Podcasts about Sicily

Friday of the 11th Week in Ordinary Time Saint of the Day: St. John of Pulsano, 1070-1139; born in Naples, and entered the Benedictines, but was disliked for his austerity; joined the community of St. William of Vercelli for a time, leaving to breach at Ban; lived as a hermit in Sicily, and was imprisoned; he escaped, and went to Capua; he later founded a monastery at Pulsano; famous for his lpreaching, prophecy, and miracles Office of Readings and Morning Prayer for 6/20/25 Gospel: Matthew 6:19-23

In this episode, Kristen welcomes trauma therapist and author Emily Romero, to explore the roots of self-doubt and share her Self-Trust Model for rebuilding confidence and reconnecting with inner wisdom. www.curiosityrising.com   When you purchase these books through these Amazon links, you're helping support the podcast at no extra cost to you.   Emily Romero's Books: 1. You Can Trust Yourself: Unlock The Wise Woman Within Using Modern Tools & Ancient Wisdom: https://amzn.to/4jKRh0B  2. Can People Really Change?: 13 Lessons from 13 Years as a Therapist: https://amzn.to/43YgIpH Emily Romero's Recommended Reads 1. From Scratch: A Memoir of Love, Sicily, and Finding Home: https://amzn.to/4mOqh2R 2. This Story Will Change: After the Happily Ever After: https://amzn.to/4kYpta3  3. I'm Glad My Mom Died: https://amzn.to/45MhXuj   Subscribe and get a free 5-day journal at www.kristendboice.com to begin closing the chapter on what doesn't serve you and open the door to the real you. This information is being provided to you for educational and informational purposes only. It is being provided to you to educate you about ideas on stress management and as a self-help tool for your own use. It is not psychotherapy/counseling in any form. This information is to be used at your own risk based on your own judgment.  For my full Disclaimer please go to www.kristendboice.com. For counseling services near Indianapolis, IN, visit www.pathwaystohealingcounseling.com. Pathways to Healing Counseling's vision is to provide warm, caring, compassionate and life-changing counseling services and educational programs to individuals, couples and families in order to create learning, healing and growth.      

There are parts of Italian-American and Sicilian-American culture at risk of being lost as neighborhoods become more homogenized. In this episode, friend of the show Marcele Reola shares memories of her family's culture, including Italian folk magic, intergenerational trauma, stories from a trip to Sicily, and more. Links Marcele shared for listeners:Books:So You Wanna Be Italian? https://www.amazon.com/gp/aw/d/0985960752/ref=sw_img_1?smid=ATVPDKIKX0DER&psc=1#Italian Folk Magic https://www.amazon.com/Italian-Folk-Magic-Kitchen-Witchery/dp/1578636183Della Medicina https://www.amazon.com/Della-Medicina-Tradition-Italian-American-Healing/dp/1644117533Travel:Radici Siciliane https://www.radicisiciliane.com/   Read the first chapter of Daughter of theMystic Moon: https://www.nicollemorock.com/daughter-of-the-mystic-moonFollow Nicolle's first-ever Kickstarter Project: https://www.kickstarter.com/projects/nicollemorock/daughter-of-the-mystic-moon-a-medieval-fantasy-novelSubscribe to Nicolle's newsletter, find her books, or book a healing session at https://www.nicollemorock.com/The talented Mr. Jeremy Moss http://jeremymosscomposer.com/ provides theme music (Listen through the end of the podcast to hear the whole theme song.)Connect with Nicolle at www.peeppodcast.com and https://www.facebook.com/P.E.E.P.PodcastGet merchandise at https://www.teepublic.com/user/peep-podcast

