sono costrette a lavorare lei e le sue compagne bisogna lottare, marciare per le strade; soprattutto, far sentire la propria voce e decidere per sé stesse, ottenendo finalmente il diritto di voto, così come hanno fatto le suffragette nel Regno Unito. La determinazione di Elsa piano piano infiamma anche le altre operaie, che per la prima volta organizzano un corteo, e la avvicina a Italo, giovane antifascista di cui Elsa si innamora. La sua passione politica ha radici profondissime, e misteriose: che legame c'è tra i suoi ideali e il materiale contenuto nella valigetta che le ha fatto recapitare il nonno Michelangelo, unico parente rimasto? Cos'hanno a che fare con Elsa le copie della prima rivista fondata dal movimento femminista a Milano, che razza di eredità è mai quella?Mentre Elsa fa luce sul proprio passato e scopre chi è veramente, gli eventi minacciano di travolgerla: l'ombra del fascismo avanza, e la protesta contro i padroni del lanificio si traduce in un costo altissimo: Elsa è costretta a scegliere se spegnere la propria voce o continuare a lottare.Con La fabbrica delle donne Manuela Faccon conferma il suo talento nel costruire il ritratto di una giovane donna impetuosa, che combatte per la propria dignità e per quella di tutte le donne in un'Italia povera di diritti – e lo fa parlando dritto al cuore del nostro complesso presente.C'è quel pensiero fisso che non le dà tregua: vuole andare a votare, e così devono fare tutte le donne del paese, d'Italia, del mondo.Manuela Faccon è nata a Padova nel 1968 e vive a Este. Laureata in Lingue e letterature straniere moderne e dottore di ricerca in Filologia e letteratura, è studiosa di codici manoscritti e appassionata di Storia. Ha pubblicato vari articoli sulle traduzioni di racconti esemplari e di testi medievali in area iberica. Insegna Lingua e cultura spagnola. Nel 2023 per Feltrinelli ha pubblicato il suo romanzo d'esordio, Vicolo Sant'Andrea 9, ispirato a vicende familiari e frutto di un lungo lavoro di ricerca.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Padova, febbraio 2006 – Una donna di 31 anni di nome Elena Fioroni, con due figli piccoli e con una vita che dall'esterno appare serena, viene trovata morta nella vasca da bagno di casa sua. Tutto sembrerebbe indicare nella direzione di un suicidio, ma fin dalle prime ore qualcosa non convince gli investigatori. Alcuni dettagli della scena del crimine sembrano costruiti con troppa precisione, come se qualcuno avesse cercato di indirizzare le indagini verso una verità diversa da quella reale. Le indagini si concentrano allora sul marito, Gian Luca Cappuzzo, giovane medico specializzando. Dietro la facciata della famiglia perfetta emergono una separazione imminente, una gelosia sempre più ossessiva, minacce, manipolazioni e una lunga escalation di controllo. Le numerose perizie tossicologiche porteranno alla luce una ricostruzione inquietante: una donna sedata, una morte provocata attraverso sostanze difficili da individuare e un elaborato tentativo di simulare un gesto volontario. Ma cosa accadde davvero nella notte tra l'8 e il 9 febbraio 2006? E quanto era vicino Gian Luca Cappuzzo a realizzare quello che molti hanno definito un delitto quasi perfetto? Proviamo a scoprirlo insieme a Monica Mattiolo: giornalista ed autrice del podcast “Iniezioni Letali”. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

Proseguono senza sosta i soccorsi in Venezuela, e oggi la terra ha tremato di nuovo. Ci aggiorna Mauricio Monte, direttore contenuti Buenos Aires Tv e collaboratore di Radio 24 dall’America LatinaNegli Stati Uniti invece sono arrivate tre rilevanti decisioni della Corte Suprema. Le commentiamo con Stefano Luconi, professore di Storia del Nord America all’Università di Padova.Prosegue l’ondata di calore in Europa, ma per quanto? Lo chiediamo ad Antonio Sanò, direttore de IlMeteo.it

Domenica di interventi per il Soccorso alpino dei Sette Comuni, quella di ieri. La mattina in zona di Malga Mandrielle una cercatrice di funghi di Padova ha sbattuto la schiena sui sassi cercando di oltrepassare un albero a terra in un punto scosceso del bosco. Poco dopo l'una padre e figlio in moutain bike sono finiti nel greto del torrente in val Franzela a Gallio.

