Podcasts about padova

Un gol contro la violenza di genere, quello che si pone di realizzare il progetto Equal Play, sviluppato dal Gruppo Polis in collaborazione con l'Università di Padova e la Lega Nazionale Dilettanti, per educare - anche attraverso il calcio ed incontrando direttamente in campo i giovani calciatori - a una cultura di rispetto, superando barriere e stereotipi. Progetto che abbiamo incontrato durante il recente Sport Business Forum svoltosi a Treviso e Belluno (di cui Radio24 è stata partner) e che oggi approfondiamo a Olympia con Agata Isabella Centasso, calciatrice, influencer e sostenitrice di Equal Play, e Mariasole Rizzi, responsabile Area Contrasto alla Violenza di genere del Gruppo Polis.olympia@radio24.itLa regia della puntata è a cura di Anna Elena Riva

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/

Il fragile accordo USA-Iran, la politica interna, gli esami di maturità e il rapporto tra social e minori, la stand up comedy in Italia e la scelta di lasciare la città per vivere in campagna nella puntata di sabato 20 giugno.Ospiti della puntata: Gastone Breccia, docente di storia bizantina presso il Dipartimento di Beni Culturali e Musicologia dell’Università di Pavia ed esperto di strategia e storia militare; Martina Carone, analista YouTrend e manager Youtrend Strategies, nonché docente di analisi dei media all’Università di Padova; Alberto Pellai, psicoterapeuta dell'età evolutiva, scrittore, ricercatore e docente all'Università degli Studi di Milano, collabora con il quotidiano Avvenire; Arianna Porcelli Safonov, scrittrice, autrice, performer e stand up comedian (la prossima settima inizia il suo tour estivo, che durerà fino a fine settembre).

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

Le prime pagine dei principali quotidiani nazionali commentate in rassegna stampa da Davide Giacalone. I 14 punti sull'accordo USA Iran, UE e USA di nuovo uniti dopo il G7, l'allarme di Mattarella sull'AI. In collegamento la nostra squadra di cronisti mondiali. Con Paolo Pacchioni abbiamo parlato del debutto del Portogallo. Con Andrea Salvati abbiamo analizzato la vittoria dell' Inghilterra sulla Croazia Con Tommaso Angelini le partite giocate nella notte: Uzbekistan-Colombia e Ghana-Panama. Nicolò Pompei ci ha parlato delle partite in programma nelle prossime ore. Maturità 2026 per oltre 500mila studenti. Ci ha raggiunto in diretta per un saluto il Giuseppe Valditara, ministro dell'Istruzione e del Merito. Maturità. Manca poco all'apertura delle buste per la prima prova della Maturità 2026. Parliamo dello scritto di italiano. Ci raggiunge in diretta Telmo Pievani, Filosofo, Professore di Filosofia delle scienze biologiche all'Università di Padova (è stato uno dei protagonisti della Prima Prova della Maturità 2025). Spazio Attualità. Gli esteri. In diretta con noi, Ettore Sequi, ambasciatore, già segretario generale del Ministero degli Affari Esteri e della Cooperazione Internazionale. “Non chiudere gli occhi”, la rubrica radiofonica nata dalla collaborazione tra Autostrade per l'Italia e @RTL 102.5 , dedicata alla sicurezza stradale. Ospiti di questa puntata, Edward Von Freymann, fondatore e presidente della fondazione Gaya Von Freymann. Edward Von Freymann, è il papà di Gaia Von Freymann, la sedicenne investita e uccisa a Roma nella notte del 22 dicembre 2019 insieme all'amica Camilla Romagnoli. L'attualità, commentata dall'editorialista del corriere della sera, Beppe Severgnini. Continua il nostro viaggio con Gallerie d'Italia, questa volta andiamo al salone del libro. Come sempre ritroviamo Michele Coppola, direttore centrale arte, cultura e beni storici di Intesa Sanpaolo e direttore delle Gallerie d'Italia, oggi alla mostra fotografica di Candiolo, dedicata ai campioni, insieme al direttore generale Fondazione Ricerca sul Cancro, Gianmarco Sala. All'interno di Non Stop News, con Giusi Legrenzi, Enrico Galletti e Massimo Lo Nigro.