We've released the first two episodes of our standalone miniseries with the folks from ⁠We're Not So Different⁠⁠⁠. Get the rest of the episodes ⁠here⁠! The expedition begins to take shape. We continue to explore the fallout from Pope Urban II's call for Crusade at the Council of Clermont, as lords from across France prepare to set off. We look especially at the Normans under Bohemond of Taranto, who will play an outsized role in the campaign to come and whose conquest of Sicily offers some insight into how that campaign would be conducted. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mi entrevistado en este episodio es Carlos A. Scolari, Catedrático del Departamento de Comunicación de la Universitat Pompeu Fabra – Barcelona. Ha sido Investigador Principal de diversos proyectos de investigación internacionales y estatales, desde el proyecto H2020 TRANSLITERACY (entre 2015 y 2018) hasta el proyecto LITERAC_IA, que comenzó en 2024 y dirige junto a María del Mar Guerrero. Sus últimos libros son Cultura Snack (2020), La guerra de las plataformas (2022) y Sobre la evolución de los medios (2024). Ahora está trabajando en un libro sobre los fósiles mediáticos.Notas del Episodio* Historia de ecologia de los medios* Historia de Carlos* Diferencias entre el anglosfero y el hispanosfero* La coevolucion entre tecnologia y humanos* La democratizacion de los medios* Evolucion de los medios* Alienacion y addiccion* Como usar los medios conscientementeTareaCarlos A. Scolari - Pagina Personal - Facebook - Instagram - Twitter - Escolar GoogleSobre la evolución de los mediosHipermediaciones (Libros)Transcrito en espanol (English Below)Chris: [00:00:00] Bienvenido al podcast el fin de turismo Carlos. Gracias por poder hablar conmigo hoy. Es un gran gusto tener tu presencia aquí conmigo hoy. Carlos: No gracias a ti, Chris, por la invitación. Es un enorme placer honor charlar contigo, gran viajero y bueno, yo nunca investigué directamente el tema del turismo.Pero bueno, entiendo que vamos a hablar de ecología de los medios y temas colaterales que nos pueden servir para entender mejor, darle un sentido a todo esto que está pasando en el mundo del turismo. Bueno, yo trabajo en Barcelona. No vivo exactamente en la ciudad, pero trabajo, en la universidad en Barcelona, en la zona céntrica.Y bueno, cada vez que voy a la ciudad cada día se incrementa la cantidad de turistas y se incrementa el debate sobre el turismo, en todas sus dimensiones. Así que es un tema que está la orden del día, no? Chris: Sí, pues me imagino que aunque si no te gusta pensar o si no quieres pensar en el turismo allá, es inevitable tener como una enseñanza [00:01:00] personal de esa industria.Carlos: Sí, hasta que se está convirtiendo casi en un criterio taxonómico, no? ...de clasificación o ciudades con mucho turista ciudades o lugares sin turistas que son los más buscados hasta que se llenan de turistas. Entonces estamos en un círculo vicioso prácticamente. Chris: Ya pues, que en algún memento se que se cambia, se rompe el ciclo, al menos para dar cuenta de lo que estamos haciendo con el comportamiento.Y, yo entiendo que eso también tiene mucho que ver con la ecología de los medios, la falta de capacidad de entender nuestros comportamientos, actitudes, pensamientos, sentimientos, etcétera. Entonces, antes de seguir por tu trabajo y obras, este me gustaría preguntarte de tu camino y de tu vida.Primero me pregunto si podrías definir para nuestros oyentes qué es la ecología de los medios y cómo te [00:02:00] interesó en este campo? Cómo llegaste a dedicar a tu vida a este estudio?Carlos: Sí. A ver un poco. Hay una, esta la historia oficial. Diríamos de la ecología de los medios o en inglés "media ecology," es una campo de investigación, digamos, eh, que nace en los años 60. Hay que tener en cuenta sobre todos los trabajos de Marshall McLuhan, investigador canadiense muy famoso a nivel mundial. Era quizá el filósofo investigador de los medios más famosos en los años 60 y 70.Y un colega de el, Neil Postman, que estaba en la universidad de New York en New York University un poco, digamos entre la gente que rodeaba estos dos referentes, no, en los años 60, de ahí se fue cocinando, diríamos, lo que después se llamó la media ecology. Se dice que el primero que habló de media ecology que aplicó esta metáfora a los medios, fue el mismo Marshall McLuhan en algunas, conversaciones privadas, [00:03:00] cartas que se enviaban finales dos años 50, a principios de los 60, se enviaban los investigadores investigadora de estos temas?Digamos la primera aparición pública del concepto de media ecology fue una conferencia en el año 1968 de Neil Postman. Era una intervención pública que la hablaba de un poco como los medios nos transforman y transforman los medios formar un entorno de nosotros crecemos, nos desarrollamos, no. Y nosotros no somos muy conscientes a veces de ese medio que nos rodea y nos modela.El utilizó por primera vez el concepto de media ecology en una conferencia pública. Y ya, si vamos a principio de los años 70, el mismo Postman crea en NYU, en New York University crea el primer programa en media ecology. O sea que ya en el 73, 74 y 75, empieza a salir lo que yo llamo la segunda generación, de gente [00:04:00] formada algunos en estos cursos de New York.Por ejemplo Christine Nystrom fue la primera tesis doctoral sobre mi ecology; gente como, Paul Levinson que en el año 1979 defiende una tesis doctoral dirigida por Postman sobre evolución de los medios, no? Y lo mismo pasaba en Toronto en los años 70. El Marshall McLuhan falleció en el diciembre del 80.Digamos que los años 70 fueron su última década de producción intelectual. Y hay una serie de colaboradores en ese memento, gente muy joven como Robert Logan, Derrick De Kerchove, que después un poco siguieron trabajando un poco todo esta línea, este enfoque. Y ahí hablamos del frente canadiense, eh?Toda esta segunda generación fue desarrollando, fue ampliando aplicando. No nos olvidemos de Eric McLuhan, el hijo de Marshall, que también fue parte de toda esta movida. [00:05:00] Y si no recuerdo mal en el año 2000, se crea la asociación la Media Ecology Association, que es la Asociación de Ecología de los Medios, que es una organización académica, científica, que nuclea a la gente que se ocupa de media ecology. Si pensamos a nivel más científico epistemológico, podemos pensar esta metáfora de la ecología de los medios desde dos o tres perspectivas. Por un lado, esta idea de que los medios crean ambientes. Esta es una idea muy fuerte de Marsha McLuhan, de Postman y de todo este grupo, no? Los medios - "medio" entendido en sentido muy amplio, no, cualquier tecnología podría ser un medio para ellos.Para Marsha McLuhan, la rueda es un medio. Un un telescopio es un medio. Una radio es un medio y la televisión es un medio, no? O sea, cualquier tecnología puede considerarse un medio. Digamos que estos medios, estas tecnologías, generan un [00:06:00] ambiente que a nosotros nos transforma. Transforma nuestra forma, a veces de pensar nuestra forma de percibir el mundo, nuestra concepción del tiempo del espacio.Y nosotros no somos conscientes de ese cambio. Pensemos que, no sé, antes de 1800, si alguien tenía que hacer un viaje de mil kilómetros (y acá nos acercamos al turismo) kilómetros era un viaje que había que programarlo muchos meses antes. Con la llegada del tren, ya estamos en 1800, esos kilómetros se acortaron. Digamos no? Ahí vemos como si a nosotros hoy nos dicen 1000 kilómetros.Bueno, si, tomamos un avión. Es una hora, una hora y cuarto de viaje. Hoy 1000 kilómetro es mucho menos que hace 200 años y incluso a nivel temporal, se a checo el tiempo. No? Todo eso es consecuencia, digamos este cambio, nuestra percepción es consecuencia de una serie de medios y tecnologías.El ferrocarril. Obviamente, hoy tenemos los aviones. Las mismas redes digitales que, un poco nos han llevado esta idea de "tiempo [00:07:00] real," esta ansiedad de querer todo rápido, no? También esa es consecuencia de estos cambios ambientales generados por los medios y las tecnologías, eh? Esto es un idea muy fuerte, cuando McLuhan y Postman hablaban de esto en los años 60, eran fuertes intuiciones que ellos tenían a partir de una observación muy inteligente de la realidad. Hoy, las ciencias cognitivas, mejor las neurociencia han confirmado estas hipótesis. O sea, hoy existen una serie de eh metodología para estudiar el cerebro y ya se ve como las tecnologías.Los medios afectan incluso la estructura física del cerebro. No? Otro tema que esto es histórico, que los medios afectan nuestra memoria. Esto viene de Platón de hace 2500 años, que él decía que la escritura iba a matar la memoria de los hombres. Bueno, podemos pensar nosotros mismos, no, eh?O por lo menos esta generación, que [00:08:00] vivimos el mundo antes y después de las aplicaciones móviles. Yo hace 30 años, 25 años, tenía mi memoria 30-40 números telefónicos. Hoy no tengo ninguno. Y en esa pensemos también el GPS, no? En una época, los taxistas de Londres, que es una ciudad latica se conocían a memoria la ciudad. Y hoy eso, ya no hace falta porque tienen GPS.Y cuando han ido a estudiar el cerebro de los taxistas de Londres, han visto que ciertas áreas del cerebro se han reducido, digamos, así, que son las áreas que gestionaban la parte espacial. Esto ya McLuhan, lo hablaba en los años 60. Decía como que los cambios narcotizan ciertas áreas de la mente decía él.Pero bueno, vemos que mucha investigación empírica, bien de vanguardia científica de neurociencia está confirmando todas estos pensamientos, todas estas cosas que se decían a los años 60 en adelante, por la media ecology. Otra posibilidad es entender [00:09:00] esto como un ecosistema de medios, Marshall McLuhan siempre decía no le podemos dar significado,no podemos entender un medio aislado de los otros medios. Como que los medios adquieren sentido sólo en relación con otros medios. También Neil Postman y mucha otra gente de la escuela de la media ecology, defiende esta posición, de que, bueno, los medios no podemos entender la historia del cine si no la vinculamos a los videojuegos, si no lo vinculamos a la aparición de la televisión.Y así con todos los medios, no? Eh? Hay trabajos muy interesantes. Por ejemplo, de como en el siglo 19, diferentes medios, podríamos decir, que coevolucionaron entre sí. La prensa, el telégrafo. El tren, que transportaba los diarios también, aparecen las agencias de noticias. O sea, vemos cómo es muy difícil entender el desarrollo de la prensa en el siglo XIX y no lo vinculamos al teléfono, si no lo vinculamos a la fotografía, si no lo vinculamos a la radio fotografía, [00:10:00] también más adelante.O sea, esta idea es muy fuerte. No también es otro de los principios para mí fundamentales de esta visión, que sería que los medios no están solos, forman parte de un ecosistema y si nosotros queremos entender lo que está pasando y cómo funciona todo esto, no podemos, eh, analizar los medios aislados del resto.Hay una tercera interpretación. Ya no sé si es muy metafórica. No? Sobre todo, gente en Italia como el investigador Fausto Colombo de Milán o Michele Cometa, es un investigador de Sicilia, Michele Cometa que él habla de l giro, el giro ecomedial. Estos investigadores están moviéndose en toda una concepción según la cual, estamos en único ecosistema mediático que está contaminado.Está contaminado de "fake news" está contaminado de noticias falsas, está contaminado de discursos de odio, etcétera, etc. Entonces ellos, digamos, retoman esta metáfora ecológica para decir [00:11:00] precisamente tenemos que limpiar este ecosistema así como el ecosistema natural está contaminado, necesita una intervención de limpieza, digamos así de purificación, eh? También el ecosistema mediático corre el mismo peligro, no? Y esta gente también llama la atención, y yo estoy muy cerca de esta línea de trabajo sobre la dimensión material de la comunicación. Y esto también tiene que ver con el turismo, queriendo, no? El impacto ambiental que tiene la comunicación hoy.Entrenar una inteligencia artificial implica un consumo eléctrico brutal; mantener funcionando las redes sociales, eh, tiktok, youtube, lo que sea, implica millones de servidores funcionando que chupan energía eléctrica y hay que enfriarlos además, consumiendo aún más energía eléctrica. Y eso tiene un impacto climático no indiferente.Así que, bueno, digamos, vemos que está metáfora de lo ecológico, aplicado los medios da para dos o tres interpretaciones. Chris: Mmm. [00:12:00] Wow. Siento que cuando yo empecé tomando ese curso de de Andrew McLuhan, el nieto de Marshall, como te mencioné, cambio mi perspectiva totalmente - en el mundo, en la manera como entiendo y como no entiendo también las nuestras tecnologías, mis movimientos, etcétera, pero ya, por una persona que tiene décadas de estudiando eso, me gustaría saber de de como empezaste. O sea, Andrew, por ejemplo tiene la excusa de su linaje, no de su papá y su abuelo.Pero entonces, como un argentino joven empezó aprendiendo de ecología de medios. Carlos: Bueno, yo te comento. Yo estudié comunicación en argentina en Rosario. Terminé la facultad. El último examen el 24 de junio del 86, que fue el día que nacía el Lionel Messi en Rosario, en Argentina el mismo día. Y [00:13:00] yo trabajaba, colaboraba en una asignatura en una materia que era teorías de la comunicación.E incluso llegué a enseñar hasta el año 90, fueron tres años, porque ya después me fui vivir Italia. En esa época, nosotros leíamos a Marshall McLuhan, pero era una lectura muy sesgada ideológicamente. En América latina, tú lo habrás visto en México. Hay toda una historia, una tradición de críticas de los medios, sobre todo, a todo lo que viene de estados unidos y Canadá está muy cerca de Estados Unidos. Entonces, digamos que en los años 70 y 80 y y hasta hoy te diría muchas veces a Marshall McLuhan se lo criticó mucho porque no criticaba los medios. O sea el te tenía una visión. Él decía, Neil Postman, si tenía una visión muy crítica. Pero en ese caso, este era una de las grandes diferencias entre Postman y McLuhan, que Marshall McLuhan, al menos en [00:14:00] público, él no criticaba los medios. Decía bueno, yo soy un investigador, yo envío sondas. Estoy explorando lo que pasa. Y él nunca se sumó... Y yo creo que eso fue muy inteligente por parte de él... nunca se sumó a este coro mundial de crítica a los medios de comunicación. En esa época, la televisión para mucha gente era un monstruo.Los niños no tenían que ver televisión. Un poco lo que pasa hoy con los móviles y lo que pasa hoy con tiktok. En esa época en la televisión, el monstruo. Entonces, había mucha investigación en Estados Unidos, que ya partía de la base que la televisión y los medios son malos para la gente. Vemos que es una historia que se repite. Yo creo que en ese sentido, Marshall McLuhan, de manera muy inteligente, no se sumó ese coro crítico y él se dedico realmente a pensar los medios desde una perspectiva mucho más libre, no anclada por esta visión yo creo demasiado ideologizada, que en América Latina es muy fuerte. Es muy fuerte. Esto no implica [00:15:00] bajar la guardia, no ser crítico. Al contrario.Pero yo creo que el el verdadero pensamiento crítico parte de no decir tanto ideológica, decimos "esto ya es malo. Vamos a ver esto." Habrá cosas buenas. Habrá cosas mala. Habrá cosa, lo que es innegable, que los medios mas ya que digamos son buenos son va, nos transforman. Y yo creo que eso fue lo importante de la idea McLuhaniana. Entonces mi primer acercamiento a McLuhan fue una perspectiva de los autores críticos que, bueno, sí, viene de Estados Unidos, no critica los medios. Vamos a criticarlo a nosotros a él, no? Y ese fue mi primer acercamiento a Marshall McLuhan. Yo me fui a Italia en la decada de 90. Estuve casi ocho años fuera de la universidad, trabajando en medios digitales, desarrollo de páginas, webs, productos multimédia y pretexto. Y a finales de los 90, dije quiero volver a la universidad. Quiero ser un doctorado. Y dije, "quiero hacer un doctorado. Bueno. Estando en Italia, el doctorado iba a ser de semiótica." Entonces hizo un [00:16:00] doctorado. Mi tesis fue sobre semiótica de las interfaces.Ahi tuve una visión de las interfaces digitales que consideran que, por ejemplo, los instrumentos como el mouse o joystick son extensiones de nuestro cuerpo, no? El mouse prolonga la mano y la mete dentro de la pantalla, no? O el joystick o cualquier otro elemento de la interfaz digital? Claro. Si hablamos de que el mouse es una extensión de la mano, eso es una idea McLuhaniana.Los medios como extensiones del ser humano de sujeto. Entonces, claro ahi yo releo McLuhan en italiano a finales de los años 90, y me reconcilio con McLuhan porque encuentro muchas cosas interesantes para entender precisamente la interacción con las máquinas digitales. En el a 2002, me mudo con mi familia a España. Me reintegro la vida universitaria. [00:17:00] Y ahí me pongo a estudiar la relación entre los viejos y los nuevos medios. Entonces recupero la idea de ecosistema. Recupero toda la nueva, la idea de ecología de mi ecology. Y me pongo a investigar y releer a McLuhan por tercera vez. Y a leerlo en profundidad a él y a toda la escuela de mi ecology para poder entender las dinámicas del actual ecosistema mediático y entender la emergencia de lo nuevo y cómo lo viejo lucha por adaptarse. En el 2009, estuve tres meses trabajando con Bob Logan en the University of Toronto. El año pasado, estuve en el congreso ahí y tuvimos dos pre conferencias con gente con Paolo Granata y todo el grupo de Toronto.O sea que, tengo una relación muy fuerte con todo lo que se producía y se produce en Toronto. Y bueno, yo creo que, a mí hoy, la media ecology, me sirve muchísimo junto a otras disciplina como la semiótica para poder entender el ecosistema [00:18:00] mediático actual y el gran tema de investigación mío hoy, que es la evolución del la ecosistema mediático.Mm, digamos que dentro de la media ecology, empezando de esa tesis doctoral del 79 de Paul Levinson, hay toda una serie de contribuciones, que un poco son los que han ido derivando en mi último libro que salió el año pasado en inglés en Routledge, que se llama The Evolution of Media y acaba de salir en castellano.Qué se llama Sobre La Evolución De los Medios. En la teoría evolutiva de los medios, hay mucha ecología de los medios metidos. Chris: Claro, claro. Pues felicidad es Carlos. Y vamos a volver en un ratito de ese tema de la evolución de medios, porque yo creo que es muy importante y obviamente es muy importante a ti. Ha sido como algo muy importante en tu trabajo. Pero antes de de salir de esa esquina de pensamiento, hubo una pregunta que me mandó Andrew McLuhan para ti, que ya ella contestaste un poco, pero este tiene que ver entre las diferencias en los [00:19:00] mundos de ecología de medios anglofonos y hispánicos. Y ya mencionaste un poco de eso, pero desde los tiempos en los 80 y noventas, entonces me gustaría saber si esas diferencias siguen entre los mundos intelectuales, en el mundo anglofono o hispánico.Y pues, para extender su pregunta un poco, qué piensas sería como un punto o tema o aspecto más importante de lo que uno de esos mundos tiene que aprender el otro en el significa de lo que falta, quizás. Carlos: Si nos focalizamos en el trabajo de Marshall McLuhan, no es que se lo criticó sólo de América Latina.En Europa no caía simpático Marshall McLuhan en los 60, 70. Justamente por lo mismo, porque no criticaba el sistema capitalista de medios. La tradición europea, la tradición de la Escuela de Frankfurt, la escuela de una visión anti [00:20:00] capitalista que denuncia la ideología dominante en los medio de comunicación.Eso es lo que entra en América Latina y ahí rebota con mucha fuerza. Quizá la figura principal que habla desde América Latina, que habló mucho tiempo de América latina es Armand Mattelart. Matterlart es un teórico en la comunicación, investigador de Bélgica. Y él lo encontramos ya a mediados de los años 60 finales de los 60 en Chile en un memento muy particular de la historia de Chile donde había mucha politización y mucha investigación crítica, obviamente con el con con con con el capitalismo y con el imperialismo estadounidense. Quizá la la obra clásica de ese memento es el famoso libro de Mattelart y Dorfman, eh, eh? Para Leer El Pato Donald, que donde ellos desmontan toda la estructura ideológica capitalista, imperialista, que había en los cics en las historietas del pato Donald.Ellos dicen esto se publicó a [00:21:00] principio los 70. Es quizá el libro más vendido de la comic latinoamericana hasta el día de hoy, eh? Ellos dicen hay ideología en la literatura infantil. Con el pato Donald, le están llenando la cabeza a nuestros niños de toda una visión del mundo muy particular.Si uno le el pato Donald de esa época, por lo menos, la mayor parte de las historia del pato Donald, que era, había que a buscar un tesoro y adónde. Eran lugares africana, peruviana, incaica o sea, eran países del tercer mundo. Y ahí el pato Donald, con sus sobrinos, eran lo suficientemente inteligentes para volverse con el oro a Patolandia.Claro. Ideológicamente. Eso no se sostiene. Entonces, la investigación hegemónica en esa época en Europa, en Francia, la semiología pero sobre todo, en América latina, era ésa. Hay que estudiar el mensaje. Hay que estudiar el contenido, porque ahí está la ideología [00:22:00] dominante del capitalismo y del imperialismo.En ese contexto, entra McLuhan. Se traduce McLuhan y que dice McLuhan: el medio es el mensaje. No importa lo que uno lee, lo que nos transforma es ver televisión, leer comics, escuchar la radio. Claro, iba contramano del mainstream de la investigación en comunicación. O sea, digamos que en América latina, la gente que sigue en esa línea que todavía existe y es fuerte, no es una visión muy crítica de todo esto, todavía hoy, a Marshal McLuhan le cae mal, pero lo mismo pasa en Europa y otros países donde la gente que busca una lectura crítica anti-capitalista y anti-sistémica de la comunicación, no la va a encontrar nunca en Marshall McLuhan, por más que sea de América latina, de de de Europa o de Asia. Entonces yo no radicaría todo esto en un ámbito anglosajón y el latinoamericano. Después, bueno, la hora de McLuhan es bastante [00:23:00] polisemica. Admite como cualquier autor así, que tiene un estilo incluso de escritura tan creativo en forma de mosaico.No era un escritor Cartesiano ordenadito y formal. No, no. McLuhan era una explosión de ideas muy bien diseñada a propósito, pero era una explosión de ideas. Por eso siempre refrescan tener a McLuhan. Entonces normal que surjan interpretaciones diferentes, no? En estados unidos en Canadá, en Inglaterra, en Europa continental o en Latinoamérica o en Japón, obviamente, no? Siendo un autor que tiene estas características. Por eso yo no en no anclaría esto en cuestiones territoriales. Cuando uno busca un enfoque que no tenga esta carga ideológica para poder entender los medios, que no se limite sólo a denunciar el contenido.McLuhan y la escuela de la ecología de los medios es fundamental y es un aporte muy, muy importante en ese sentido, no? Entonces, bueno, yo creo que McLuhan tuvo [00:24:00] detractores en Europa, tuvo detractores en América latina y cada tanto aparece alguno, pero yo creo que esto se ido suavizando. Yo quiero que, como que cada vez más se lo reivindica McLuhan.La gente que estudia, por ejemplo, en Europa y en América latina, que quizá en su época criticaron a McLuhan, todas las teorías de la mediatización, por ejemplo, terminan coincidiendo en buena parte de los planteos de la media ecology. Hoy que se habla mucho de la materialidad de la comunicación, los nuevos materialismos, yo incluyo a Marshall McLuhan en uno de los pioneros des esta visión también de los nuevos materialismos. Al descentrar el análisis del contenido, al medio, a la cosa material, podemos considerar a macl también junto a Bruno Latour y otra gente como pionero, un poco de esta visión de no quedarse atrapados en el giro lingüístico, no, en el contenido, en el giro semiótico e incorporar también la dimensión material de la comunicación y el medio en sí.