Rossana De Beni"Vivere a lungo, vivere bene"Psicologia, scienza e arte della longevitàEdizioni Città NuovaChe cosa accade quando invecchiamo? Cosa cambia nella nostra memoria, nelle emozioni, nei legami, nel modo di abitare il tempo? E soprattutto: è possibile attraversare questa fase della vita non solo con dignità, ma con pienezza?In questo libro, una delle più autorevoli studiose italiane di psicologia dell'invecchiamento intreccia ricerca scientifica ed esperienza personale per accompagnare il lettore dentro i grandi temi dell'età avanzata: memoria, resilienza, comunità, cura, fino al fine vita. Ne emerge un percorso di trasformazioni spesso invisibili che coinvolge la selettività delle relazioni, la regolazione più fine delle emozioni, la capacità di attribuire significato alla propria storia.L'invecchiamento non è qui raccontato come una stagione di sola perdita, ma come un tempo di riorganizzazione e possibile crescita, in cui emerge ciò che conta.Rossana De Beni, già professoressa ordinaria di Psicologia all'Università di Padova e presidente della SIPI (Società Italiana di Psicologia dell'Invecchiamento), studiosa di memoria e longevità, è autrice di numerose pubblicazioni scientifiche e saggi. In queste pagine unisce il rigore della ricerca alla profondità di uno sguardo maturato nel tempo.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Welcome, to the Season 24 Finale.For the Season Finale, an anonymous academic returns from Italy with what appears to be a fake religious relic — a small brass reliquary capsule bought for a few euros at an antiques market in Padova. But when strange disturbances follow her home, she begins to suspect the object was never meant to be admired, opened, or acknowledged. With an intriguing blend of historical mystery and Catholic lore, we ask, what happens when something once sealed away, finally begins to stir again?Stay safe,Kevin.We're giving a full weeks trial of our Patreon away! Just head over on the link below and away you go!www.patreon.com/thedarkparanormalIf it's not for you? Simply cancel before your trial expires, meanwhile enjoy FULL access to our highest tier, and thank you for being the best listeners by miles.By making the choice of joining our Patreon team now, not only gives you early Ad-Free access to all our episodes, including video releases of our new Patreon only show "After Dark", you also get full access to the Patreon only podcast, "Dark Bites".Both shows release each and every week, even on the down time between seasons. There are already well over 200+ hours of unheard true paranormal experiences for you to binge at your leisure. Simply head over to:www.patreon.com/thedarkparanormalTo send us YOUR experience, please either click on the below link:The Dark Paranormal - We Need Your True Ghost StoryOr head to our website: www.thedarkparanormal.comYou can also follow us on the below Social Media links:www.twitter.com/darkparanormalxwww.facebook.com/thedarkparanormalwww.youtube.com/thedarkparanormalwww.instagram.com/thedarkparanormalOur Sponsors:* Check out Acorns and use my code acorns.com/darkparanormal for a great deal: https://www.acorns.com* Check out BetterHelp and use my code betterhelp.com for a great deal: https://www.betterhelp.com* Check out BetterHelp and use my code betterhelp.com for a great deal: https://www.betterhelp.com* Check out Progressive: https://www.progressive.com* Check out Quince and use my code quince.com/darkparanormal for a great deal: https://www.quince.com* Check out Shopify and use my code shopify.com/darkparanormal for a great deal: https://www.shopify.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Eva Convertino, Alberto Mingardi"Yūgen"Mistero sul Canal GrandeBompiani Editorewww.bompiani.itA Venezia, in una giornata di acqua alta, il commissario Alteri viene convocato in una palazzina a due passi dallo splendore di Rialto. Un giovane mercante d'arte, figlio di una ricca famiglia di industriali giapponesi, chiede il suo aiuto: sua sorella è scomparsa. Alteri indaga, e intanto nella rete di un pescatore riemerge da un canale il braccio di un uomo... In una città spettrale come un luna park abbandonato, dove tutto è in mano ai turisti e non si trova più un veneziano vero, in un mondo fluttuante e sensuale – come una stampa ukiyo-e –, il commissario dovrà affrontare piste che si confondono, acque che si intorbidano, indizi che dicono il contrario di quel che intendono. Perché la verità è oscura come i fondali della Laguna: la marea, proprio quando cala, trascina via con sé tutto ciò che vorremmo vedere...Eva Convertino è nata a Padova nel 1992. Laureata in Arti sceniche, ha lavorato come modella, organizzatrice di eventi e poi nella comunicazione. Scrive da sempre, questo è il suo primo romanzo.Alberto Mingardi insegna Storia delle dottrine politiche all'Università Iulm di Milano e dirige l'Istituto Bruno Leoni. Il suo ultimo libro è "Meglio poter scegliere. I referendum del 1995 e la battaglia per la televisione commerciale" del 2025. Questo è il suo primo romanzo.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Commercial seafaring, both dangerous and with large amounts of capital at stake, was the source of the risk-management institutions that still undergird the global economy today. A key institution of early modern risk management was General Average, a procedure used to redistribute extraordinary costs arising from a maritime venture between all financially interested parties. For example, should one merchant's cargo be jettisoned to lighten a ship in a storm, the loss would be shared pro rata by the shipper and all the cargo-owners. A risk-sharing practice, different from the risk-shifting of marine insurance which became established relatively late, General Average is still in widespread use. In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany (Boydell Press, 2025), Jake Dyble explores how General Average worked. It reveals the gap between General Average in law and how it worked on the ground. It shows how General Average partitioned a wide array of business costs, thereby performing a significant role in structuring maritime commerce, managing risk and promoting shipping and trade. In addition, the book discusses how far General Average was a feature of a supposedly ancient, universal, customary maritime law, and contributes to debates about the evolution of institutions in economic development. Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy. This interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gian Piero Brunetta"Memoria Festival"Mirandolawww.memoriafestival.it05 Giugno 2026ore 21:30La famiglia Panini, quelli delle figurine: tra storia e ricordoCon Gian Piero Brunetta, Francesca Cima, Letizia Lamartire, Laura Panini e Antonio PaniniDa una piccola edicola di Modena alle tasche di tutti i bambini italiani, quello delle figurine Panini è stato un viaggio incredibile, partito dall'intraprendenza di una donna, Olga Cuoghi Panini, e dalla sua fiducia nel futuro. Un viaggio che è diventato adesso anche una serie televisiva di cui lo storico del cinema Gian Piero Brunetta, la produttrice Francesca Cima, la regista Letizia Lamartire e i membri della famiglia Panini Laura e Antonio ripercorrono la storia.06 Giugno 2026ore 11:00Racconti di storie e di ricordiCon Marco Paolini in dialogo con Gian Piero BrunettaIl teatro di Marco Paolini è da sempre un cantiere della memoria, un luogo dove i ricordi individuali si intrecciano con i grandi eventi della Storia. In questo incontro, l'autore e attore veneto, in dialogo con lo storico del cinema Gian Piero Brunetta, ci guida nel suo laboratorio creativo, esplorando il ruolo della parola nel tenere in vita il passato e ricordandoci che raccontare storie è l'unico modo che abbiamo per non smarrire il senso del presente.06 Giugno 2026ore 15:30Dalla Storia alle storieCon Paolo Puppa in dialogo con Gian Piero BrunettaIl drammaturgo Paolo Puppa, tra i più autorevoli storici del teatro in Italia, dialoga con lo storico del cinema Gian Piero Brunetta sul potere del palcoscenico e della finzione di scavare nelle pieghe della memoria, tra dimensione collettiva e individuale. L'incontro è arricchito dall'interpretazione di Puppa dei monologhi di Filottete e del Figlio dai Sei personaggi in cerca d'autore di Luigi Pirandello.Gian Piero Brunetta è professore emerito di Storia e critica del cinema all'Università degli Studi di Padova. Fra le sue numerose pubblicazioni, l'opera in cinque volumi dedicata alla storia del cinema italiano (Editori Riuniti; Laterza 2008), per Einaudi un Dizionario dei registi del cinema mondiale (2007), i cinque volumi della Storia del cinema mondiale (2003), e una Guida alla storia del cinema italiano (2003). Ha collaborato con “la Repubblica” e con numerose riviste letterarie e cinematografiche italiane e straniere. Nel 2022 ha pubblicato La Mostra internazionale d'arte cinematografica di Venezia 1932-2022 (Marsilio) e nel 2024 Cinema italiano. Una storia grande 1905-2023 (Einaudi). Tra le sue pubblicazioni più recenti: Pasolini e il cinema (Carocci editore, 2025) e Veneto capitale del cinema e della visione (Ronzani, 2026).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Oggi ascoltiamo la storia di SABINA MINUTO, docente e formatrice. Sabina è andata in pensione da qualche mese, ma continua con passione ad insegnare, un'attività che ha praticato a lungo a Savona e che l'ha portata prima nelle scuole primarie e poi in quelle secondarie di secondo grado. Si occupa da tempo di metodologie didattiche, in particolare del metodo Writing and Reading Workshop. Attraverso questa metodologia si è imbattuta negli albi illustrati e da allora li utilizza costantemente nel suo lavoro per avvicinare i ragazzi alla lettura.  Quest'episodio appartiene ad una vera e propria rubrica del podcast che possiamo intitolare “L'ALTRO ILLUSTRATO” ed è nata parlando con Valentina Mai di Kite Edizioni, che da tempo dedica spazio e attenzione a esplorare l'albo illustrato in contesti anche diversi da quelli dell'infanzia, a cui tipicamente appartiene. Si parlerà de “L'Altro illustrato” anche ad “Autori in città”, l'evento che KITE edizioni organizza ogni anno a Padova, e che quest'anno si terrà dal 10 al 13 Settembre. Un appuntamento immancabile per chi è interessato alla letteratura illustrata e ai suoi autori. Questo è un podcast indipendente. Clicca i link qui di seguito per: Diventare un PATREON de "Il Mondo Invisibile" e sostenere questo podcast con un piccolo contributo per coprire le spese di produzione ed aiutarmi a continuare questo progetto;Ricevere la NEWSLETTER de “Il Mondo Invisibile” su Substack;Ascoltare il podcast anche su YOUTUBE;Seguire l'account Instagram @ilmondoinvisibilepodcast e la pagina facebook, per vedere le opere degli artisti, e per mandarmi i tuoi commenti.Grazie milleA presto! Alessandro#sabrinaminuto #kiteedizioni. #laltroillustrato #arte #illustratori #illustratore #illustrazioni #illustrazione #alboillustrato #picturebook  #immagini #ilmondoinvisibile #ilmondoinvisibilepodcast #podcastitaliani  

L'accordo tra USA e Iran sarebbe stato trovato, ma Trump chiede ancora qualche giorno per il via libera. Un drone russo cade in Romania, due i feriti. Con noi Marco Di Liddo, direttore del Centro Studi Internazionali.Svelata la cinquina del Premio Campiello 2026. Ci colleghiamo con Silva Menetto, a Padova per la cerimonia.Dal 1° giugno scattano i rimborsi dei pedaggi autostradali per ritardi derivanti da cantieri e guasti. Ne parliamo nella nostra rassegna settimanale dedicata alle buone notizie con Nicola Zaccheo, presidente di Art - Autorità di regolazione dei trasporti.

Il futuro delle banche non sarà nella contrapposizione tra istituti tradizionali e fintech, ma nella capacità di costruire partnership, piattaforme integrate ed ecosistemi digitali. È questa la tesi al centro di Verso la nuova banca. Partnership banche-fintech, utilizzazione dell’intelligenza artificiale e creazione di ecosistemi digitali nei servizi finanziari di Devie Mohan, analista fintech londinese e tra le principali esperte internazionali del settore, appena pubblicato da Guerini Next nell’edizione italiana curata da Maurizio Primanni, fondatore e presidente del Gruppo Excellence. Quest'ultimo viene a trovarci in studio.Come ogni venerdì, torna a riunirsi la Squadra Antitruffa Serpente Corallo. Appuntamento dedicato alla criptovalute. Ci colleghiamo con Marco Ghitti, docente associato di Economia aziendale presso il Dipartimento di Scienze Economiche e Aziendali dell’Università di Padova.

Il centrodestra mantiene Venezia e Reggio Calabria, il centrosinistra vince a Prato e Pistoia. De Luca trionfa a Salerno senza il simbolo del Pd. L’analisi del voto amministrativo con Martina Carone, analista YouTrend e manager Youtrend Strategies, docente di analisi dei media all’Università di Padova.La nostra Livia Zancaner ci racconta due casi in cui dall'affidamento dei figli vengono escluse le madri vittime di abusi, a beneficio del padre abusante. Italia ed Europa colpite da un caldo anomalo, con temperature che arrivano a superare di 12 °C le medie stagionali. Ne parliamo con Giulio Betti, climatologo e meteorologo del CNR - Consorzio Lamma.

Parla per metafore Papa Leone, nel suo discorso pronunciato oggi in Aula del Sinodo, alla presentazione di Magnifica humanitas, la prima enciclica del suo pontificato. Ma fa anche abbondanti e puntuali riferimenti alla storia quando paragona l'effetto dello sviluppo industriale sulla vita dei più deboli al diffondersi dell'intelligenza artificiale, definita dal pontefice una "minaccia da disarmare". Con Alessandro Marroni, vaticanista del Sole24Ore, analizziamo il discorso di Leone XIV, cercando di capire quanto potrebbe andare a disturbare i poteri della Silicon Valley e l'amministrazione Trump.Mentre i negoziati sull'Iran sono ancora in corso, cerchiamo di immaginare il Medio Oriente dopo il conflitto. Riuscirà Trump a ristabilire la pace e a dare seguito ai Piani di Abramo? Lo chiediamo a Michela Mercuri, docente di Storia dei Paesi musulmani all'Università di Padova.Nell’attacco di domenica scorsa contro Kiev, la Russia ha usato un missile Oreshnik, un missile balistico a raggio intermedio particolarmente distruttivo. Cosa ci dice questa mossa? Ne parliamo con Davide Maria De Luca, firma de Il Domani, inviato a Kiev.