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 Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

Pubblichiamo il corso di teoria della Letteratura per il triennio dal titolo “Soggetto e linguaggio”, tenutosi presso l'Università di Padova nell'anno accademico 2013-2014. Di seguito l'abstract del corso:“Nella letteratura, quanto più essa venga colta in quel suo nucleo che la riconduce al tempo e alle ragioni dell'evento della poesia, si propone come il luogo nel quale il rapporto tra umanità e linguaggio si mostra nella sua radicalità. Linguaggio ed evento soggettivo in esso si implicano aldilà di qualsiasi riduzione dell'uno a strumento di comunicazione e dell'altro ad oggetto disponibile per le definizioni dei saperi. Di qui la capacità del gesto poetico di incrociare momenti decisivi della pratica del pensiero filosofico e scientifico come di quello religioso o etico e politico, oltre che di dialogare con i motivi e le modalità essenziali della ricerca estetica.Il corso, procedendo da zone notissime ma ermeneuticamente inesauribili del pensiero platonico, attraverserà testi d'epoche diverse (tutti peraltro ripetutamente interrogati da importanti imprese interpretative novecentesche) sino a giungere ad alcuni momenti del pensiero contemporaneo nei quali l'evocazione della letteratura si rivela una necessità primaria dello stesso esercizio teorico e speculativo.”

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

Pubblichiamo il corso di teoria della Letteratura per il triennio dal titolo “Soggetto e linguaggio”, tenutosi presso l'Università di Padova nell'anno accademico 2013-2014. Di seguito l'abstract del corso:“Nella letteratura, quanto più essa venga colta in quel suo nucleo che la riconduce al tempo e alle ragioni dell'evento della poesia, si propone come il luogo nel quale il rapporto tra umanità e linguaggio si mostra nella sua radicalità. Linguaggio ed evento soggettivo in esso si implicano aldilà di qualsiasi riduzione dell'uno a strumento di comunicazione e dell'altro ad oggetto disponibile per le definizioni dei saperi. Di qui la capacità del gesto poetico di incrociare momenti decisivi della pratica del pensiero filosofico e scientifico come di quello religioso o etico e politico, oltre che di dialogare con i motivi e le modalità essenziali della ricerca estetica.Il corso, procedendo da zone notissime ma ermeneuticamente inesauribili del pensiero platonico, attraverserà testi d'epoche diverse (tutti peraltro ripetutamente interrogati da importanti imprese interpretative novecentesche) sino a giungere ad alcuni momenti del pensiero contemporaneo nei quali l'evocazione della letteratura si rivela una necessità primaria dello stesso esercizio teorico e speculativo.”

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/

Daniele Marini"Quello che i giovani (non) dicono. E gli adulti (non) capiscono"Guerini e Associatiwww.guerini.itI giovani vanno considerati al plurale e le definizioni che in un passato recente gli sono state affibbiate (choosy, spiaggiati o bamboccioni) non rendono giustizia della diversificazione presente al loro interno. Ciò non di meno, una parte rilevante fra loro è portatrice di una «rivoluzione silenziosa» dei valori e, soprattutto, del posto che il lavoro occupa nella loro vita: è ancora una dimensione fondamentale, ma si deve abbinare con altri aspetti di valore ritenuti altrettanto importanti. Alla ricerca di nuovi equilibri tra la sfera personale e l'impegno lavorativo. Per comprenderli è necessario dotarsi di strumenti di interpretazione di ciò che i giovani (spesso non) dicono oppure fanno intendere attraverso «segnali deboli», poco visibili. E cercare di dare agli adulti uno spunto di riflessione per tentare di (evitare di non) capire quello che ci comunicano.Daniele Marini è professore di Sociologia dei Processi Economici all'Università di Padova. Direttore scientifico della divisione Research&Analysis di Community. Per le nostre edizioni ha pubblicato Il futuro è il presente. I giovani visti con la lente della formazione professionale (a cura di, 2025), Transformer. Le metamorfosi digitali delle imprese del Nord Est (con F. Setiffi, 2021) e ha curato (con F. Setiffi) Una grammatica della digitalizzazione. Interpretare le metamorfosi di società, economia e organizzazioni (2020). Fra le sue opere più recenti sul lavoro: Il posto del lavoro. La rivoluzione dei valori della GenZ (con I. Lovato Menin, Milano, 2024) e Light working. Come cambiano lavoro, lavoratori e imprese (in collaborazione con I. Lovato Menin, Venezia, 2024).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.