[00:25:00] Chris: Muy bien. Muy bien, ya. Wow, es tanto, pero lo aprecio mucho. Gracias, Carlos. Y me gustaría seguir preguntándote un poco ahora de tu propio trabajo. Tienes un capítulo en tu libro. Las Leyes de la Interfaz titulado "Las Interfaces Co-evolucionan Con Sus Usuarios" donde escribes "estas leyes de la interfaz no desprecian a los artefactos, sus inventores ó las fuerzas sociales. Solo se limitan á insertarlos á una red socio técnica de relaciones, intercambios y transformaciones para poder analizarlos desde una perspectiva eco-evolutiva."Ahora, hay un montón ahí en este paragrafito. Pero entonces, me gustaría preguntarte, cómo vea los humanos [00:26:00] co-evolucionando con sus tecnologías? Por ejemplo, nuestra forma de performatividad en la pantalla se convierte en un hábito más allá de la pantalla.Carlos: Ya desde antes del homo sapiens, los homínidos más avanzados, digamos en su momento, creaban instrumentos de piedra. Hemos descubierto todos los neandertales tenían una cultura muy sofisticada, incluso prácticas casi y religiosas, más allá de la cuestión material de la construcción de artefactos. O sea que nuestra especie es impensable sin la tecnología, ya sea un hacha de piedra o ya sea tiktok o un smartphone. Entonces, esto tenemos que tenerlo en cuenta cuando analizamos cualquier tipo de de interacción cotidiana, estamos rodeados de tecnología y acá, obviamente, la idea McLuhaniana es fundamental. Nosotros creamos estos medios. Nosotros creamos estas tecnologías.Estas tecnologías también nos reformatean. [00:27:00] McLuhan, no me suena que haya usado el concepto de coevolución, pero está ahí. Está hablando de eso. Ahora bien. Hay una coevolución si se quiere a larguísimo plazo, que, por ejemplo, sabemos que el desarrollo de instrumentos de piedra, el desarrollo del fuego, hizo que el homo sapiens no necesitara una mandíbula tan grande para poder masticar los alimentos. Y eso produce todo un cambio, que achicó la mandíbula le dejó más espacio en el cerebro, etcétera, etcétera. Eso es una coevolución en término genético, digamos a larguísimo plazo, okey. También la posición eréctil, etcétera, etcétera. Pero, digamos que ya ahí había tecnologías humanas coevolucionando con estos cambios genéticos muy, muy lentos.Pero ahora tenemos también podemos decir esta co evolución ya a nivel de la estructura neuronal, entonces lo ha verificado la neurociencia, como dije antes. Hay cambio físico en la estructura del cerebro a lo largo de la vida de una persona debido a la interacción con ciertas tecnologías. Y por qué pasa eso?Porque [00:28:00] la producción, creación de nuevos medios, nuevas tecnologías se ido acelerando cada vez más. Ahi podemos hacer una curva exponencial hacia arriba, para algunos esto empezó hace 10,000 años. Para algunos esto se aceleró con la revolución industrial. Algunos hablan de la época el descubrimiento de América.Bueno, para alguno esto es un fenómeno de siglo xx. El hecho es que en términos casi geológicos, esto que hablamos del antropoceno es real y está vinculado al impacto del ser humano sobre nuestro ambiente y lo tecnológico es parte de ese proceso exponencial de co evolución. Nosotros hoy sentimos un agobio frente a esta aceleración de la tecnología y nuestra necesidad. Quizá de adaptarnos y coevolucionar con ella. Como esto de que todo va muy rápido. Cada semana hay un problema nuevo, una aplicación nueva. Ahora tenemos la inteligencia artificial, etc, etcétera. Pero esta sensación [00:29:00] no es nueva. Es una sensación de la modernidad. Si uno lee cosas escritas en 1,800 cuando llega el tren también la gente se quejaba que el mundo iba muy rápido. Dónde iremos a parar con este caballo de hierro que larga humo no? O sea que esta sensación de velocidad de cambio rápido ya generaciones anteriores la vivían. Pero evidentemente, el cambio hoy es mucho más rápido y denso que hace dos siglos. Y eso es real también. Así que, bueno, nuestra fe se va coevolucionando y nos vamos adaptando como podemos, yo esta pregunta se la hice hace 10 años a Kevin Kelly, el primer director de la revista Wire que lo trajimos a Barcelona y el que siempre es muy optimista. Kevin Kelly es determinista tecnológico y optimista al mismo tiempo. Él decía que "que bueno que el homo sapiens lo va llevando bastante bien. Esto de co evolucionar con la tecnología." Otra gente tiene una [00:30:00] visión radicalmente opuesta, que esto es el fin del mundo, que el homo sapiens estamos condenados a desaparecer por esta co evolución acelerada, que las nuevas generaciones son cada vez más estúpidas.Yo no creo eso. Creo, como McLuhan, que los medios nos reforman, nos cambian algunas cosas quizás para vivir otras quizá no tanto, pero no, no tengo una visión apocalíptica de esto para nada. Chris: Bien, bien. Entonces cuando mencionaste lo de la televisión, yo me acuerdo mucho de de mi niñez y no sé por qué. Quizás fue algo normal en ese tiempo para ver a tele como un monstruo, como dijiste o quizás porque mis mis papás eran migrantes pero fue mucho de su idea de esa tecnología y siempre me dijo como no, no, no quédate ahí tan cerca y eso.Entonces, aunque lo aceptaron, ellos comprendieron que el poder [00:31:00] de la tele que tenía sobre las personas. Entonces ahora todos, parece a mí, que todos tienen su propio canal, no su propio programación, o el derecho o privilegio de tener su propio canal o múltiples canales.Entonces, es una gran pregunta, pero cuáles crees que son las principales consecuencias de darle a cada uno su propio programa en el sentido de como es el efecto de hacer eso, de democratizar quizás la tecnología en ese sentido? Carlos: Cuando dices su propio canal, te refieres a la posibilidad de emitir o construir tu propia dieta mediática.Chris: Bueno primero, pero puede ser ambos, claro, no? O sea, mi capacidad de tener un perfil o cuenta mía personal. Y luego como el fin del turismo, no? Y luego otro. Carlos: Sí, a ver. Yo creo que, bueno, esto fue el gran cambio radical que empezó a darse a partir la década del 2000 o [00:32:00] sea, hace 25 años. Porque la web al principio sí era una red mundial en los años 90. Pero claro la posibilidad de compartir un contenido y que todo el mundo lo pudiera ver, estaba muy limitado a crear una página web, etcétera. Cuando aparecen las redes sociales o las Web 2.0 como se la llamaba en esa época y eso se suma los dispositivos móviles, ahí se empieza a generar esta cultura tan difundida de la creación de contenido. Hasta digamos que hasta ese momento quien generaba contenido era más o menos un profesional en la radio y en la televisión, pero incluso en la web o en la prensa o el cine. Y a partir de ahí se empieza, digamos, a abrir el juego. En su momento, esto fue muy bien saludado fue qué bueno! Esto va nos va a llevar a una sociedad más democrática. 25 años después, claro, estamos viendo el lado oscuro solamente. Yo creo que el error hace 25 años era pensar solo las posibilidades [00:33:00] buenas, optimistas, de esto. Y hoy me parece que estamos enredados en discursos solamente apocalípticos no?No vemos las cosas buenas, vemos solo las cosas malas. Yo creo que hay de las dos cosas hoy. Claro, hoy cualquier persona puede tener un canal, sí, pero no todo el mundo crea un canal. Los niveles de participación son muy extraños, o sea, la mayor parte de la población de los usuarios y usuarias entre en las redes. Mira. Mete un me gusta. Quizá un comentario. Cada tanto comparte una foto. Digamos que los "heavy users" o "heavy producers" de contenido son siempre una minoría, ya sea profesionales, ya sea influencers, streamers, no? Es siempre, yo no sé si acá estamos en un 20-80 o un 10-90 son estas curvas que siempre fue así? No? Si uno ve la Wikipedia, habrá un 5-10 por ciento de gente que genera contenido mucho menos incluso. Y un 90 por ciento que se [00:34:00] beneficia del trabajo de una minoría. Esto invierte la lógica capitalista? La mayoría vive de la minoría y esto pasaba antes también en otros, en otros sistemas. O sea que en ese sentido, es sólo una minoría de gente la que genera contenido de impacto, llamémoslo así, de alcance mayor.Pero bueno, yo creo que el hecho de que cualquier persona pueda dar ese salto para mí, está bien. Genera otra serie de problemas, no? Porque mientras que genera contenido, es un profesional o un periodista, digamos, todavía queda algo de normas éticas y que deben cumplir no? Yo veo que en el mundo de los streamers, el mundo de los Tik tokers etcétera, etcétera, lo primero que ellos dicen es, nosotros no somos periodistas. Y de esa forma, se inhiben de cualquier, control ético o de respeto a normas éticas profesionales. Por otro lado, las plataformas [00:35:00] Meta, Google, todas. Lo primero que te dicen es nosotros no somos medio de comunicación. Los contenidos los pone la gente.Nosotros no tenemos nada que ver con eso. Claro, ellos también ahí se alejan de toda la reglamentación. Por eso hubo que hacer. Europa y Estados Unidos tuvo que sacar leyes especiales porque ellos decían no, no, las leyes del periodismo a nosotros no nos alcanzan. Nosotros no somos editores de contenidos.Y es una mentira porque las plataformas sí editan contenido a través los algoritmos, porque nos están los algoritmos, nos están diciendo que podemos ver y que no está en primera página. No están filtrando información, o sea que están haciendo edición. Entonces, como que se generan estas equivocaciones.Y eso es uno de los elementos que lleva esta contaminación que mencioné antes en el en los ámbitos de la comunicación. Pero yo, si tuviera que elegir un ecosistema con pocos enunciadores pocos medios controlados por profesionales y este ecosistema [00:36:00] caótico en parte contaminado con muchos actores y muchas voces, yo prefiero el caos de hoy a la pobreza del sistema anterior.Prefiero lidiar, pelearme con y estar buscar de resolver el problema de tener mucha información, al problema de la censura y tener sólo dos, tres puntos donde se genera información. Yo he vivido en Argentina con dictadura militar con control férreo de medios, coroneles de interventores en la radio y la televisión que controlaban todo lo que se decía.Y yo prefiero el caos de hoy, aún con fake news y todo lo que quieras. Prefiero el caos de hoy a esa situación. Chris: Sí, sí, sí, sí. Es muy fuerte de pensar en eso para la gente que no han vivido en algo así, no? Osea algunos familiares extendidos han vivido en mundos comunistas, en el pasado en el este de Europa y no se hablan [00:37:00] exactamente así.Pero, se se hablan, no? Y se se dicen que lo que lo que no tenía ni lo que no tiene por control y por fuerza. Entonces, en ese como mismo sentido de lo que falta de la memoria vivida, me gustaría preguntarte sobre tu nuevo libro. Y sobre la evolución de medios. Entonces me gustaría preguntarte igual por nuestros oyentes que quizás no han estudiado mucho de la ecología de los medios Para ti qué es la evolución de los medios y por qué es importante para nuestro cambiante y comprensión del mundo. O sea, igual al lado y no solo pegado a la ecología de medios, pero la evolución de los medios,Carlos: Sí, te cuento ahí hay una disciplina, ya tradicional que es la historia y también está la historia de la comunicación y historia de los medios. [00:38:00] Hay libros muy interesantes que se titulan Historia de la Comunicación de Gutenberg a Internet o Historia de la Comunicación del Papiro a Tiktok. Entonces, qué pasa? Esos libros te dicen bueno, estaba el papiro, después vino el pergamino, el manuscrito, después en 1450 vino Gutenberg, llegó el libro. Pero eso el libro no te cuentan que pasó con el manuscrito, ni que pasó con el papiro. Y te dicen que llega la radio en 1920 y en 1950 llega la televisión y no te dicen que pasó con la radio, que pasó con el cine.Son historias lineales donde un medio parece que va sustituyendo al otro. Y después tenemos muchos libros muy buenos también. Historia de la radio, historia de la televisión, historia de internet, historia del periodismo. Como dije antes, retomando una idea, de McLuhan no podemos entender los medios aislados.Yo no puedo entender la evolución de la radio si no la vinculo a la prensa, a [00:39:00] la televisión y otro al podcast. Okey, entonces digo, necesitamos un campo de investigación, llamémoslo una disciplina en construcción, que es una teoría y también es metodología para poder entender el cambio mediático, todas estas transformaciones del ecosistema de medios a largo plazo y que no sea una sucesión de medios, sino, ver cómo esa red de medios fue evolucionando. Y eso yo lo llamo una teoría evolutiva o una "media evolution" Y es lo que estoy trabajando ahora. Claro, esta teoría, este enfoque, este campo de investigación toma muchas cosas de la ecología de los medios, empezando por Marshall McLuhan pero también gente de la tradición previa a la media ecology como Harold Innis, el gran historiador, economista de la comunicación y de la sociedad, que fue quizás el intelectual más famoso en Canadá en la primera mitad del siglo XX. Harold Innis que influenció mucho a Marshall McLuhan [00:40:00] Marshall McLuhann en la primera página de Gutenberg Galaxy, dice este libro no es otra cosa que una nota al pie de página de la obra de Harold Innis Entonces, Harold Innis que hizo una historia de los tiempos antiguos poniendo los medios al centro de esa historia. Para mí es fundamental. Incluso te diría a veces más que McLuhan, como referencia, a la hora de hacer una teoría evolutiva del cambio mediático. Y después, obviamente tomo muchas cosas de la historia de los medios.Tomo muchas cosas de la arqueología de los medios (media archeology). Tomo cosas también de la gente que investigó la historia de la tecnología, la construcción social de la tecnología. O sea, la media evolution es un campo intertextual, como cualquier disciplina que toma cosas de todos estos campos para poder construir una teoría, un enfoque, una mirada que sea más a largo plazo, que no sea una sucesión de medios, sino que vea la evolución de todo el ecosistema mediático, prestando mucha atención a las relaciones [00:41:00] entre medios, y con esta visión más compleja sistémica de cómo cambian las cosas.Yo creo que el cambio mediático es muy rápido y necesitamos una teoría para poder darle un sentido a todo este gran cambio, porque si nos quedamos analizando cosas muy micro, muy chiquititas, no vemos los grandes cambios. No nos podemos posicionar... esto un poco como el fútbol. Los mejores jugadores son los que tienen el partido en la cabeza y saben dónde está todo. No están mirando la pelota, pero saben dónde están los otros jugadores? Bueno, yo creo que la media evolution sirve para eso. Más allá de que hoy estemos todos hablando de la IA generativa. No? Tener esta visión de de conjunto de todo el ecosistema mediático y tecnológico, yo creo que es muy útil.Chris: Mm. Wow Increíble, increíble. Sí. Sí. Pienso mucho en como las nuevas generaciones o las generaciones más jóvenes en el día de hoy. O sea, [00:42:00] al menos más joven que yo, que la mayoría, como que tiene 20 años hoy, no tienen una memoria vívida de cómo fuera el mundo, sin redes sociales o sin el internet. Y así como me voy pensando en mi vida y como yo, no tengo una memoria de vida como fuera el mundo sin pantallas de cualquier tipo, o sea de tele de compus. No solo de internet o redes. Carlos: Sí, no, te decia que mi padre vivió, mi padre tiene 90 años y él se recuerda en el año 58, 59, su casa fue la primera en un barrio de Rosario que tuvo televisión y transmitían a partir de la tarde seis, siete de la tarde. Entonces venían todos los vecinos y vecinas a ver televisión a la casa de mi abuela. Entonces cada uno, cada generación tiene sus historias. No? Chris: Ajá. Ajá. Sí. Pues sí. Y también, como dijiste, para [00:43:00] entender los medios como sujetos o objetos individuales, o sea en su propio mundo, no? Este recuerdo un poco de la metáfora de Robin Wall Kimmerer que escribió un libro que se llama Braiding Sweetgrass o Trenzando Pasto Dulce supongo, en español. Y mencionó que para entender el entendimiento indígena, digamos entre comillas de tiempo, no necesitamos pensar en una línea, una flecha desde el pasado hacia el futuro. Pero, un lago, mientras el pasado, presente, y futuro existen, a la vez, en ese lago.Y también pienso como en el lugar, el pasado, presente, y el futuro, como todos esos medios existiendo a la vez, como en un lago y obviamente en una ecología de su evolución de sus cambios. Carlos: Es, muy interesante eso. Después te voy a pedir la referencia del libro porque, claro, [00:44:00] McLuhan siempre decía que el contenido de un medio es otro medio. Entonces, puede pasar que un medio del pasado deja su huella o influye en un medio del futuro. Y entonces ahí se rompe la línea temporal. Y esos son los fenómenos que a mí me interesa estudiar. Chris: Mmm, mmm, pues Carlos para terminar, tengo dos últimas preguntas para ti. Esta vez un poco alineado con el turismo, y aunque no estas enfocado tanto en en el estudio de turismo. Por mis estudios y investigaciones y por este podcast, he amplificado esa definición de turismo para ver cómo existiría más allá de una industria. Y para mí, el turismo incluye también el deseo de ver una persona, un lugar o una cultura como destino, como algo útil, temporal en su valor de uso y por tanto, desechable. Entonces, me gustaría [00:45:00] preguntarte, si para ti parece que nuestros medios populares, aunque esto es un tiempo, digamos con más libertad de otros lugares o tiempos en el pasado, más autoritarianos o totalitarianos? Si te ves la posibilidad o la evidencia de que nuestros medios digamos como mainstream más usados, están creando o promoviendo un , un sentido de alienación en la gente por efectivamente quedarles a distancia al otro o la otra.Carlos: Yo ya te dije no, no tengo una visión apocalíptica de los medios. Nunca, la tuve. Esto no quita de que los medios y como dijimos antes, tienen problemas. Generan también contaminación. Llamémoslo así si seguimos con la metáfora, ? El tema de alienación viene desde hace [00:46:00] muchísimos años. Ya cuando estudiaba en la universidad, nunca sintonicé con las teorías de la alienación.El concepto de alienación viene del siglo XIX. Toda una teoría de la conciencia, el sujeto, el proletario, llamémoslo, así que tenía que tomar conciencia de clase. Bueno, las raíces de esa visión del concepto alienación vienen de ahí. Yo, a mí nunca me convenció, justamente. Y acá si interesante.El aporte de América Latina en teorías de la comunicación siempre fue diferente. Fue reivindicar la resignificación, la resemantización el rol activo del receptor, cuando muchas veces las teorías que venían de Europa o Estados Unidos tenían esta visión del receptor de la comunicación como un ser pasivo. En ese sentido, la media ecology nunca entró en ese discurso porque se manejaba con otros parámetros, pero digamos que lo que era el mainstream de la investigación de estados unidos, pero también de Europa, siempre coincidían en esto en considerar el receptor pasivo, alienado, [00:47:00] estupidizado