Francesca Dini"Zandomeneghi e Degas"Impressionismo tra Firenze e ParigiRovigo, Palazzo RoverellaFino al 28 Giugno 2026www.palazzoroverella.comA Rovigo, Palazzo Roverella, la grande mostra Zandomeneghi e Degas. Impressionismo tra Firenze e Parigi. L'esposizione, visitabile fino al 28 giugno 2026, mette in dialogo per la prima volta in modo organico, Federico Zandomeneghi ed Edgar Degas, due protagonisti della scena artistica europea dell'Ottocento uniti da una lunga e intensa amicizia. Promossa dalla Fondazione Cassa di Risparmio di Padova e Rovigo, in collaborazione con il Comune di Rovigo e l'Accademia dei Concordi, con il sostegno di Intesa Sanpaolo, la mostra è curata da Francesca Dini e prodotta da Silvana Editoriale.Un incontro tra due personalità forti e originali che, tra Firenze e Parigi, hanno cambiato il modo di guardare la pittura.Il percorso espositivo accompagna i visitatori dalle prime esperienze italiane dei due artisti alla stagione parigina dell'Impressionismo, mettendo in luce affinità, influenze e differenze tra le loro opere. Dalla Firenze dei Macchiaioli alla vivace atmosfera dei caffè e degli atelier parigini, dipinti, disegni e sculture raccontano una stagione artistica straordinaria, segnata da scambi culturali e sperimentazioni che avrebbero cambiato per sempre la pittura europea.Capolavori provenienti da musei e collezioni internazionali ricostruiscono una stagione cruciale della pittura europea.La mostra restituisce così il ritratto di un'epoca in cui tradizione e avanguardia si incontrano, offrendo uno sguardo nuovo sul contributo italiano alla nascita della modernità artistica. Accanto alle opere di Zandomeneghi e Degas trovano spazio lavori di protagonisti della pittura coeva, che aiutano a ricostruire il clima culturale e creativo in cui maturò questo straordinario confronto tra due grandi maestri."Zandomeneghi e Degas"Impressionismo tra Firenze e ParigiSilvana Editorialewww.silvanaeditoriale.itIl volume approfondisce l'intenso rapporto che unì un protagonista dell'arte italiana dell'Ottocento, Federico Zandomeneghi (Venezia, 1841 - Parigi, 1917), e uno dei nomi più incisivi della scena europea, Edgar Degas (Parigi, 1834-1917).Degas era considerato dal pittore italiano “l'artista il più nobile e il più indipendente dell'epoca nostra” e fu per “Zandò” un maestro e un mentore; Zandomeneghi era chiamato dal francese, con leggero e affettuoso sarcasmo, “le Vénitien”, allusione all'orgoglio con cui il collega difendeva la propria identità italiana all'interno dell'ambiente impressionista. Muovendo dalla Firenze della metà dell'Ottocento e inoltrandosi nella Parigi degli anni settanta e ottanta, queste pagine indagano in modo puntuale gli scambi e le influenze che alimentarono l'opera di entrambi, nel confronto costante tra loro e con gli altri artisti contemporanei come Boldini, De Nittis, Borrani e Fattori, e restituiscono la complessità di un'epoca in cui Firenze e Parigi, la tradizione e l'avanguardia, la macchia e l'impressione, dialogavano in un intreccio serrato.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Inoltre: la Reserve Bank aumenta i tassi di interesse; Israele prolunga la detenzione di due attivisti; a Padova l'ultimo saluto a Alex Zanardi. Nello sport: l'Arsenal batte l'Atletico Madrid e si qualifica per la finale della Champions League.

"The river inspired the piece as a dreamlike walk. This composition focuses on birds as the first carriers of musical entities. The sound is shaped into an ancient story, told through evolving pads that mirror the gentle life surrounding the current. "Influenced by the figure of David in the Old Testament, where music is discovered through nature and spirituality, the composition unfolds as a quiet revelation, as if the birds themselves were guiding the emergence of music. It evokes an intimate promenade along the river, tinted with magical mirages."Section of the river Lech reimagined by Angela Tisner. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Living in Scotland and spending time in the Scottish Highlands, it is clear to me how integral water and waterways are to the landscape and existence. I sense that humanity has all but forgotten this. There seems to be a belief that we can treat these precious ecosystems in any way we see fit without a care that we may be harming or killing them. When I first heard the recording of the Lech River I was instantly drawn to the serenity of the river and the peaceful lapping of the water. The sounds truly emphasised the beauty and importance of this cherished environment. "This recording focusses on the final part of the Lech River before it flows into the Danube. The written description noted this section as the Lech's ‘quiet goodbye' and I felt this was a perfect focus for my composition. It made me consider if the river were to actually say goodbye and disappear forever due to human interference. What if the water were to flow from the Lech River into the Danube until every last drop had gone, never to return, leaving an arid, lifeless riverbed. I wanted ‘The Quiet Goodbye' to focus on this idea with a narrative of loss; a lament for a river that once was, a love song of sorts, a song of yearning for the departed."The satellite imagery shows the obvious changes in the water channel over time. It reminded me of the way human vessels bifurcate and degenerate, often becoming stenosed or occluded due to poor lifestyle choices. It struck me that the Lech River and surrounding landscape also suffered from these poor human choices and wanted this element to be part of the lyric."The song starts with voices moving over and through one another to convey the flowing sense of the river and lapping riverbank. This is followed by the piano which again, tries to convey the feel of water. The field recording is heard throughout acting as a reminder that the song is a constant longing for the river."Section of the river Lech reimagined by Simon Holmes and the Portobello Drone Choir. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Cuando el cauce recuerda (When the riverbed remembers) is a piece created for the Flow project, within Cities and Memory, which in this edition focuses on exploring the presence and memories of water in different territories. The work stems from a field recording made on the Lech River, on the outskirts of Augsburg. It is in this stretch of the river where the landscape opens up again: the riverbed reclaims space and its sound expands."The work is situated in a sonic territory that navigates between soundscape and electroacoustic music and suggests, through an everyday moment—a scene of encounter between nature, industrial memory, and community life—that it constitutes the initial material of the composition."The field recording underwent a spectral analysis process that allowed for the separation of different sound components. Each of these layers was subsequently transformed using various sound processing and synthesis techniques, including temporal stretching, filtering, and spectral manipulations. From these operations, new textures, densities, and perspectives of the original material emerged, generating an expanded auditory field."Rather than simply reconstructing the place in a documentary style, the piece seeks to explore its latent resonances. Processed fragments of the river and the sound of voices are transformed into sound currents themselves, revealing invisible or inaudible layers of the environment."In this sense, water appears as a form of song that is heard again after having been silenced. When the river returns, it is thus an invitation to listen attentively, to resonate with the flow of the landscape, and to recover, through play and sonic imagination, our sensitive relationship with rivers."Section of the river Lech reimagined by Jorge Martínez Valderrama. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"I selected an area of the River Lech within the city of Augsburg, Bavaria. I was intrigued by the changing relationship between humans and river, and the different uses of the natural flowing water in this place. I discovered Augsburg is one of the oldest settled places in Germany (around 2000 years). This fuelled my imagination in considering the scale and scope of change- within both humanity, and the natural environment, that the river has borne witness to over time. I was really struck by the impact of human activity on the river, not least the disruption of its natural flow and use of the Lech for multiple hydro-power plants along its course. "I took a walk along several stretches of the water in and around Augsburg and my overwhelming sense was that it needed our care and attention and that we have a responsibility to the guardianship of its course. Within the composition I wanted to depict contrasting sensations that I felt portrayed something of the complexities of this stretch of river, its history, its present and its future, including flux, chaos, beauty, dischord/disharmony and solidarity. "Working with my long-standing collaborator and dear friend, we shared ideas and musical parts back and forth, and spoke about different aspects of the piece, and slowly over quite some time, the elements that seeemed to belong, began to emerge. We were both interested in the sense of all the different layers that comprise a river and its environment, thinking vertically as well as horizontally along its course."Section of the river Lech reimagined by Suzi Lamb and Nicky Rushton. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"生生不息 — translated here as Circle of Life — is one of the most profound concepts in Chinese philosophy, drawn from the I Ching (Yijing or Book of Changes), where it is expressed as “生生之謂易” (“the generation of life is what is called change”). Philosophically rooted in classical Chinese thought, especially interpretations of the Yijing, it views this perpetual becoming as the fundamental character of reality — the “great virtue” of heaven and earth, where change itself is the mechanism of ongoing creation rather than destruction. It's optimistic in tone: life doesn't just endure against odds; it thrives through inherent creativity and interconnectedness, producing ever more complexity and possibility. "This principle highlights resilience and harmony in natural processes — how fragility and strength coexist in endless regeneration, how intervention (human or environmental) can disrupt or restore the flow, but the underlying impulse toward generation remains undiminished. In the context of a river like the Lech, it manifests vividly: from its alpine source it flows onward, eroding, reshaping, nourishing, recovering from floods and human alterations alike, yet never ceasing to create — new channels, new habitats, new cycles of life. No matter the obstacles, the river's inherent vitality keeps generating, embodying this eternal, unstoppable renewal."My piece for the river Lech begins in serene, everyday harmony. It opens with the bright calls of birds — pure voices of the living landscape — joined by gentle flute notes that drift like morning light over water. Beneath them flows the soft murmur of the river itself, interwoven with the relaxed chatter and laughter of people eating and talking at a riverside restaurant. This is life along the Lech as it is today: ordinary, peaceful, and quietly interdependent."As the music unfolds, subtle dissonances begin to emerge and grow. They trace the long story of human intervention — the straightening of channels, the building of dams and embankments, the gradual encroachment of cities and farmland. At the same time, they echo the river's own restless nature: centuries of erosion carving new paths, floods reshaping gravel bars, the constant migration of the channel as it discovers fresh routes across the valley floor. Layer by layer, these tensions accumulate, reflecting countless transformations — both natural and imposed — that have sculpted the Lech into the river we see now."Yet after every wave of change, the music does not break. Instead, it circles back, returning to the same calm opening textures, now deeper and more resonant. The bird calls reappear, the flute line floats once more, and the river's voice flows on, gently carrying the sounds of human life with it. Through every difficulty and every alteration, the Lech remains unstoppable. It embodies 生生不息 — Circle of Life — ceaseless generation, endless renewal. No matter how much we constrain or redirect it, the river's vital force keeps creating new possibilities, new habitats, and new cycles of life. What appears as disruption is, in truth, part of an eternal becoming."Section of the river Lech reimagined by Anna Vienna Ho. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"I have been to Landsberg several times and am referring here to the place in the old town next to the weir. The piece represents the surroundings at this location with the constant sound of the river and people sitting in cafés and walking around, and imagines that you are in the river itself, drifting along."I only used the field recordings in different pitches, slowed down and sped up, like some parts of the original recordings. I made further edits and built up layers of the different sounds, creating a mixture of natural and alien sounds that interact with each other. The presence of the river and the weir dominates, or at least accompanies, life in this particular environment and influences people's perceptions both consciously and unconsciously."  Section of the river Lech reimagined by EMERGE. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"At this segment of the Lech, the river has left its Alpine origins – its wild and icy rapids are just a memory. Data suggest that the Lech is “heavily modified” by human intervention (i.e., channelization, hydroelectric stations). However, at this point in its journey to the Danube, the river Lech (described as “widely lacking natural geomorphic dynamics”) does not merit restoration plans. Here, it seems to be considered nothing special or remarkable. Yet I was drawn to the “humming of the power station” in the field recording. This hypnotic sound highlights the nearby human activities that draw power from the Lech's steady flow. "The Wasserkraftwerk's low drone beneath the lively rush of water awakened my examination of the relationship between nature and technology. In creating “Sink, Surface,” I imagined timeless naiadic spirits becoming entranced by the incursion of human technomagic. Their chaotic, playful noises settle into harmonic relation with the device's drone. "When I first heard that drone, I assumed 50Hz would be most prominent. However, listening deeply and vocalizing along with the rich hum, I found amplitude peaks: at (roughly) 138 Hz, 207 Hz and 350 Hz – very easily translated into a D♭major triad. I decided to filter sweep the white noise of the river itself to alternately remove and enhance the harmonic aspects of the machines. I then vocalized in various styles and timbres for use as compositional materials. I also played with the asymmetrical stereo of the original recording, first filling in the full stereo field, then at the end swapping the louder left channel to the right – a mirror image that reflects one's change upon emerging from the depths. "How do how human endeavours both rely and impinge upon our ecological contexts? As an imaginary (re)mystification of the River Lech, “Sink, Surface” seeks to dissolve the false divide between the natural world and the human. It invites listeners into the liminal space of the Lech – where the power station emerges a vibrant, animating presence and the river's sounding spirits call us to experience our own embodied inner flows."Section of the river Lech reimagined by Gretchen Jude. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Gregory Scheckler's composition for Flow draws from field recordings at Epfach, where the Lech River bends beside the village. The recording's distant church bells of St. Bartholomäus and fluttering water evoked memories of the composer's studies in nearby Innsbruck during 1987-88. "Through deep listening, he found the recording's natural rhythm at 104 BPM and created a "Flow Snare" using granular synthesis from the field recording, which he also layered several times to find sonic variety. The composition unfolds as a round—layered voices representing generations along the river—while its form mirrors the river's geography: the middle section broadens like the bend itself. A snippet from the upstream segment connects to earlier waters, and the finale unites the instruments in unison, like waters flowing together downstream. "Bells, waterways, synthesizers, percussion, and layers come together for an adventurous, uplifting palette."Section of the river Lech reimagined by Gregory Scheckler. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"My process was pretty straightforward. I studied the photos and data of the river, attempting to get a handle on some of the terminology, history, and science. I then focused on my segment, specifically the reservoir and the surrounding forest. I didn't feel the need to deconstruct the field recording, as there's both mystery and clarity in it that I wanted to embrace. The heavy modification of the river segment via the channel and dams factored heavily in how I determined the movement, pace, and dynamics of my piece. The music was created with analog synthesizers and several delay pedals."Section of the river Lech reimagined by Eulipion Corps. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"This is an eco-poetic/mythic piece, a kind of swan song. Named after a line in the film IO, where, in a toxic environment, in a post apocalyptic time, you can no longer see swans. I was particularly inspired by the quietness of this segment of the river, and the description for segment 15 by the person who recorded it, that it was as if they had come upon a secret and secluded place, hiding in a dense stretch of forest, where one man pushes off on a boat, barely rippling the tranquil waters. "You can hear mute swans taking off. I re-imagine this lone man as the Swan Knight, or Knight of the apocalypse. I wanted to convey this feeling, of a separate mystical and magical place, as both real and not real. A place of myth but also as place of illusions and deceptive tranquility. I wanted to sonically disrupt that magical flow, of time and the sound of a lone rower, with the reality of climate catastrophe, water and sound pollution. Especially contrasting the clean waters of Germany with the sewage filled water in UK. "Fragments can be heard of news commentators speaking about global water bankruptcy. You can hear sounds of me filling bottles of water from my large metal water filter, as it is now no longer advisable to drink tap water in the UK. I wanted to also disrupt the notion of isolation, or that this lone man was really only barely disrupting the surface, when in reality we are all connected, cross-culturally entangled, and everything we do has consequences, often catastrophic, for all humans and creatures of the planet globally, beyond this seemingly peaceful stretch of a river in Bavaria. "I researched Bavarian and European mythology about swans and rivers, as well as swan and river mythology in other cultures. I looked for fragments of old recordings of European/German swan music, swan songs and swan poems (for example - extracts from poems by Orlando Gibbons, Jules Renard, and extracts from a poem by Friedrich Leopold zu Stolberg-Stolberg used by Schubert for his piece Auf dem Wasser zu singen, , and Mein Lieber Schwan by Wagner, sung in 1930s in English by Walter Midgley ). I looked up scientific research about the river Lech, reservoirs and mute swans, local plant life, and infrasound. I was also very interested in the wider context of the area of segment 15 - the paper mill of Schongau, a Turkish cafe, and history of the executions of 'witches' and the creation of a memorial garden/ the role of gardens / plants, in healing trauma and the planet. Old photographs of the area and how the area had changed through time also influenced how I felt about this stretch of the river Lech. "A feeling of irreversible flow toward the end of everything, as we try to reverse the flow, we flow into silence. Through out the piece you can hear the flow of my voice reading extracts from my research and thoughts, the underlying constant sound of the lone man rowing, and sonic interludes and disruptions to unsettle us from our reverie." Section of the river Lech reimagined by  Salma Ahmad Caller. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"For the Flow project, a collaboration between Cities and Memory, the University of Padova, and the University of Würzburg, I composed an original piece of music based on a field recording made by researchers along the Lech River near Höfen, Austria."Titled “A Sense of Place”, the composition brings together history, atmosphere, geography, and memory, reflecting the moment when the listener arrives inside the landscape. Ambient and restrained, the work carries a quiet archival weight, its textures shaped by the crackle and patina of early 78-rpm recordings. Rather than describing the river directly, the piece allows sound itself to function as a record, letting meaning emerge slowly and intuitively."The Lech is one of the last largely free-flowing rivers in the northern Alps. Its mineral-rich waters and shifting gravel banks have shaped both the surrounding landscape and the cultural identity of the Lechtal for centuries. This continuity—between past and present, place and memory—forms the emotional core of the piece."Within this context, “A Sense of Place” is intended to feel less like a composition and more like a discovered artefact—  something uncovered rather than authored. Timeless and quietly resonant, it invites the listener to inhabit the river's memory and allow the sound to do the storytelling."Section of the river Lech reimagined by  Jeff Düngfelder. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Submerged is a music piece that focuses on the perspective of living organisms in Forggensee Reservoir. The work incorporates field recordings capturing gentle water surfaces, subtle shifts in currents, distant passing vehicles, and the faint presence of aquatic life. The field recordings are used throughout most of the piece as raw material with minimal processing. The composition is structured in three sections, each representing different layers and temporal states of the lake."The opening section evokes shallow waters, suggesting aquatic animals and the shimmering surface through minimal and delicate sonic textures. Through layered sounds representing both visual and auditory phenomena, subtle changes in the environment are expressed."In the middle section, the perspective moves deeper underwater, where darker and shifting sonic textures emerge. These sounds reflect movement and tension within the ecosystem. This section is also informed by human activity, such as tourism and recreational boating, as well as environmental changes including sedimentation and variations in water levels. Additionally, elements of local culture are introduced through the resonance of string instruments, evoking the atmosphere of a luthier's workshop near the lake. These sounds form a layer where environmental and cultural elements intersect."The final section depicts both the exposed lakebed during periods of low water levels and a return to a calm, quiet state. While the surface appears tranquil, a subtle sense of unease remains, suggesting environmental and human-related issues that persist as unresolved conditions."By interweaving seasonal and temporal shifts, biological presence, cultural context, and human impact, the piece invites the listener to experience the lake as a complex and multi-layered environment. The title Submerged refers to the unseen ecosystem beneath the surface, as well as to environmental changes that are not easily seen."Section of the river Lech reimagined by Masako Yokouchi. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"I approached the River Lech as a memory machine: wide air and landscape, close water detail, and the river's vibrations. These hidden resonances became the harmonic spine of the piece. "The composition stays faithful to the original source while drifting into abstraction: selective time-stretching and spectral sculpting reveal submerged textures; granulation turns droplets and foam into a fine acoustic dust; site-shaped reverberation merges perspectives into one blurred, dreamlike space. "What begins as a recognisable current slowly becomes a palimpsest: the river as presence, then as afterimage."Section of the river Lech reimagined by Giuseppe Cordaro. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"A bridge suspended, a crossing over point. I decided to keep the idea of the river Lech as an abstraction. I live on the other side of the world so it took on this imaginarium. "The sounds of the hanging bridge floating brought to mind this liminal space of crossing worlds with the eternal flow of the river a metaphor for life itself . I thought about this being one of the first industrialised points. That industry intrudes on nature but eventually we all return to the source. "Every sound you hear is a manipulation of the original sound recordings , manipulated through signal processing or used to trigger a synth and made into loops. The water is mysteriously absent but just outside of the frame of the piece the life we cross over."Section of the river Lech reimagined by Lisa Rae Bartolomei. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"In “Strands/Textures”, I weave together the field recording (as the main strand), with other strands of sounds inspired by the descriptive phrases and aerial images in the materials describing this section of the Lech. This piece was created in VCVRack2 using a combination of the original field recording, field recordings/foley sounds created specifically for this track, and modules available in VCVRack. "For the “string of pearls” imagery used to describe the appearance of this section from above, I added in recordings of beads and jingle bells being strung on a filament and recordings of plucking the filament. I incorporated “ears of the upper Lech” and the notions of taking space and time into the spoken word section, which is also a moment of calm and pause, but also of direction for moving forward. In a bit of word- and sound-play around the braiding of the river being constrained, I used a specific constraint for the sequenced parts of the track, I used Audible Instruments' Macro Oscillator (the VCVRack version of Mutable Instruments' Braids module). "The sequenced parts of the track represent the vibrancy of community in Stanzach around the river, but notes in sequences are randomized, bringing in additional dimensions of space and time."Section of the river Lech reimagined by Stephanie E. Vasko. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"For the beautiful Section 4 of Flow, I wanted to celebrate the rewilding projects that took place between 2016 and 2022 under the LIFE Lech “Dynamic River System Lech” at Elmen-Nussau and Vorderhornbach."I was immediately inspired by the photo of the sound being recorded at the bridge. Imagining being in that moment, overlooking the meandering turquoise braids of water, the gravel beds and the dark green forests and wondering what the ecology of this area would be like and that I'd need to hike here one day. So I wanted to bring together an ecological sonic landscape."The river is played using a rainwater-filled glass harp, guided by the geomorphic imagery. Using a recurring motion of playing the top of a wine glass, I wanted to embody the water movement of the River Lech. Moving not as a straight line but more in swirls, spirals and circles, flowing left and right."Varying the level of rainwater in each glass created a scale of resonating frequencies that formed individual braids of the river. I found joy in playing the glasses in the imagery of this section of the River Lech. Occasionally, using a particular resistance when playing the glass to give a sense of friction against the gravel beds and under the bridges, sometimes slowing the pace of the river down afterwards."I used the field recording of the river to create artistic interpretations of ten animal vocalisations from birds, amphibians, fish, and insects. By selecting out the matching spectral vocal range of these species. Many of which were on the LIFE Lech's target list."A low D whistle creates the feel of a riparian forest. Researching the rewilding projects, I discovered the number of important plants in the area, such as Dwarf Bullrush and German Tamarisk, and that, in the summer months, over 6,000 Lady's-slipper Orchids inhabit the forest on the upper left side of this section of the river. Botanical drawings of these plants were turned into sonic spectrograms, which were blended into the piece."At the Elmen-Nussau location, 10 groynes on the left riverbank were shortened by a total of 280 m. Included as 10 slightly intrusive faded notes panned to the left at their rough positioning of where they once sat on the riverbed, before the first rewilding melody of the piece."At the Vorderhornbach location, Linear and cross constructions were shortened or removed over a 2 km length on both banks. A particularly forested section, here I have made this section of the piece fuller and wilder before the sounding of the “Hornbach” tributary line, which joins the River Lech, moves us into the melody for the second time."I loved the idea of connection with other parts of the river, with the river being an important corridor between different habitats. I incorporated 6 seconds of a sound bite called 'Dusty Stem' that Bill McKenna kindly donated from section 1. I have taken the sound bite down by 3 semitones, imagining it carried down the river through sections 2 and 3, and into 4."Section of the river Lech reimagined by Rachel Larsen-Jones. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