"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.

"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.

"I was struck by a paradox in this segment of the river's story. How at the same time, the river here is both so heavily modified - by channelisation and with a dam for hydropower - and yet, this reservoir also offers a kind of nature 'oasis'. As Martina Cecchetto explained; "widely lacking in natural geomorphic dynamics - so much so that there is a redirection of the layer of Quaternary gravels (and unpredictable incision rates to the channel bed - )". "And yet, "Whilst the reservoir also here, is artificial and this place is "devoid of millions of years of minerals...it hosts pristine nature in its present form". I was also struck by the maps and visuals showing the once multiple channels of river - now a straightened single channel river, and the beautiful coloured video realisation. "Taking Flow artist Salma Caller's wonderful suggestion, of incorporating preceding segment sounds, this number 20 sound work requotes and resamples from Bill McKenna's segment 1's offered extract and from Anja Kreysing's segment 19's offered extract, and layers segment 20's field recording and resampled versions with original musical compositions to offer a musical, sonic remembering by the river. The river remembering its geological foundation, its forced changes and its ever-present memory of flow and life. "A story of place working across layers of time and sounds simultaneously."Credits: Musicians - Gideon Brazil - saxophones, Elliott Folvig - electric guitar, Miranda Hill - double bass, Elissa Goodrich - compositions and vibraphone. "And so the story of this particular section of the river is a paradox; one that carries beauty and dislocation in equal measure."Section of the river Lech reimagined by Elissa Goodrich. -------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.