por los medios. Y yo realmente nunca, me convenció ese planteo, ni antes ni hoy, ni con la televisión de los 70 y 80, ni con el tiktok de hoy.Esto no quita que puede haber gente que tenga alguna adicción, etcétera, etcétera. Pero yo no creo que toda la sociedad sea adicta hoy a la pantallita. Deja de ser adicción. Okey. Esto no implica que haya que no tener una visión crítica. Esto no implica que haya que eventualmente regular los usos de ciertas tecnologías, obviamente.Pero de ahí a pensar que estamos en un escenario apocalíptico, de idiotización total del homo sapiens o de alienación. Yo no lo veo, ni creo que lo los estudios empíricos confirmen eso. Más allá que a veces hay elecciones y no nos gusten los resultados.Pero ahí es interesante, porque cuando tu propio partido político pierde, siempre se le echa la culpa a los medios porque ganó el otro. Pero cuando tu partido político gana, nadie dice nada de los medios. Ganamos porque somos mejores, [00:48:00] porque tenemos mejores ideas, porque somos más democráticos, porque somos más bonitos.Entonces, claro te das cuenta que se usan los medios como chivo expiatorio para no reconocer las propias debilidades políticas a la hora de denunciar una propuesta o de seducir al electorado.Chris: Claro, claro. Ya pues estos temas son vastos y complejos. Y por eso me gusta, y por eso estoy muy agradecido por pasar este tiempo contigo, Carlos.Pero los temas requieren un profundo disciplina para comprender, o al menos según yo, como alguien que está muy nuevo a estos temas. Entonces, a nuestra época, parece que somos, según yo, arrastrados a una velocidad sin precedentes. Nuestras tecnologías están avanzando y quizás socavando simultáneamente nuestra capacidad de comprender lo que está sucediendo en el mundo. Los usamos como protesta a veces como, como mencionaste, [00:49:00] pero sin una comprensión más profunda de cómo nos usan también. Entonces tengo la curiosidad por saber qué papel desempeña la ecología de los medios en la redención o curación de la cultura en nuestro tiempo. Cómo podría la ecología de los medios ser un aliado, quizás, en nuestros caminos? Carlos: Sí, yo creo que esta idea estaba presente, no? En los teóricos de la media ecology, digamos la primera generación.Ahora que lo pienso, estaba también en la semiótica de Umberto Eco, no? Cuando decía la semiótica más allá de analizar cómo se construye significado, también aporta a mejorar la vida significativa, o sea, la vida cultural, la vida comunicacional, nuestro funcionamiento como sujeto, digamos. Y yo creo que en ese sentido, la media ecology también.Digamos, si nosotros entendemos el ecosistema mediático, vamos a poder sacarlo mejor [00:50:00] coevolucionar mejor. Vamos a ser más responsables también a la hora de generar contenidos, a la hora de retwittear de manera a veces automática ciertas cosas. Yo creo que es todo un crecimiento de vivir una vida mediática sana, que yo creo que hoy existe esa posibilidad.Yo estoy en Twitter desde el 2008-2009 y sólo dos veces tuve así un encontronazo y bloqueé a una persona mal educada. Después el resto de mi vida en Twitter, es rica de información de contactos. Aprendo muchísimo me entero de cosas que se están investigando. O sea, también están uno elegir otras cosas.Y por ejemplo, donde veo que yo hay que hay redes que no me aportan nada, no directamente ni entro. También es eso de aprender a sacar lo mejor de este ecosistema mediático. Y lo mismo para el ecosistema natural. Así como estamos aprendiendo a preocuparnos de dónde viene la comida, [00:51:00] cuánto tiempo se va a tardar en disolver este teléfono móvil por los componentes que tiene. Bueno, también es tomar conciencia de eso. Ya sea en el mundo natural, como en el mundo de la comunicación. Y yo creo que todos estos conocimientos, en este caso, la media ecology nos sirve para captar eso, no? Y mejorar nosotros también como sujetos, que ya no somos más el centro del universo, que esta es la otra cuestión. Somos un átomo más perdido entre una complejidad muy grande. Chris: Mm. Mm, pues que estas obras y trabajos y estudios tuyos y de los demás nos da la capacidad de leer y comprender ese complejidad, no?O sea, parece más y más complejo cada vez y nos requiere como más y más discernimiento. Entonces, yo creo que pues igual, hemos metido mucho en tu voluntad y capacidad de [00:52:00] hacer eso y ponerlo en el mundo. Entonces, finalmente Carlos me gustaría a extender mi agradecimiento y la de nuestros oyentes por tu tiempo hoy, tu consideración y tu trabajo.Siento que pues, la alfabetización mediática y la ecología de los medios son extremadamente deficientes en nuestro tiempo y su voluntad de preguntar sobre estas cosas y escribir sobre ellas es una medicina para un mundo quebrantado y para mi turístico. Entonces, así que muchísimas gracias, Carlos, por venir hoy.Carlos: Gracias. Te agradezco por las preguntas. Y bueno, yo creo que el tema del turismo es un tema que está ocupa lugar central hoy. Si tú estuvieras en Barcelona, verías que todos los días se está debatiendo este tema. Así que yo creo que bueno, adelante con esa reflexión y esa investigación sobre el turismo, porque es muy pertinente y necesaria.Chris: Pues sí, gracias. [00:53:00] Igual yo siento que hay una conexión fuerte entre esas definiciones más amplias de turismo y la ecología de medios. O sea, ha abierto una apertura muy grande para mí para entender el turismo más profundamente. Igual antes de terminar Carlos, cómo podrían nuestros oyentes encontrar tus libros y tu trabajo?Sé que hemos hablado de dos libros que escribiste, pero hay mucho más. Muchísimo más. Entonces, cómo se pueden encontrarlos y encontrarte?Carlos: Lo más rápido es en en mi blog, que es hipermediaciones.com Ahí van a encontrar información sobre todos los libros que voy publicando, etcétera, etc. Y después, bueno, yo soy muy activo, como dije en Twitter X. Me encuentran la letra CEscolari y de Carlos es mi Twitter. Y bueno, también ahí trato de difundir información sobre estos [00:54:00] temas.Como dije antes, aprendo mucho de esa red y trato de también devolver lo que me dan poniendo siempre información pertinente. Buenos enlaces. Y no pelearme mucho.Chris: Muy bien, muy bien, pues voy a asegurar que esos enlaces y esas páginas estén ya en la sección de tarea el sitio web de El fin del turismo cuando sale el episodio. Igual otras entrevistas y de tus libros. No hay falta. Entonces, con mucho gusto, los voy compartiendo. Bueno, Carlos, muchísimas gracias y lo aprecio mucho.Carlos: Muchas gracias y nos vemos en México.English TranscriptionChris: [00:00:00] Welcome to the podcast The End of Tourism, Carlos. Thank you for being able to speak with me today. It's a great pleasure to have you here with me today.Carlos: No, thank you, Chris, for the invitation. It is a great pleasure and honor to chat with you, a great traveler and, well, I have never directly investigated the subject of tourism.Well, I understand that we are going to talk about media ecology and collateral issues that can help us better understand, give meaning to all that is happening in the world of tourism. Well, I work in Barcelona. I don't live in the city exactly, but I work at the university in Barcelona, in the central area.Well, every time I go to the city, the number of tourists increases every day and the debate on tourism in all its dimensions increases. So it is a topic that is on the agenda, right?Chris: Yes, well I imagine that even if you don't like to think or if you don't want to think about tourism there, it is inevitable to have a personal lesson [00:01:00] from that industry.Carlos: Yes, to the point that it is almost becoming a taxonomic criterion, right? ...of classification or cities with a lot of tourists, cities or places without tourists that are the most sought after until they are filled with tourists. So we are practically in a vicious circle.Chris: Well, at some point I know that it changes, the cycle breaks, at least to account for what we are doing with the behavior.And I understand that this also has a lot to do with the ecology of the media, the lack of ability to understand our behaviors, attitudes, thoughts, feelings, etc. So, before continuing with your work and deeds, I would like to ask you about your path and your life.First, I wonder if you could define for our listeners what media ecology is and how you [00:02:00] became interested in this field? How did you come to dedicate your life to this study?Carlos: Yes. Let's see a little bit. There is one, this is the official history. We would say media ecology, it is a field of research, let's say, that was born in the 60s. We must take into account above all the work of Marshall McLuhan, a Canadian researcher who is very famous worldwide. He was perhaps the most famous media researcher philosopher in the 60s and 70s.And a colleague of his, Neil Postman, who was at New York University, was a bit, let's say, among the people who surrounded these two references, no, in the 60s, from there it was brewing, let's say, what was later called media ecology. It is said that the first person to talk about media ecology, who applied this metaphor to the media, was Marshall McLuhan himself in some private conversations, [00:03:00] letters that were sent to each other in the late 50s, early 60s, by researchers on these topics?Let's say the first public appearance of the concept of media ecology was a lecture in 1968 by Neil Postman. It was a public speech that talked about how the media transforms us and how the media transforms us, forming an environment in which we grow, develop, and so on. And we are sometimes not very aware of this environment that surrounds us and shapes us.He first used the concept of media ecology in a public lecture. And then, if we go back to the early 70s, Postman himself created the first program in media ecology at NYU, at New York University. So, in 73, 74 and 75, what I call the second generation began to emerge, of people [00:04:00] some of whom were trained in these courses in New York.For example, Christine Nystrom was the first PhD thesis on my ecology; people like Paul Levinson who in 1979 defended a PhD thesis directed by Postman on the evolution of the media, right? And the same thing happened in Toronto in the 70s. Marshall McLuhan died in December 80.Let's say that the 70s were his last decade of intellectual production. And there are a number of collaborators at that time, very young people like Robert Logan, Derrick De Kerchove, who later continued to work a bit along these lines, along these lines. And there we talk about the Canadian front, eh?This whole second generation was developing, expanding and applying. Let's not forget Eric McLuhan, Marshall's son, who was also part of this whole movement. [00:05:00] And if I remember correctly, in 2000, the Media Ecology Association was created, which is the Media Ecology Association, which is an academic, scientific organization that brings together people who deal with media ecology.If we think at a more scientific epistemological level, we can think of this metaphor of media ecology from two or three perspectives. On the one hand, this idea that media create environments. This is a very strong idea of Marsha McLuhan, of Postman and of this whole group, isn't it? The media - "medium" understood in a very broad sense, no, any technology could be a medium for them.For Marsha McLuhan, the wheel is a medium. A telescope is a medium. A radio is a medium and television is a medium, right? I mean, any technology can be considered a medium. Let's say that these media, these technologies, generate a [00:06:00] environment that transforms us. It transforms our way, sometimes our way of thinking, our way of perceiving the world, our conception of time and space.And we are not aware of that change. Let's think that, I don't know, before 1800, if someone had to make a trip of a thousand kilometers (and here we are approaching tourism) kilometers was a trip that had to be planned many months in advance. With the arrival of the train, we are already in 1800, those kilometers were shortened. Let's say no? There we see as if today they tell us 1000 kilometers.Well, yes, we take a plane. It's an hour, an hour and a quarter of a journey. Today, 1000 kilometres is much less than 200 years ago and even in terms of time, time has changed. Right? All of that is a consequence, let's say, of this change, our perception is a consequence of a series of media and technologies.The railroad. Obviously, today we have airplanes. The same digital networks that have somewhat brought us this idea of "time [00:07:00] real," this anxiety of wanting everything fast, right? That is also a consequence of these environmental changes generated by the media and technologies, eh? This is a very strong idea, when McLuhan and Postman talked about this in the 60s, they were strong intuitions that they had from a very intelligent observation of reality. Today, cognitive sciences, or rather neuroscience, have confirmed these hypotheses. In other words, today there are a series of methodologies to study the brain and we can already see how technologies...The media even affects the physical structure of the brain. Right? Another thing that is historical is that the media affects our memory. This comes from Plato 2,500 years ago, who said that writing would kill the memory of men. Well, we can think for ourselves, right?Or at least this generation, who [00:08:00] lived in a world before and after mobile apps. 30 years ago, 25 years ago, I had 30-40 phone numbers in my memory. Today I don't have any. And let's also think about GPS, right? At one time, taxi drivers in London, which is a Latin city, knew the city by heart. And today, that's no longer necessary because they have GPS.And when they went to study the brains of London taxi drivers, they saw that certain areas of the brain had shrunk, so to speak, which are the areas that manage the spatial part. McLuhan already talked about this in the 60s. He said that changes narcotize certain areas of the mind, he said.But well, we see that a lot of empirical research, very cutting-edge neuroscience research is confirming all these thoughts, all these things that were said in the 60s onwards, by media ecology. Another possibility is to understand [00:09:00] this as a media ecosystem, Marshall McLuhan always said we cannot give it meaning,We cannot understand a medium in isolation from other media. It is as if media only acquire meaning in relation to other media. Neil Postman and many other people from the school of media ecology also defend this position, that, well, we cannot understand the history of cinema if we do not link it to video games, if we do not link it to the appearance of television.And so with all the media, right? Eh? There are some very interesting works. For example, about how in the 19th century, different media, we could say, co-evolved with each other. The press, the telegraph. The train, which also transported newspapers, news agencies appeared. I mean, we see how it is very difficult to understand the development of the press in the 19th century and we don't link it to the telephone, if we don't link it to photography, if we don't link it to radio photography, [00:10:00] also later on.I mean, this idea is very strong. It is also one of the principles that I consider fundamental to this vision, which would be that the media are not alone, they are part of an ecosystem and if we want to understand what is happening and how all this works, we cannot, uh, analyze the media in isolation from the rest.There is a third interpretation. I don't know if it's too metaphorical, right? Above all, people in Italy like the researcher Fausto Colombo from Milan or Michele Cometa, he is a researcher from Sicily, Michele Cometa who talks about the turn, the ecomedia turn. These researchers are moving in a whole conception according to which, we are in a unique media ecosystem that is contaminated.It is contaminated by "fake news" it is contaminated by false news, it is contaminated by hate speech, etc., etc. So they, let's say, take up this ecological metaphor to say [00:11:00] We have to clean this ecosystem just as the natural ecosystem is contaminated, it needs a cleaning intervention, let's say a purification, eh?The media ecosystem is also in the same danger, isn't it? And these people are also calling attention, and I am very close to this line of work on the material dimension of communication. And this also has to do with tourism, right? The environmental impact that communication has today.Training an artificial intelligence involves a huge amount of electricity; keeping social networks running, eh, TikTok, YouTube, whatever, involves millions of servers running that suck up electricity and also have to be cooled, consuming even more electricity. And that has a significant impact on the climate.So, well, let's say, we see that this metaphor of the ecological, applied to the media, gives rise to two or three interpretations.Chris: Mmm. [00:12:00] Wow. I feel like when I started taking that course from Andrew McLuhan, Marshall's grandson, as I mentioned, it changed my perspective completely - on the world, on the way I understand and how I don't understand our technologies, my movements, etc. But now, from a person who has been studying this for decades, I would like to know how you started. I mean, Andrew, for example, has the excuse of his lineage, not his father and his grandfather.But then, as a young Argentine, he began learning about media ecology.Carlos: Well, I'll tell you. I studied communication in Argentina, in Rosario. I finished college. The last exam was on June 24, 1986, which was the day that Lionel Messi was born in Rosario, Argentina, on the same day. And [00:13:00] I worked, I collaborated in a class in a subject that was communication theories.And I even taught until 1990, three years, because after that I went to live in Italy. At that time, we read Marshall McLuhan, but it was a very ideologically biased reading. In Latin America, you must have seen it in Mexico. There is a whole history, a tradition of criticism from the media, especially of everything that comes from the United States, and Canada is very close to the United States.So, let's say that in the 70s and 80s and until today I would tell you that Marshall McLuhan was often criticized because he did not criticize the media. I mean, he had a vision. He said, Neil Postman, yes, he had a very critical vision. But in that case, this was one of the big differences between Postman and McLuhan, that Marshall McLuhan, at least in [00:14:00] public, he did not criticize the media. He said, well, I am a researcher, I send out probes. I am exploring what is happening.And he never joined in... And I think that was very clever of him... he never joined in this worldwide chorus of criticism of the media. At that time, television was a monster for many people.Children were not supposed to watch television. A bit like what happens today with cell phones and what happens today with TikTok. At that time, television was the monster. At that time, there was a lot of research in the United States, which was already based on the premise that television and the media are bad for people.We see that it is a story that repeats itself. I think that in that sense, Marshall McLuhan, very intelligently, did not join that critical chorus and he really dedicated himself to thinking about the media from a much freer perspective, not anchored by this vision that I believe is too ideologized, which is very strong in Latin America. It is very strong. This does not imply [00:15:00] letting down one's guard, not being critical. On the contrary.But I think that true critical thinking starts from not saying so much ideology, we say "this is already bad. Let's look at this." There will be good things. There will be bad things. There will be things, which is undeniable, that the media, even if we say they are good, will transform us. And I think that was the important thing about the McLuhanian idea.So my first approach to McLuhan was from the perspective of critical authors who, well, yes, come from the United States, they don't criticize the media. We're going to criticize him, right? And that was my first approach to Marshall McLuhan.I went to Italy in the 90s. I was out of college for almost eight years, working in digital media, web development, multimedia products, and pretext. And in the late 90s, I said, I want to go back to college. I want to be a PhD. And I said, "I want to do a PhD. Well. Being in Italy, the PhD was going to be in semiotics." So I did a [00:16:00] PhD. My thesis was on semiotics of interfaces.There I had a vision of digital interfaces that consider, for example, instruments like the mouse or joystick as extensions of our body, right? The mouse extends the hand and puts it inside the screen, right? Or the joystick or any other element of the digital interface? Of course. If we talk about the mouse being an extension of the hand, that is a McLuhanian idea.The media as extensions of the human being as a subject. So, of course, I reread McLuhan in Italian at the end of the 90s, and I reconciled with McLuhan because I found many interesting things to understand precisely the interaction with digital machines.In 2002, I moved with my family to Spain. I returned to university life. [00:17:00] And there I began to study the relationship between old and new media. Then I recovered the idea of ecosystem. I recovered the whole new idea, the id