Hope Carries Us | The moment I heard the section of the Lech that I ended up working with, I heard these beautiful overtones, and voices and decided I wanted to really bring that out in the piece. Listening to the field recording as I wrote the piece, it felt over time like a history of the river unfolding, the narrowing, the widening, the people using it for transportation in much earlier times, the nature adapting and claiming it's space, the people who settled nearby and a hope for the future. Section of the river Lech reimagined by Michelle Breslin/Lostworldsounds. Additional credits - Salma-Caller-rowing oars sound fragment.Singers - Adelaide and Madison Santos Julia Maja Scotch Camera, and Michelle Breslin.-------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"To create this piece, I used the completely raw recording of segment 3. Then, I cut a few seconds from it and layered them, processing them with different filters, delay, and equalizer to create distinct textures. I also wanted to layer my own recording from inside the Rio Negro (the river in my hometown) to give another perspective to the subjective listening experience, as well as to understand what a river sounds like from the outside, as can be heard in the original recording. "I chose to accompany the entire piece with a drone using a pad synthesizer, playing with different tones and effects. I simply let my imagination run wild and experimented with different textures and tones, like when we are submerged in the depths of a river while the world outside keeps turning."Section of the river Lech reimagined by Rocío Colonizt. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"At the source of the Lech River near Warth, water and machinery sound together."This piece grows from a field recording made close to the river, where flowing water blends with the steady drone and metallic clanking of a nearby ski chairlift. Rather than treating this as noise, it becomes the core of the music. The orchestra and percussion amplify its energy, unfolding wide harmonic fields and sharp rhythmic gestures."River, infrastructure, and time unfold within one shared sound world."Section of the river Lech reimagined by Paul Beaudoin. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

We followed the Lech for its entire length, watching it change through different phases. Here we witness its latest step, as it joins the Danube in its long trip across ten countries until it reaches the Black Sea.Recorded by Riccardo Fumagalli.-------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"The inspiration from this piece was firstly at the surface level - flow, time, motion - are all inspiring for musical exploration. As I dug deeper into the material, the concept of rivers as enablers to civilization, to history, added deeper layers to explore - how rivers slowly but inexorably shape ideas, stories, culture and music just the same as they shape land and place."I wanted to bring all of these ideas together into some way, while also literally exploring the sound material from the original recording using elements (like sediment) from prior pieces, to construct an evolving and moving piece that suggests a continuity rather than an ending."I hope those ideas come across as it builds to its conclusion. No spoilers." Section of the river Lech reimagined by Warren Anthony. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Rushing currents, echoing depths — where the haunting calls of water spirits appear and dissolve like currents in motion."This dramatic, immersive soundscape was inspired by Riccardo Fumagalli's field recording captured at Section 5 of the Lech River at Stanzach, Austria, “where the river bed is at its largest and the water caresses the vegetation around it”. Here the river has been braided, dividing the flow into five groynes that restrict the river's lateral movement. “They are built to train and constrain the lateral movement of rivers within the surrounding floodplain. Braided rivers tend to be very wide and, under natural conditions, highly dynamic. I believe the groynes were built in the first half of the 20th century, mainly to reduce the active river area, expand farmland, and provide flood protection.” (Martina Cecchetto)."I was immediately drawn to this sound by the purity of the bubbling water recording and by the beauty of the “String of Pearls” river shape created by human intervention, clearly visible in satellite images. This section is the second deepest part of the entire Lech River, and I wanted this sense of power and depth to play an important role in the composition."Further research revealed that the Lech River is commonly referred to by locals and tourists as the “last wild river”, due to its untamed, braided and largely natural state, often characterised as a living, flowing spirit of the Alps. In Austrian folklore, the famous shapeshifting female water spirits are called Nixe. The title and soundscape of this piece reflect these two aspects of the river."The form of the work is inspired by the five “pearl-shaped” sections of the river where the sample was taken. The climaxes in the piece mark these five sections, corresponding to the human intervention that created the groynes restricting the river's flow, represented by more metallic and destructive sounds. Vocal elements evoke water spirits calling and luring, drifting and disappearing into the distance. The soundscape was created by transforming the original sample into 22 different sounds using effects, combined with an additional 44 sound and vocal tracks, making a total of 77 tracks."Through my compositions, I enjoy drawing attention to the importance, fragility, and beauty of the natural world. Conservation efforts, such as the LIFE Lech project, have focused on removing bank stabilisation structures and giving the river space to redevelop its natural dynamics, ensuring the long-term success of habitat and species conservation. However, Section 5 has not yet been included in the restoration project."Section of the river Lech reimagined by Amanda Stuart. -------Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

Mentre i negoziati di Islamabad sono in stallo, il presidente Donald Trump risponde ai giornalisti che lo incalzano sul termine del conflitto che non c'è fretta e che gli Stati Uniti, in passato, hanno preso parte a conflitti ben più lunghi. Intanto però il prezzo del petrolio sale e l'incertezza economica si diffonde a macchia d'olio, andando ad alimentare il dibattito politico, come quello ora in corso a Cipro, tra i capi di stato e di governo dell'Unione europea. Ne parliamo con Francesco Semprini, inviato di La Stampa a Islamabad, Michela Mercuri, docente di Storia dei Paesi musulmani all'Università di Padova, e con Alessandro Marrone, responsabile del Programma “Difesa, sicurezza e spazio” di IAI, Istituto Affari Internazionali.