"Lo-Fi River Flow reflects the landscape, the people, and the life unfolding along the river's banks. The listening gradually narrows toward the movement of water itself, while remaining open to the presence of the animals that come to the river and live within its rhythm."The story begins at the edge of the current. At first the river feels like a distant presence — a continuous flow of sound moving through the landscape. But as listening deepens, the surface begins to reveal smaller events: water circling around submerged branches, sliding across gravel beds, whispering through reeds along the bank."With time, the river begins to speak in layers. Dawn arrives with the first birds calling across the water. The current shifts between calm and turbulence. Hippos move slowly through the river they call home, their bodies reshaping the surface of the flow. Further along the banks, baboons call across the valley in scattered groups, while distant Maasai voices occasionally rise and dissolve into the wider soundscape. At every turn, the river carries these voices differently."Gradually, more presences emerge. Animals approach the water to drink, to cross, or to rest along its edges. Their movements briefly intersect with the steady rhythm of the current before fading again into the surrounding landscape."What began as a study of water slowly becomes a listening to the life that gathers around it. The river is no longer only a flow of sound, but a meeting point — an ecological centre where movement, survival, and rhythm converge. In this way, Lo-Fi River Flow unfolds as a sonic story of the river itself: a living acoustic space where water carries both the voice of the current and the fleeting presence of those who come to it."Section of the river Lech reimagined by  Karhide and Deep Dive Sound . -------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 location of fish passage exhibits an imperfect balance as humans attempt natural processes, and while total success is not possible the effort is worthwhile. Water is clearly audible in the recording, and echoes reflect the human-created boundaries. Adding to these soundscapes of place, I introduce my own sounds, in the form of cello and vocals. All of the sounds in “Left and Right of Passage” originate with either the field recording, or my playing cello or singing, yet layers of reverb, tuning, and other effects birth myriad sonic identities."Examining the satellite data, the western side of the river seems very uniform and unvaried, whereas the eastern side appears more complex, intricate and waving. I am translating this asymmetry into the way the music is panned, and taking the perspective of the Lech River with “head” waters south (the Lech flows northward), and looking outward towards humans, the left side is stable and uniform, whereas the right side is intricately dynamic. “Left and Right of Passage” is structured as a double choir, with one choir (on the left) providing a consistent wall of sound, and the other (on the right) constrained but with movement. Melodies and swells of cello add to further complexity for the right choir, and a solo vocal dips in and out. "Channeling is a recurring concept in the river segment and this composition. The river used to be multithread with multiple channels, but has been strengthened and confined to a single channel. Fish are channeled to enable their movement past human energy production. In “Left and Right of Passage,” constrained movement is evoked in the vocals, particularly in the left choir but also in the right choir. The brevity of spurts of pizzicato and truncated melodies illustrate channeling in the cello. Segments of the original soundscape emerge unaltered (aside from volume shaping) at the beginning, middle, and end of the piece, emphasized by frequency constrained channels of the original soundscape. These are offset so that the original field recording can be distinctly heard, most notably at 18-50s, 1:12-1:55 and at 3:15 until the conclusion."Section of the river Lech reimagined by Heather Spence. -------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 this sound piece, I did not have any recordings of water, only ambient sounds from a café and the bells from the square. I modified certain elements of the recordings by reversing them and adding reverb. I also added a synth drone that gradually transforms into an organ sequence in order to give the piece a more “sacred” character and to shape a coherent soundscape."The title refers to the poem of the same name by Paul Verlaine."Section of the river Lech reimagined by 53cm. -------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.

"The combination of the church bells and textural water currents exhibited the relationship to the river from the community, building close to the river one assumes the ongoing relationship to the river. The water sounds shallow, passing over stones. I chose to bounce and defragment these sounds using 1/4" analog tape, a response to the water passing and breaking past stones. "Breaking and disjointing the elements with ambient melodic vibraphones. The piece wanders and intensifies to a textural dissonance of low tones and glitchy static. It resolves with solely the sounds of the river as it leaves beyond the town. The piece was edited together then processed back as a final mix onto 1/4" tape before digitizing to a final version."Section of the river Lech reimagined by Nick Kuepfer. -------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.

"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.