After two months, three countries, and way too many late-night pros and cons lists… we finally made our decision.In this episode, Chris and I reveal the final destination we've chosen as our next home abroad—and we're taking you through the whole messy, emotional, and surprising decision-making process to get there.We break down our top 3 cities—Valencia, Málaga, and Chania (Crete)—and talk through what we loved, what didn't click, and how we ultimately chose the one.If you've been following our scouting trip, get ready. The announcement is here.

Today's Mystery: The Falcon goes to Sicily to apprehend a Communist leader who was guilty of war crimes during World War II.Original Radio Broadcast Date: August 10, 1952Originating from New YorkStarring: Les Damon as The Falcon; June AllisonSupport the show monthly at patreon.greatdetectives.netPatreon Supporter of the Day: Randy, Patreon supporter since December 2023Support the show on a one-time basis at http://support.greatdetectives.netMail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.

We are in conversation with Sicilian artist and scholar Elisa Giardina Papa whose practice explores subjects that resist definition. Elisa lives and works between New York and Sant'Ignazio, Sicily, and teaches Modern Culture and Media at Brown University. She was one of the artists invited by curator Cecilia Alemani to exhibit in the main international exhibition of the 59th Venice Art Biennale in 2022, The Milk of Dreams. Our conversation delves into the first two works in her trilogy set in Sicily—installations that blend myth, memory, and submerged histories, both literal and metaphorical. In She Flickered In and Out of History, Elisa explores the story of a short-lived volcanic island that emerged between Tunisia and Sicily in 1831. Claimed by various European powers before disappearing beneath the sea just five months later, the island becomes a symbol of ungovernability and resistance to imperialism. We also discuss U Scantu: A Disorderly Tale, presented at the Venice Biennale 2022, which reimagines the mythic figure of the Donna di Fora—queer, multispecies women healers—drawing on both oral folklore and Inquisition archives. Set against the backdrop of the postmodern town of Gibellina, the work brings together sonic street culture, ceramics, and archival fragments to challenge how histories are told. Elisa reflects on her Sicilian upbringing, the layered cultural influences of the island, and her interest in forms of knowledge that defy categorisation. Together we explore what it means to live, think, and create on the edges — where ground shifts, language carries memory and stories flicker in and out of view.    

⚠️ Content Warning: This episode contains discussion of addiction, suicidal ideation, and self-harm. Listener discretion is advised. International: https://findahelpline.com USA and Canada: National Suicide Prevention Lifeline – 988   In this deeply moving and inspiring episode of the 10Adventures Podcast, we sit down with Pawel Durakiewicz — a multiple Guinness World Record holder who turned his life around after battling addiction and suicidal thoughts. Once on the brink of self-destruction, Pavel found healing through nature, movement, and radical resilience. He shares his journey from the depths of alcohol addiction to running barefoot marathons on ice, walking over 3,000 kilometers without shoes, and founding a recovery center in Sicily. Pavel speaks powerfully about how nature, yoga, and community helped him transform psychological pain into purpose — and how he now helps others rediscover the miracle within themselves.   To learn more, visit:  

He was born to wealthy parents in Syracuse of Sicily. He entered monastic life and in time became a priest in the service of Patriarch Nikephoros. Because of his great and well-known zeal for the holy icons, he was cruelly persecuted by a succession of iconoclast emperors. Around 815, he was sent as an ambassador to Rome on behalf of the Patriarch, who had been exiled by the Emperor Leo the Armenian. When he returned to Constantinople upon Leo's death, he was immediately exiled and imprisoned by Leo's successor, Michael the Stutterer. Upon Michael's death he was freed for a short time, but soon the Emperor Theophilus had him exiled to an island where, says the Prologue, "he spent seven years in prison with two common robbers, in damp conditions, without light and without sufficient food, as if in a grave." When the pious Empress Theodora restored the Empire to Orthodoxy, he was freed and elevated to Patriarch of Constantinople. On the Sunday of Orthodoxy, we commemorate the restoration of the Holy Icons by Theodora and Methodios. Despite many attacks by heretics while he was Patriarch, he served faithfully and reposed in peace.

This episode is sponsored by House of Macadamias -- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click Here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to get our specially curated box that also comes with the free snack bars and 15% offer for CURVA MUNDIAL listeners! ⁠⁠Also, be sure to visit our merch store!⁠⁠We head to Sicily in this episode of CURVA MUNDIAL as Partinico Rose frontman Vinny Cannizzo take us around the Palermo region as he talks his band, influences, Sicilian calcio, and love of AS Roma.

Saturday of the Tenth Week in Ordinary Time Saint of the Day: St. Joseph the Hymnographer, 810-886; the most prolific of the Greek hymn writers; born in Sicily, he left in 830 to escape an invasion by the Arabs; he went to Thessalonica, and then to Constantinople, and left in 841 to escape the iconoclast persecution; returning to Constantinople, he founded a monastery; for his defense of the icons, he was sent into exile; Joseph is credited with the composition of about one thousand canons Office of Readings and Morning Prayer for 6/14/25 Gospel: Matthew 5:33-37

When we set out to record this episode of Scran we wanted to investigate the impact of Italian food and the businesses associated with it in Scotland and what we ended up making was an episode about 'generations of strong women'.   Rosalind's first guest, Giovanna Eusebi, who runs Eusebis Deli in Glasgow, used those exact words to describe her family and business.From her fascination with capers to the touching memories she's helped create around the table, Giovanna shares her passion for Italian food and culture and the story of how her business has been so successful. From Glasgow to Edinburgh and the home and kitchen of Sabrina Damiani. Rosalind was treated to a beautiful afternoon tea prepared by Sabrina when they met. Rosalind hears all about her journey from Sicily to Edinburgh via Oxford, and a career in academia, to now running her own private dining and catering business, Damiani Fine Dining. This episode is like a sonic hug so grab a glass of your favourite Italian tipple and settle in for a listen full of tradition, family, love and most importantly...food. Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover a world where accessibility meets adventure! In this inspiring episode, Jeff Thompson explores Seable Holidays, a unique travel company transforming vacations for blind and visually impaired travelers. CEO Damiano La Rocca, along with team members Lucy and Daniel, share how Seable provides trained local sighted guides, personalized trip planning, and full support to make once-distant destinations like Sicily, Scotland, Thailand, and the Galapagos Islands completely accessible. Hear how travelers gain confidence, independence, and lifelong friendships while experiencing unforgettable holidays. Whether it's a solo trip, a group getaway, or a school excursion, Seable proves that accessible travel is not just possible—it's life-changing!   You can email Seable Holidays at: Lucy@Seable.co.uk or Daniel@Seable.co.uk. On the web at Seable.Co.UK   Thanks for listening!   Full Transcript:  

The Hellenistic world stretched from Sicily to India and encompassed tens of millions of people for centuries, as new kingdoms sprang up, new ways of life emerged, and the distant edges of that world were brought together by trade and migration. Yet the Hellenistic world never escaped its violent roots, and more than any other phenomenon, war defined it for the entirety of its existence.Patrick's book is now available! Get The Verge: Reformation, Renaissance, and Forty Years that Shook the World in hardcopy, ebook, or audiobook (read by Patrick) here: https://bit.ly/PWverge. And check out Patrick's new podcast The Pursuit of Dadliness! It's all about “Dad Culture,” and Patrick will interview some fascinating guests about everything from tall wooden ships to smoked meats to comfortable sneakers to history, sports, culture, and politics. https://bit.ly/PWtPoDListen to new episodes 1 week early, to exclusive seasons 1 and 2, and to all episodes ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/tidesofhistoryBe the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

From the dark underbelly of Sicily's Mafia to the heart-pounding streets of America, Eva Santella's tale is one of betrayal, vengeance, and an unquenchable thirst for justice.Once a fearless Mafia boss, Eva's world shattered when rival Sicilian families betrayed her. With a bounty on her head, she fled to America, seeking refuge in shadows and anonymity. But even there, they found her. They destroyed her life, her family, everything she cherished.But they made one mistake: they didn't finish the job.Rising as the indomitable Queen of Spades, Eva is fueled by a singular obsession—making them pay. Her journey takes her through the intricate maze of the criminal underworld, where every turn holds danger, secrets, and a relentless pursuit of retribution. It's a path she walks with a fierce determination, for she knows there is no turning back.Kristi Belcamino is a multiple award-nominated American author and a USA bestselling writer of mystery, suspense, thriller, and crime fiction novels. She has written several widely popular book series, including the Gabriella Giovanni Mystery series, the Tommy St James Mysteries, and the Gia Santella book series. Her books have helped her receive nominations for prestigious awards like Barry, Agatha, Macavity, and Anthony Award. Belcamino's stories typically feature fierce, independent, and strong female characters, who fight unspeakable evils in their attempt to seek justice for the ones unable to seek themselves. Prior to becoming a writer of crime fiction novels, she used to work as a crime reporter for different newspaper agencies in California. Her dedication towards her reporting work had fetched her a number of awards. Belcamino is said to have flown in a FA-18 plane over the Big Sur, attended barbecues, and raced Dodge Vipers in her line of work.Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://brandyschillace.com/peculiar/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://eepurl.com/ixJJ2Y⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/PeculiarBookClub/membership⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@PeculiarBookClub/streams⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠@peculiarbookclub.bsky.social⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/groups/peculiarbooksclub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thepeculiarbookclub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

We recorded this episode in Spain over half a bottle of Vermut—and let's just say things got honest. After two months of scouting Europe with a toddler, we're breaking down our three Spanish contenders (Valencia, Alicante, and Málaga) and asking: could we actually live here?But this isn't your typical city guide. We're comparing cities like exes, calling out red flags, daydreaming about our next chapter, and being brutally real about what makes a place livable—not just pretty.In this episode:What Valencia, Alicante, and Málaga were really like as move-abroad contendersThe city that gave us second-date energy vs. the one that felt like a vacation flingWhat actually matters when choosing a place to live long-term (beyond the food and beach vibes)How our family, lifestyle, and emotional needs shaped the way we saw each cityIf you've ever tried to turn a vacation spot into a forever home—or debated if a city is husband material—this one's for you.

Spot rate indices are surging, but what are shippers actually paying? In this episode, Lars Jensen joins from Sicily (yes, right next to an erupting volcano) to unpack why the NYFI freight index is diverging from traditional benchmarks like the SCFI. Caroline and Lars explore how quote-based indices can mislead, what's really happening on the ground, and why South America's demand boom is quietly reshaping capacity flows. Plus, they discuss how upcoming tariff shifts, port disruptions, and demand front-loading could whiplash the market by August. Sign up for free NYFI freight rate data at nyshex.com/indices

  A boat carrying Greta Thunberg and 11 other activists with aid for Gaza was intercepted by Israeli forces overnight.    The Madleen was operated by the pro-Palestinian Freedom Flotilla Coalition and had set off from Sicily over a week ago with the aim of breaking the Israeli naval blockade of the Gaza.   It was intercepted by Israeli forces overnight and the country's defence minister has said everyone who was on board will have to watch footage of the 7 October attacks by Hamas on Israel, before they return to their home countries.   On today's Sky News Daily, Darren McCaffrey speaks to Middle East correspondent Ali Bunkall about what Greta Thunberg and her fellow activists might have achieved.  Producer: Emily Hulme Editor: Wendy Parker 

PJ chats to Irish woman Caoimhe Butterly in Sicily from where she is helping organize the mission Hosted on Acast. See acast.com/privacy for more information.

A Gaza-bound ship carrying a dozen pro-Palestinian activists and aid has been diverted toward Israeli shores and its passengers are expected to return to their home countries, the Israeli Foreign Ministry said early this morning. Ciara caught up with Caoimhe Butterly, Irish human rights campaigner and organizer of the Gaza Freedom Coalition, who's currently in Sicily, and she gave us an update on what exactly happened overnight Also we heard from Former Israeli Government Spokesperson Eylon Levy.

The Madleen set sail from Sicily on June 1st as part of the renewed Freedom Flotilla Coalition, aiming to establish a humanitarian corridor to Gaza. On board are 12 international human rights defenders from seven countries, including prominent Swedish activist Greta Thunberg. Huwaida Arraf, a human rights lawyer and former chair of the Gaza Freedom Flotillas, stated from Sicily that the mission directly challenges what she described as Israel's illegal and genocidal blockade, as well as its violations of international law. Israel has reportedly instructed its military to prevent the vessel from reaching Gaza. The departure of the Madleen comes just one month after Israeli drones targeted and bombed the Conscience—another Freedom Flotilla aid ship—in international waters off the coast of Malta.

Michael chats with Simon Nash about the recent eruptions on Mt Etna in Sicily that had many lovers of wines from the region concerned about the vineyards. Michael has just returned from the region taking a group of guests on an amazing trip.@thewineshowaustralia @trembathandtaylor @michael_trembath

PREVIEW: Colleague Lorenzo Fiori reports on the spectacular recent eruption of the volcano Mt. Etna in Sicily. More. 1957

Subscribe to Hawks Insiders for the most in-depth and wide ranging Hawthorn cover there is. From exclusive interviews, analysis, match recaps, and podcasts, the Insiders have you covered.How bloody good was that? It's been a tough couple of weeks for the Hawks but on Thursday night the boy proved that it isn't ‘season over' but it's season just getting started.In a wide-ranging and pretty all over the shop type chat, recorded 20 minutes after the final siren, Danny and Nat talked through the Hawks best win of 2025.

There is a boat sailing to Gaza right now. It carries aid for the people of Palestine. And it is called the Freedom Flotilla. It is a sign of solidarity. A sign of international resistance against Israel's war on the people of Palestine. Against the death, and destruction, and pain. Against the genocide.The goal is to break Israel's siege of Gaza. And deliver much needed humanitarian aid.The Freedom Flotilla left Sicily on June 1. It's a seven-day voyage. If all goes as planned, it will arrive in Gaza this weekend.This is episode 42 of Stories of Resistance—a podcast co-produced by The Real News and Global Exchange. Independent investigative journalism, supported by Global Exchange's Human Rights in Action program. Each week, we'll bring you stories of resistance like this. Inspiration for dark times.If you like what you hear, please subscribe, like, share, comment, or leave a review. And please consider signing up for the Stories of Resistance podcast feed, either in Spotify, Apple Podcasts, Spreaker, or wherever you listen.Visit patreon.com/mfox for exclusive pictures, to follow Michael Fox's reporting and to support his work.Written and produced by Michael Fox.You can find more information on the Freedom Flotilla at https://freedomflotilla.org/On their Instagram: https://www.instagram.com/gazafreedomflotillaOr X: https://x.com/GazaFFlotillaSubscribe to Stories of Resistance podcast hereBecome a member and join the Stories of Resistance Supporters Club today!Sign up for our newsletterFollow us on BlueskyLike us on FacebookFollow us on TwitterDonate to support this podcast

06-03-25 The Bizarre File #1831 Long Island pool owner uncovered the pool and found dead body in pool. British Airways cabin crew member was arrested at London airport after colleagues discovered him dancing naked in a business class bathroom. Mt. Etna erupted in Sicily, and tourists were forced to flee the large amount of ash and debris.There was a buzz on Friday where 250 million honeybees escaped after a trailer rolled over into a ditch in Washington state. All that and more in the Bizarre File!

Hi friends, it's Tembi. I'm so excited to share that my new audiobook memoir, Someday, Now, is coming this fall—September 30th. An immersive, ride-along audio experience, Someday, Now invites you into a turning point in my life—our family's life—as we reimagined what it means to hold on while also letting go. Set in Sicily, it takes place during the summer before my daughter left for college—a season of anticipation, reflection, and emotional reckoning. As a blended family, we traveled to reclaim possibility in the face of big changes on an island that rarely changes. If From Scratch was a love story, Someday, Now is a story of re-nesting, reimagining, and reconnecting with trust in a sacred source during uncertain times. Follow Lifted on Spotify, Apple Podcasts, or wherever you listen for updates and sneak peeks. And stay connected with me @TembiLocke for behind-the-scenes moments as we count down to the release. #SomedayNow #FromScratch #AudiobookMemoir #NewRelease Learn more about your ad choices. Visit podcastchoices.com/adchoices

Molly and Kate speak with the self described 'OG Food Creative' Victoria Granof about her vast and varied career in food media. With decades of experience cooking, catering, food styling, writing and directing she is filled with insights, stories and, like her newsletter, delicious tangents as she talks about what she loves about her work, lessons she's learned and a few wild celebrity encounters. She shares what her work looks like today, the origin stories behind both her Sicily books and the writing, research and art direction behind the new book's creation.Hosts: Kate Leahy + Molly Stevens + Kristin Donnelly + Andrea NguyenEditor: Abby Cerquitella MentionsVictoria GranofWebsiteInstagramSubstack Newsletter: Delicious TangentsCreative Coaching Smashbox Studios, LASweet Sicily, by Victoria Granof Visit the Everything Cookbooks Bookshop to purchase a copy of the books mentioned in the showSicily, My Sweet, by Victoria GranofThe Ultimate College Cookbook, by Victoria Granof

We are back with another recap episode of our second month living abroad! This one is a little messy and the audio isn't perfect (something must have gotten shifted in the process of moving) but we did our best to give you a solid recap of all our travel this last month. We also chat a bit more about our new apartment and things overall. We are unsure at this point how the structure of episodes will look going forward - please give us feedback if you have requests or input!Links:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google form for listener questions and topic ideas!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Alex Stoian, who has recently completed a degree in chemistry at Trinity College Dublin, describes his experience of being caught in the middle of Mount Etna's eruption in Sicily while on holiday.

Damian Barrett, Josh Gabelich and Sarah Olle bring you the AFL Daily Round Table in 2025. Start your humpday hearing about the latest news in the world of footy plus light-hearted banter and crazy takes on pop-culture, sport and entertainment. Is Steele Sidebottom in career best form at the ripe young age of 34? Nasiah Wanganeen-Milera’s signature is more important to the Saints than TDK’s Greg Swann is a universal appointment to the fresh role at AFLHQ James Sicily will miss the next fortnight for the Hawks, is this a circuit-breaker in the big picture? Mid-season stock take – The contenders, pretenders, biggest surprise packets, biggest disappointments Why Carlton is under the pump and looking ahead to their next month of the season Gabo pulls back the curtain on his trip to Alice Springs Unpacking AFL.com.au’s mid-season All-Australian team Regular favourites: Get it off your chest, Fact or Furphy, Sarah’s go with your gut, out on a limb Subscribe to AFL Daily wherever you get your podcasts to never miss a moment. See omnystudio.com/listener for privacy information.

Catch up on all the footy news from AFL 360, Tuesday 3rd June with Gerard Whateley and Garry Lyon. Gerard Whateley and Garry Lyon are back for another big edition of AFL 360 as one of the marquee dates on the calendar approaches - The Big Freeze at the 'G. GWS Giants legend Callan Ward stops by to tell all about his devastating injury and how he helped inspire his side's incredible fourth quarter comeback. For more of the show tune in on Fox Footy & KAYO.See omnystudio.com/listener for privacy information.

Professor Lucy Riall explains Garibaldi's mastery of revolutionary war by harnessing military, political and populist levers of power to become a father of modern Italy. Giuseppe Garibaldi (1807-1882) was one of the world's greatest revolutionaries, leading resistance movements with irregular armies such as the Ragamuffins and the Red Shirts in Latin America and Europe. A crucial figure of 19th century liberalism and nationalism, he inspired millions. Che Guevara claimed that he was the only hero the world needs. As one of the fathers of modern Italy, Garibaldi was the Risorgimento's Sword, to Count Cavour's Brain and Giuseppe Mazzini's Soul. Untrained as a soldier and often over-matched by his opponents, he nevertheless achieved victories against the French and Austrian Armies, the Papal States and in Sicily. Perhaps as impressively, he maintained the effectiveness of irregular forces in numerous retreats that might, under a lesser commander, have lost the morale of his citizen fighters against professional armies. Historian AJP Taylor described Garibaldi thus: 'He evoked from the people, and even from the politicians, a personal devotion almost without parallel in modern history; . . . and he showed himself the greatest general that Italy has ever produced.' Professor Lucy Riall is a leading expert on modern Italy. She has written extensively on Italy's formation, as well as on Giuseppe Garibaldi. She is currently at the European University institute in Florence and a Visiting Professor at the National Museum of Ethnology in Japan.