"Assigned the section of the Lech that crosses from Austria into Germany, I decided to travel to the area (near the city of Füssen) to listen to the river myself. I visited on the last Saturday of January, when the sun was shining over the (still very present) snow on the banks of the river. "With a few microphones, two recorders, and lots of time to be with my thoughts, I recorded in six locations while walking south along the river. I began at the bridge over the Lech Falls, found a few spots to capture along the way until I made it across the border into Austria, where the river was calm and flat - but the slick snowy bank was not - and the battery cover from my recorder decided to slide down and join the river. Alas. I'd like to think it's made it well past Augsburg by now:). "In composing the piece, I knew I wanted to structure it geographically--starting in Austria, and ending at the falls. Further, I wanted the piece to capture a bit of the contemplative mood that persisted within me throughout that day along the river. It had been a while since I had spent a full day recording, and being with the river gave me some valuable space to sit with my thoughts as I listened. Just as I started to lay out the piece, a segment from the preceding section, section 9, was shared by Giuseppe Cordaro. When I listened to his piece, it resonated as a textured breathing, reverberant, a bit haunting. I grabbed a small section that felt like a signal, a warning, and for me, a beginning."Starting the piece with a fraction of Giuseppe's piece gave it a bit of a framing--and as I layered small pieces of each section in geographic order, you could feel the rise of the water and the original field recording from the treetop walk gave it a sense of humanity and space. But the journey I was trying to communicate was not coming through. I removed some tracks, isolated the hydrophone and geofon at times, and extended the length of the church bells (which I recorded on the treetop walk near sunset) as they led into the swell of the falls. From there, I trusted my instincts, which led me to add some instrumentation. With a keyboard and synth, I added in a few notes and chords that felt to be in conversation with the river's sounds. It was too much, but after pulling some back and adding a bit of reverb and some little touches, it started to feel a bit like that day I wandered along the river. I hope it does some of that for those who listen as well."Section of the river Lech reimagined by Tim Wojcik. -------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 field recording and the satellite timelapse I chose speak of hydro-power, energy and discontinuity, they tell the story of a voice fragmented, amplified and impeded. There is magic and mystery in the life of these ancient water-beings. Is a river a portal? Is the myth still alive?"Artist and researcher Elizabeth Gallon Drosde introduces us to the submerged at the beginning of the composition. Rivers are story tellers, they are memory. If we deep listen, we might commune with ghosts and tune our bodies to their whispers, we might become a vibration."The sound of wind accompanying this first part and the end of the piece is played on violin by violinist Ida Di Vita (Quartetto Indaco). A long whistle, the primordial element of air swirling and hissing."Later on I join the flow and embody the river, its deep ancestral sound. My poem and my pitched voice in English are there to remind us of the history of this more-than-human being, its force and path, its hunger. "Mystery and magic, and the Lech rivers in reverse. I proceed in Italian overlapping my reversed voice. I get hungrier and hungrier and I go deeper and deeper, till pressure slows down, till noise recedes.Composition:original field recording by Riccardo Fumagalliwind sound by violinist Ida di Vita (Quartetto Indaco)intro poem 'In the interstices of river-portals' by Elizabeth Gallon DrosdeEnglish/Italian poem 'In the Arms of Weirs' by Ilaria BoffaSound effects, mixing and production by Ilaria BoffaPoem, In the Arms of Weirs'Deep-voiced white noiseprogression of pressure spinning of shhh, turmoil.It's all you can feel in the fall. It's good to be at serviceto move downwards and collectto come a long way acrossthe Pleistocene moraines the edge of Alps and gravel fieldsto accumulate in the arms of weirs.But I've seen algae disappearunder the law of no fish pass. I get hungrier and hungrierI go deeper and deeperas to search for the Styxas to swear by her water.Way less than a good mothermy spawning grounds in degradationmy current impeded, my voicebroken, a life to gauge.Flow continuity hiccups with drawn-out hisses and roarsit self-renders into a different languageit loosens and rivers in reverse.' Poem, Is a River a Portal?'Living between languages, between the here and therelearning to become fluvial,finding shores to breathe on,more than a beginning or an end.The portal, the waters, dams.To remember with water is to submerge in the threshold —this is how the river becomes a practice, a way of moving,a framework for transitionsin the interstices,Linking us to the collective,to the territories that lie beyond, deeper.Listening to the waters between the here and there,becomes a space for what resists being said,a gesture of attention,where meaning slips through,without words.Communing with the ghostsrivers always testify, are storytellersthis means tuning our bodies to their whispersa hum, a vibration, an interference.'Section of the river Lech reimagined by Ilaria Boffa. -------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 composing Segment No. 9 for the Flow project, I explored how to translate the satellite imagery into sound and blend it with the provided field recording. I began by converting the imagery into raw data, which I then mapped to MIDI to trigger synthesisers."Listening to the field recording, I felt it told its own story, capturing the contrast between the free flowing River Lech and the sound of gravel at the extraction factory site. I composed a tertiary piece in a bid to combine these elements, feeling that my part was one of creating an emotional space where a conversation could take place between them."With this in mind, I reached out to the artist and curator of the Flow project, Riccardo Fumagalli, to see if he and his colleagues would be willing to share their personal reflections on the river. Both he and Dr. Martina Cecchetto of the University of Padua kindly provided moving voice messages. Their words inspired me to weave their voices into the piece conversationally, providing the final cohesion I had envisioned at the outset." Section of the river Lech reimagined by Cara Kelly. -------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 data sonification of the Lech River - the river as score"A river does not compose. It erodes, carries, deposits. Over centuries it traces a shape into the land — a shape that is the accumulated record of rainfall, geology, seasonal flood, and human intervention. This project begins with a simple question: what does that shape sound like?"Using