An aid ship has headed to Gaza from Sicily, aiming at breaking Israel's blockade.Greta Thunberg is on it, and Kieran's guest was in Sicily for a few days lending his support.Actor Liam Cunningham joins to discuss.

Hear an Afro-Dominican perspective on Sicily, Vienna, Sri Lanka, India, Strasbourg, the Paris Olympics, Mexico & Vietnam.  _____________________________ Subscribe to The Maverick Show's Monday Minute Newsletter where I email you 3 short items of value to start each week that you can consume in 60 seconds (all personal recommendations like the latest travel gear I'm using, my favorite destinations, discounts for special events, etc.). Follow The Maverick Show on Instagram ____________________________________ Elsie Paulino joins Matt in person in New York City for this conversation over a bottle of French wine, and they start talking about the recent WITS Travel Creator Summit that they both attended in NYC.  Elsie then talks about her parents story immigrating to the U.S. from the Dominican Republic and her experience growing up in an immigrant home in the NYC-area.   She reflects on navigating the milieu of Blackness in the U.S. as an Afro-Latina and also the dynamics of anti-Blackness in the DR. Next, she explains how her interest in world travel developed and shares her journey studying abroad in Sicily in high school and Vienna in College. Elsie then shares travel stories from Sri Lanka, India, Vietnam, Strasbourg, and attending the closing ceremony of the 2024 Paris Olympics.  Finally, she talks about falling in love with Mexico and the life-changing experience of attending Dia de Los Muertos in Oaxaca.  FULL SHOW SHOWS INCLUDING DIRECT LINKS TO EVERTHING DISCUSSED ARE AVAILABLE HERE.  ____________________________________ See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my 7 Keys For Building A Remote Business (Even in a space that's not traditionally virtual) Watch my Video Training on Stylish Minimalist Packing so you can join #TeamCarryOn  See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) ____________________________________ ENJOYING THE SHOW? Please Leave a Rating and Review. It really helps the show and I read each one personally.  You Can Buy Me a Coffee. Espressos help me produce significantly better podcast episodes! :)

Lee, Andy and Max are back in one room for the first time in over a month, so a catch-up is in order. Lee debriefs on the recent DNHC road trip to Sicily, retracing the legendary Targa Florio circuit before a mammoth drive back through Italy. Max reviews the first 10,000 miles in his new Macan, and the boys pick out their ideal drives for upcoming road trips from quality stock on the 9WERKS marketplace.Find your dream Porsche on the 9WERKS Marketplace: 9werks.co.uk/marketplace Thanks to our friends heritagepartscentre.com for sponsoring this podcast, get up to 10% off your basket by entering the code ‘9WERKS10' at the checkout on heritagepartscentre.comThis episode is also sponsored by Roadtrip Tribes the app that keeps your group connected and on track. With real-time synchronized navigation, a built-in walkie-talkie, and the Radar function to locate your tribe while driving, RoadtripTribes ensures your convoy stays together and never deviates from the planned route. No one gets lost, no one gets left behind—just epic road trips.‘9WERKS Radio' @9werks.radio is your dedicated Porsche and car podcast, taking you closer than ever to the world's finest sports cars and the culture and history behind them.The show is brought to you by 9werks.co.uk, the innovative online platform for Porsche enthusiasts. Hosted by Porsche Journalist Lee Sibley @9werks_lee, 911 owner and engineer Andy Brookes @993andy and obsessive Porsche enthusiast & magazine junkie Max Newman @maxripcor, with special input from friends and experts around the industry, including you, our valued listeners.If you enjoy the podcast and would like to support us by joining the 9WERKS Driven Not Hidden Collective you can do so by hitting the link below, your support would be greatly appreciated.Support the show

AP correspondent Ed Donahue reports on volcanic activity in Europe.

Welcome to the epidemic of family estrangement. Through real stories of Australians who've made this difficult decision, we examine why more people are choosing to step away from toxic family relationships... and why sometimes loving someone from a distance might be the kindest choice you can make. And in headlines today Portuguese police have launched another search for missing girl Madeleine McCann in the same area where she disappeared in 2007; Erin Patterson will return to the stand today after giving emotional evidence at her murder trial, accused of poisoning her in-laws with death cap mushrooms; Tourists have been sent running after Mt Etna in Sicily suddenly erupted; Aussies with type O blood are being urged to donate with supply of the life saving blood dropping; The Matildas have beaten Argentina 4-1 in Canberra with their new coach watching on. THE END BITSSupport independent women's media Check out The Quicky Instagram here Mamamia studios are styled with furniture from Fenton and Fenton visit www.fentonandfenton.com.au GET IN TOUCHShare your story, feedback, or dilemma! Send us a voice note or email us at thequicky@mamamia.com.au CREDITS Hosts: Claire Murphy & Taylah Strano Guest: Annaliese Todd, Mamamia Lifestyle writerAudio Producer: Lu Hill Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Jacqueline Cohen-Baity created a musical e-cookbook, blending exotic cooking with music, humor, and storytelling. The e-cookbook is interactive and entertaining, designed to teach culinary skills while amusing and engaging guests. Jacqueline uses her travel experiences and musical talent to enrich the cookbook's content. The cookbook includes vegetarian-friendly options. Meat dishes can be adapted to vegan friendly recipes by simply omitting some of the ingredients.  It allows users to "travel" from Sicily to Canada through recipes and musical interludes, offering a unique dining experience. Ideal for hosting fun, creative dinner parties with friends and family. Jacqueline is a multi-talented artist, with expertise in Pop, Smooth Jazz, R&B, and more. Additional online services, including Cooking Mentorships and Songwriting Mentorships. Her website includes excerpts, music, reviews, services, gallery, videos, and more. Best viewed on a laptop or PC for full experience: www.jacqine.com.   Be sure to CLICK ON SERVICES :MENTORSHIPS:   ONLINE COOKING CLASSES, ONLINE MUSIC and SONGWRITING CLASSES     KUNDALINI YOGA - PROSPERTY be sure to have an ORANGE https://youtu.be/jRegtSKAZDI?feature=shared   Fine Wine & Spirits Typical flavors of Tequilla for food pairing: Blanco - unaged or slightly in neutral oak.  Pair with fish, cheese, light meals such as shrimp salad.  Reposado means rested - it is aged in barrels from a few months to two years.. pair with Mexican food..easy. Anejo- smokey and smooth- grilled meats on the barbeque.. portabello mushrooms, corn on the cob.. big flavors so barbeque flavors are the perfect match. https://youtube.com/shorts/aueylrQFLM0?si=3QbNZ6Md6lF7UZtO         FURTHER RERSOURCES email Jacqueline : info@jacqine.com   https://lascruces.gov/arts-and-leisure/museums/branigan-cultural-center/ CONTACT Valerie Hail valerie@allinourminds.com www.allinourminds.com  

The 56m Sailing Yacht Bayesian sank in August 2024 with 7 Fatalities including the Tech Millionaire Mike Lynch. After the sinking the CEO of Italian Sea Group blamed the crew saying that his yacht was 'unsinkable if operated properly'.In May 2025 the salvage of the yacht which lies in 50m water off the coast of Sicily began. We talk about the entire think including the interim report form the UK Maritime investigation Branch, the MAIB.

In this episode of the Slow Food podcast, we talk about modern slavery in the food chain. From exploited seasonal workers in Italy's tomato fields to the global cacao market, we dig into how injustice hides in plain sight. We hear from Manlio Larotonda, an Italian gastronome and alumnus of the University of Gastronomic Sciences in Pollenzo, who moved to Colombia to start a more just and transparent cacao project. And from Giulia Gianguzza, who works directly with migrant workers in Sicily. This episode isn't easy, but it's essential. Understanding where our food comes from means acknowledging the human cost behind it — and doing better. Guests: Manlio Larotonda (cacao Disidente founder and UNISG alumnus) and Giulia Gianguzza (social worker at Sportello Sans Papiers) Host and production: Valentina Gritti Music: Leonardo Prieto  Join Planting The Future: https://ig.me/j/AbZhBdCs9GKVkN_i/?igsh=MTFwYnV4eDZ1NHZneg== A project by Slow Food Youth Network (SFYN) 