computer vision applied to satellite imagery, I extracted the geometry of a segment of the Lech river. From this geometry I simulated 300 trajectories — triplets of coordinates describing the paths that small stones might travel as they roll along the water flow. Each triplet becomes a pair of pitches, derived from comparing the point's position within the river's width and the segment's length to a given musical scale. The data does not illustrate the river. It becomes the river's voice — oblique, distributed, never quite repeating.Listening like a river bank"The musical material is deliberately modest: long tones, broken arpeggios, pizzicatos. These are not interpretations of the data — they are its shadows. Harmonies emerge not from compositional intention but from the spatial distribution of 300 points across a riverbed. Some small musical forms surface briefly and dissolve, the way a eddy forms in shallow water and is gone before you have named it."The experience this work invites is close to a particular kind of attention — the attention of someone sitting on a bank, watching water. Not analysing. Not judging. Allowing the mind to follow the surface until the distinction between observer and observed quietly loosens. Patterns appear. Whether they are in the data or in us is precisely the question the piece does not answer."There is a specific joy available in this kind of surrender — in relinquishing the expectation that music should go somewhere, and discovering instead the pleasure of aleatory variety, of randomness that is not arbitrary because it carries the memory of a physical place.History flows with the river"The Lech is not only a natural form. It is a historical one. Its current shape reflects centuries of channeling, dredging, and management — the marks of communities that depended on it, altered it, lived beside it. The random paths of the simulated stones are therefore already entangled with human time."Late in the piece, this entanglement becomes explicit. The voice of a local Lorelei appears — drawn from my own translation of Andrea Zanzotto's poem "Femene che le lava", written in Venetian dialect. The poem recalls the women of his village descending to the river to wash clothes: an image so old it barely needs explaining.. Zanzotto's images — rooted in the Venetian foothills, in the sounds of a community already disappearing when he wrote — arrives as sediment does: carried from upstream, deposited gently, changing the texture of the riverbed."The voice does not resolve the piece. It passes through it, as the women passed through, as everything passes through.Technical note"Satellite imagery of the Lech river was processed using computer vision techniques to isolate the river's outline and identify its navigable segment. 300 coordinate triplets were then simulated within this area to model plausible stone trajectories along the water flow. Each point was mapped to two pitches by relating its X/Y coordinates to the river's local width and total segment length, using a fixed musical scale as the conversion frame. The resulting pitch sequences form the harmonic and melodic raw material of the composition, realized through sustained tones, arpeggiated figures, and pizzicato textures."I also incorporated some fragments of Francesco Ganassin's composition for the opposite side of the river, to blend our individual imagined soundscapes, together."Section of the river Lech reimagined by Sergio Marchesini. -------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 crowded procession of singular figures, images and imaginaries, possible futures "“Figures” is built upon a field recording of a threshold zone where the mountains begin to yield to the plains, and where the river itself is divided since a part of its water is withdrawn into a side channel for hydropower production.The underlying approach draws on Steven Feld's proposition that attentive listening is itself a rigorous form of research. Given time and attention, sound ceases to be the object of study and becomes its instrument, a means by which human, natural, hybrid, and alien figures can be identified within the landscape, and within the constant flow of water. "Isn't culture a constant flux? "Isn't transmission/tradition a constant flow?"The matter is: inquiry of this kind is subjective. Its situatedness is not incidental to Figures: it is its method. My personal geography is deeply intertwined with the river systems of Veneto: I was born on the river Brenta in Bassano del Grappa, I live in Rovigo between the Po and the Adige. In my life a flowing river has always meant home. In youth it was the mountains' presence, and its trails, that shaped me; now it is the plain. But the river is a constant. By the way, what I brought to the field recording of Section 8 is not only a way of listening. I have used a set of different instruments I conceived to make that listening recognizable. "DzigaLoop, a digital tape looper I built on a Bela board and programmed in Pure Data, creates recursive temporal relationships between sonic materials, revealing the silences between gestures and embodying a conception of time as growing and living memory rather than a linear progression. And through DzigaLoop some sounds I have been carrying for a long time appear: the tinkling of small bells, flies, birds, the babble of distant voices, field recordings made at home, 16 years ago. Old personal memories that resurface here in the water."Loscillator, a synthesizer built for the MozziByte platform, contributes sustained oscillating layers that function as an harmonic ground. It is basically something between a multiple drone and a choral slow breath. "Aquadrone, a mobile app I developed in FaustDSP, adds a dimension of submerged, immersive resonance. It is active and somehow disturbing, suddendly disrupting."Within the piece, two further figures surface. A fragment from Bill McKenna's sonorization of Section 1 appears, like a homeless sonic memory traveling downstream with the water, arriving here as something half-familiar and half-strange. "A female voice processed through DzigaLoop, originally taken from Sergio Marchesini's composition for this same Segment 8, in my imagination is an anguana, the water spirit of Alpine and Venetian tradition, neither fully human nor fully other. Me and Sergio, old friends, in this case are two researchers listening to the same stretch of river independently, each on one bank, catching glimpses of each other across the water, listening to singular figures, images and imaginaries, possible futures."Deeply processed underwater piano and celesta sounds complete the procession, dissolving the boundary between acoustic instrument and environmental presence. They are more than a sound. They stand for an attitude, maybe for what Hildegard Westerkamp, in her keynote address to the ISEA 2015 in Vancouver, defined as the “preparedness to meet the unpredictable and unplanned, to welcome the unwelcome”."Section of the river Lech reimagined by Francesco Ganassin. -------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.

"Upon first hearing the field recording, I struggled to locate the river in it — to connect the sound with the Lech's path from alpine source to lowland plain. What I received seemed almost random: poor fidelity, heavy handling noise, footsteps as the dominant element. A crossing over a bridge in a gorge, vehicles faint in the distance, a fragment of a human voice."Not a single drop of water could be heard."I began to think this was perhaps the truest reflection of the modern river — a soundscape shaped by human control, containment, redirection. Civilization's ongoing attempt to civilize wilderness until even documentation becomes abstract: distant, vague, almost artificial."In my own practice, I usually work with fine microphones, careful preamps, precise listening. I follow the sonic clues to where the voice of nature reveals herself. But here, I was given what felt like an over‑civilized recording — a sound with almost no trace of nature itself."So I chose to work with that absence. I took the envelopes of the steps, the clicks, the random disturbances, and folded them back upon themselves — composing intention out of accident. From those fragments emerged an imagined perspective of water molecules: indifferent to human structure, beyond our planning and control. Bridges, roads, microphones, even this composition — all are momentary. The river moves regardless."In the end, whether real or fabricated, organic or synthetic, the sound becomes its own current. A flow reconstituted from civilization's residue."Section of the river Lech reimagined by Michael Northam. -------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.

"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.

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 city of Augsburg is crossed by 29 canals, which contributed to its textile industry in the 19th century. Now its lively city centre combines stunning architecture and modern lifestyle.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.

"All posts from the Flow project's WhatsApp group were saved to a text document and numbered as 'segments'."These segments were then recited as speech and played in random order."Removed from their original sequence, the speech fragments illustrate how meaning is shaped by their place within a broader flow of communications."(Phrases such as 'user name' were used to respect the privacy of group members.)"Section of the river Lech reimagined by Max Greening. -------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.