In this episode of Welcome to Cloudlandia, we kick off by reflecting on a recent trip to the UK, where London's unexpected warmth mirrored the friendliness of its black cab drivers. Our visit coincided with the successful launch of the 10 Times program in Mayfair, which attracted participants from various countries, adding a rich diversity to the event. Next, we delve into the advancements in AI technology, particularly those related to Google Flow. We discuss how this technology is democratizing creative tools, making it easier to create films and lifelike interactions. This sparks a conversation about the broader implications of AI, including its potential to transform industries like real estate through AI-driven personas and tools that enhance market operations. We then shift our focus to the political arena, where we explore the Democratic Party's attempt to create their own media influencers to match figures like Joe Rogan. The discussion centers on the challenges of capturing consumer attention in a world overflowing with digital content, and the need for meaningful messaging that resonates with everyday life. Finally, we touch on aging, longevity, and productivity. We emphasize the importance of staying engaged and productive as we age, inspired by remarkable individuals achieving significant milestones beyond 60. SHOW HIGHLIGHTS In our recent trip to the UK, we experienced the unexpected warmth of London and engaged with the local culture, which included charming interactions with black cab drivers. This atmosphere set the tone for a successful event launch in Mayfair with global participants. We discussed the sparse historical records left by past civilizations, such as the Vikings, and how this impacts our understanding of history, drawing a parallel to the rich experiences of our recent travels. AI advancements, particularly Google Flow, are revolutionizing the creative landscape by democratizing filmmaking tools, allowing for lifelike scenes and interactions to be created easily and affordably. The potential of AI in the real estate market was explored, using the example of Lily Madden, an AI-driven persona in Portugal, which highlights the challenge of consumer attention in an ever-saturated digital content environment. We analyzed the Democratic Party's approach to media influencers in the 2024 election, noting the need for genuine engagement with voters' lives amidst fierce competition for attention in today's media landscape. The discussion shifted to aging and longevity, focusing on productivity and engagement in later years. We emphasized the importance of remaining active and contributing meaningfully past the age of 60. We wrapped up the episode with excitement about future projects, including a new workshop and book, highlighting our commitment to staying creatively engaged and inviting listeners to join us in future discussions. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr sullivan it has to be recorded because it's uh historic thinking it's historic thinking in a historic time things cannot be historic if they're not recorded, that is true, it's like if, uh, yeah, if a tree falls in the forest yeah, it's a real. Dan: It's a real problem with what happened here in the Americas, because the people who were here over thousands of years didn't have recordings. Dean: They didn't write it down. They didn't write it down. Dan: No recordings, I mean they chipped things. Dean: They didn't write it down. Dan: They didn't write it down no recordings, no recordings. Yeah, I mean, they chip things into rock, but it's, you know, it's not a great process really. Dean: I think that's funny, you know, because that's always been the joke that Christopher Columbus, you know, discovered America in 1492. But meanwhile they've been here. There have been people, the sneaky Vikings, and stuff. How do you explain that in the Spaniards? Dan: Yep. Dean: Yeah. Dan: Yeah Well, writing. You know, writing was an important thing. Dean: Yeah, yeah. Dan: We don't know much. We don't, yeah, we really don't know much about the Vikings either, because they didn't they weren't all that great at taking notes. I mean, all the Vikings put together don't equal your journals. Dean: That's true. All the Viking lore's the not what's happening. So it's been a few weeks yeah I was in the uk, we were in the uk for a couple weekends for uh-huh okay, it was great, wonderful weather, I mean we had the very unusual. Dan: It was great, wonderful weather. Dean: I mean we had the very unusual weather for May. It was, you know, unseasonably warm 75, 80, nice bright oh my goodness. Dan: Yeah, really terrific. And boy is the city packed. London is just packed. Dean: And getting packed dirt, huh. Dan: Yeah, yeah, just so many people on the street. Dean: I always, I always laugh, because one time I was there in June which is typically when I go, and it was. It was very funny because I'd gotten a black cab and just making conversation with the driver and he said so how long are you here? And I said I'm here for a week. He said, oh, for the whole summer, because it was beautifully warm here for the whole summer. Yeah, that's so funny, I hear hear it's not quite. Dan: They're fun to talk to. Dean: Oh man for sure. Dan: Yeah, they know so much. Dean: Yes, I hear Toronto. Not quite that warm yet, but get in there I think today is predicted to be the crossover day we had just a miserable week. Dan: It was nonstop rain for five days. Oh my goodness, Not huge downpour, but just continual, you know, just continual raining. Dean: But it speeded up the greening process because I used to have the impression that there was a day in late May, maybe today like the 25th, when between last evening and this morning, the city workers would put all the leaves on the trees like yesterday there were no leaves, and but actually there were. Dan: We're very green right now because of all the rain. Dean: Oh, that's great yeah. Two weeks I'll be there in. I arrived 17th. Dan: Yeah, yeah, I'm trying to think of the date I'm actually arriving. Dean: I'm arriving on the 6th A strategic coach, you're going to be here, yeah we're doing on Tuesday. This month is Strategic Coach. Dan: Yeah, because of fathers. Dean: Right, right, right right, so we're doing. Yeah, so that Tuesday, that's exciting. Dan: Tuesday, Wednesday, Of course, our week is 19th, 18th, I think it's the 17th 17th is the workshop day and we have a garden party the night before and the day I know we have two parties. Dean: Yeah, I love I can't go wrong yeah and hopefully we'll have our table 10 on the. Uh well, we'll do it at the one, we'll do it at the one, that's great. You've been introduced to the lobster spoons. I hear. Dan: It's been good, that's a great little spot. I didn't overdo it, but I did have my two. I had two lobster spoons Okay, they're perfect. Dean: I took one of my teams there about uh, six weeks ago, and we, everybody got two we got two lobster spoons and it was good, yeah, but the food was great service with service was great. Dan: Yeah, yeah, yeah all right. Dean: Well then, we got something I'm excited about. That's great. So any, uh, anything notable from your trip across the pond no, uh, we um jump things up um. Dan: Last October we introduced the 10 times program in London so uh 25 to 30. I think we have 25 to 30 now and uh, so when I was there um last two weeks, it'll be, um, um two weeks or last week no, it was last week. Um, I'm just trying to get my, I'm just trying to get my bearings straight here. When did I get home? I think I got home just this past Tuesday. Dean: This past Tuesday. Dan: So it would have been the previous Thursday. I had a morning session and afternoon session, and in the morning it was just for 10 times and in the afternoon it was just for 10 times and in the afternoon it was for everybody. So we had about 30 in the morning and we had about 120 in the afternoon. Dean: Oh, very nice yeah. Dan: And you know a lot of different places. We had Finland, estonia, romania, dubai, South Africa quite a mix. Quite a mix of people from. You know all sorts of places and you know great getting together great. You know couple of tools. You know fairly new tools A couple of tools, you know fairly new tools and you know good food good hotel, it's the Barclay, which is in. Mayfair. Okay, and it's a nice hotel, very nice hotel. This is the third year in a row that we've been there and you know we sort of stretched their capacity. Dean: 120 is about the upper limit and what they've been to the the new four seasons at uh, trinity square, at tower bridge. It's beautiful, really, really nice, like one of my favorites no, because the building is iconic. I mean Just because the building is iconic. I mean that's one of the great things about the. Dan: Four Seasons. Dean: Yeah, and about London in specific, but I mean that. Four Seasons at. Dan: Trinity it's beautiful, stunning, love it. Yeah, we had an enjoyable play going week um we did four, four, four musicals, actually four, four different. Uh, musicals we were there one not good at all probably one of the worst musicals I've seen um and uh, but the other three really terrific. And boy, the talent in that city is great. You know just sheer talent. Dean: What's the latest on your Personality? Yeah, personality. Dan: Yeah, the problem is that London's a hot spot right now and there's a queue for people who want to have plays there. Oh okay, Actually they have more theaters than Broadway does Is that right On the West End yeah, west End, but they're all lined up. Problem is it's not a problem, it's just a reality is that you have some plays that go for a decade. You know, like Les Mis has been in the same theater now for 20 years. So there's these perennials that just never move. And then there's hot competition for the other theaters, you know I wonder is Hamilton? Dean: there, I don't think so, I just wonder about that actually, whether it was a big hit in the UK or whether it's too close. Dan: Yeah, I'm not entirely sure why it was a great play in the United States. I went to see it, you know. I mean it bears no historical similarity to what the person actually was. Dean: No. Dan: So you know, I mean, if people are getting their history from going to that play, they don't have much history. Dean: That's funny, yeah, and I'm not a rap. Dan: I'm not a fan of rap, so it's not the oh God. I'm not the target, definitely not the target audience for that particular play. But we saw a really terrific one and. I have to say, in my entire lifetime this may have been one of the best presentations, all told. You know talent, plot, everything. It's cook. It's the curious case of Benjamin Button button, which is okay. Yeah, I've seen the movie which you. You probably saw the movie. Dean: I did. Dan: Yeah, and this is Fitzgerald. It's Fitzgerald. Dean: Yes. Dan: And it is just a remarkable, remarkable presentation. They have about, I would say, 15 actors and they're literally on stage for the entire two and a half hours. And they are literally on stage for the entire two and a half hours and they are the music. So every actor can sing, every actor can dance and every actor can play at least one musical instrument. And they have 30 original songs and then you know the plot. And they pull off the plot quite convincingly with the same actors, starting off at age 70, and he more or less ends up at around age 25, and then they very ingeniously tell the rest of the story. And very gripping, very gripping very moving and very gripping, very gripping very moving, beautiful voices done in. Sort of the style of music is sort of Irish. You know it takes place in Cornwall, which is very close to you know, just across the Irish Sea from Ireland. So it's that kind of music. It's sort of Irish folk music and you know it's sort of violins and flutes and guitars and that sort of thing, but just a beautifully, beautifully done presentation. On its way to New York, I suspect, so you might get a chance to see it there. Dean: Oh wow, that's where it originated, in London. Dan: No, yeah, it's just been. It was voted the number one new musical in London for this year, for 2025. Yeah, but I didn't know what to expect, you know, and I hadn't seen the movie, I knew the plot, I knew somebody's born, old and gets younger. Yeah, just incredibly done. And then there's another one, not quite so gripping. It's called Operation Mincemeat. Do you know the story? Dean: No, I do not. Dan: Yeah, it's a true story, has to do with the Second World War and it's one of those devious plots that the British put together during the Second World War, where to this was probably 1940, 42, 43, when the British had largely defeated the Germans in North Africa, the next step was for them to come across the Mediterranean and invade Europe, the British and Americans. And the question was was it going to be Sicily or was it going to be the island of Sardinia? And so, through a very clever play of Sardinia, and so, through a very clever play, a deception, the British more or less convinced the Germans that it was going to be Sardinia, when in fact it was going to be Sicily. And the way they did this is they got a dead body, a corpse, and dressed him off in a submarine off the coast of spain. The body, floated to shore, was picked up by the spanish police, who were in cahoots, more or less, with the germans, and they gave it to the germans. And the Germans examined everything and sent the message to Berlin, to Hitler, that the invasion was gonna be in Sardinia, and they moved their troops to Sardinia to block it. and the invasion of Sicily was very fast and very successful, but an interesting story. But it's done as a musical with five actors playing 85 different parts. Oh my yeah. Dean: Wow, 85 parts. Dan: Yeah. Dean: It sounds like. Dan: I thought, you were describing Weekend at Bernie's Could be. Dean: Could be if I had seen it If I had seen it. It was funny? Dan: Yeah, it's kind of like Weekend at Bernie's right, right, right, I don't know. I don't know what I'm talking about, but I know you are. And three of them were women who took a lot of male parts, but very, very good comic comic actors, and three of them were women who took a lot of male parts, but very, very good comic actors. It's done in sort of a musical comedy, which is interesting given the subject matter. And then I saw a re-revival of the play Oliver about Oliver Twist, a re-revival of the play Oliver about Oliver Twist and just a sumptuous big musical. Big, you know, big stage, big cast, big music, everything like you know Dickens was a good writer. Dean: Yes, um, dan, have you? Dan? Did you see or hear anything about the new Google Flow release that just came out two or three days ago? I have not. I've been amazed at how fast people adopt these things and how clearly this is going to unlock a new level of advancement in AI. Here thing kind of reminded me of how Steve Jobs used to do the product announcement. You know presentations where you'd be on stage of the big screen and then the. It was such an iconic thing when he released the iPhone into the world and you look back now at what a historically pivotal moment that was. And now you look at what just happened with flow from a prompt. So you say what you describe, what the scene is, and it makes it with what looked like real people having real dialogue, real interactions. And so there's examples of people at a car show talking like being interviewed about their thoughts about the new cars and the whole background. Dan, all the cars are there in the conference. You know the big conference setting with people milling around the background noises of being at a car show. The guy with the microphone interviewing people about their thoughts about the new car, interviewing people about their thoughts about the new car. There's other examples of, you know, college kids out on spring break, you know, talking to doing man-on-the-street interviews with other college kids. Or there's a stand-up comedian doing a stand-up routine in what looks like a comedy club. And I mean these things, dan, you would have no idea that these are not real humans and it's just like the convergence of all of those things like that have been slowly getting better and better in terms of like picture, um, you know, pick, image creation and sound, uh, syncing and all of that things and movies, getting it all together, uh, into one thing. And there, within 48 hours of it being released, someone had released a short feature, a short film, 13 minutes, about the moment that they flipped the switch on color television, and it was like I forget who the, the two, uh in the historic footage, who the people were where they pushed the button and then all of a sudden it switched to color, um broadcasting. But the premise of the story is that they pushed the button and everything turned to color, except the second guy in the thing. He was like it didn't turn him to color and it was. He became worldwide known as the colorless man and the whole story would just unfolded as kind of like a mini documentary and the whole thing was created by one guy, uh in since it was released and it cost about 600 in tokens to create the the whole thing and they were uh in the comments and uh, things are the the description like to create that, whatever that was, would have cost between three to $500,000 to create in tradition, using traditional filmmaking. It would have cost three to 500,000 to create that filmmaking it would have cost three to 500,000 to create that. And you just realize now, dan, that the words like the, the, the um, creativity now is real, like the capability, is what Peter Diamandis would call democratized right. It's democratized, it's at the final pinnacle of it, and you can only imagine what that's going to be like in a year from now, or two years from now, with refinement and all of this stuff. And so I just start to see now how this the generative creative AI I see almost you know two paths on it is the generative creative side of it, the research and compilation or assimilation of information side of AI. And then what people are talking about what we're hearing now is kind of agentic AI, where it's like the agents, where where AIs will do things for you right, like you can train an AI to do a particular job, and you just realize we are really like on the cusp of something I mean like we've never seen. I mean like we've never seen. I just think that's a very interesting it's a very interesting thought right now, you know, of just seeing what is going to be the. You know the vision applied to that capability. You know what is going to be the big unlock for that, and I think that people I can see it already that a lot of people are definitely going down the how path with AI stuff, of learning how to do it. How do I prompt, how do I use these tools, how do I do this, and I've already I've firmly made a decision to I'm not going to spend a minute on learning how to do those things. I think it's going to be much more useful to take a step back and think about what could these be used for. You know what's the best, what's the best way to apply this capability, because there's going to be, you know, there's going to be a lot of people who know how to use these tools, and I really like your idea of keeping Well, what would you use it for? Well, I think what's going to be a better application is like so one of the examples, dan, that they showed was somebody created like a 80s sitcom where they created the whole thing. I mean, imagine if you could create even they had one that was kind of like all in the family, or you know, or uh imagine you could create an entire sitcom environment with a cast of characters and their ai uh actors who can deliver the lines and, you know, do whatever. You could feed a script to them, or it could even write the script I think that what would be more powerful is to think. I I think spending my time observing and thinking about what would be the best application of these things like ideas coming. Dan: I think that somebody's going no no, I'm asking the question specifically. What would you, dean jackson, do with it? That's what. That's what I'm saying oh not what? Not what anybody could do with it, but what? Dean: would you? Dan: do with it um well, I haven't. Dean: I haven't well for one let's let's say using it. I, years ago, I had this thought that as soon as AI was coming and you'd see some of the 11 labs and the HN and you'd see all these video avatars, I had the thought that I wonder what would happen. Could I take an AI and turn this AI into the top real estate agent in a market, even though she doesn't exist? And I went this is something I would have definitely used. I could have used AI Charlotte to help me do, but at the time I used GetMagic. Do you remember Magic, the task service where you could just ask Magic to do? Dan: something, and it was real humans, right. Dean: So I gave magic a task to look up the top 100 female names from the 90s and the top 100 surnames and then to look for interesting combinations that are, you know, three or four syllables maximum and com available so that I could create this persona, one of the ones that I thought, okay, how could I turn Lily Madden Home Services into? How would you use Lily Madden in that way? So I see all of the tools in place right now. So I see all of the tools in place right now. There was an AI realtor in Portugal that did $100 million in generate $100 million in real estate sales. Now that's gross sales volume. That would be about you know, two or $3 million in in revenue. Yeah, commissions for the thing. But you start to see that because it's just data. You know the combinations of all of these things to be able to create. What I saw on the examples of yesterday was a news desk type of news anchor type of thing, with the screen in the background reporting news stories, and I immediately had that was my vision of what Lily Madden could do with all of the homes that have come on the market in Winter Haven, for instance, every day doing a video report of those, and so you start to see setting up. All these things are almost like you know. If you know what I say complications, do you know what? Those are? The little you know? All those magical kind of mechanical things where the marble goes this way and then it drops into the bucket and that lowers it down into the water, which displaces it and causes that to roll over, to this amazing things. I see all these tools as a way to, in combination, create this magical thing. I know how to generate leads for people who are looking for homes in Winter Haven. I know how to automatically set up text and email, and now you can even do AI calling to these people to set them on an email that every single day updates them with all the new homes that come on the market. Does a weekly, you know video. I mean, it's just pretty amazing how you could do that and duplicate that in you know many, many markets. That would be a scale ready algorithm. That's. Dan: That's one thought that I've had with it yeah, you know the the thing that i'm'm thinking here is you know, I've had a lot of conversations with Peter over Peter Diamandis over the years and I said you know, everything really comes down to competition, though. Dean: Everything really comes down to competition though. Dan: The main issue of competition is people's attention, the one thing that's absolutely limited. Everybody talks everything's expanding, but the one thing that's not expanding and can't expand is actually the amount of attention that people have for looking at things you know, engaging with new things. So for example. You asked me the question was I aware of this new thing from Google? From Google and right off the bat, I wouldn't be because I'm not interested in anything that Google does. Period, period, so I wouldn't see it. But I would have no need for this new thing. So this new thing, because what am I going to do with it? Dean: I mean, I don't know. But I recall that that was kind of your take on zoom in two months. Dan: Yeah but, uh. But if the cove, if covet had not happened, I would still not be using zoom yeah, yeah, because there was nobody. There was nobody at the other end that's exactly right. Dean: You didn't have a question that Zoom was the answer to. Dan: Yeah. And I think that that's the thing right now is we don't have a question that the new Google Flow Because this seems to me to be competition with something that already exists, in the sense that there are people who are creating, as you say, $500,000 versions of this and this can be done for $600. Dean: Well, in that particular field, now I can see there's going to be some fierce competition where there will be a few people who take advantage of this and are creating new things advantage of this and are creating new things, and probably a lot of people are put out of work, but not I. I what is so like? Dan: uh, you know, no, and it's not it's not based on their skill and it's it's on their base. There's no increase in the number of amount of attention in the world to look at these things. Dean: There's no increase there's no increase of attention. Yes, the world to look at these things. Dan: There's no increase. There's no increase of attention. Dean: Yes, which it's so eerily funny, but in my journal last night, after watching a lot of this stuff, I like to look at the edges of this and my thought exactly was that this is going to increase by multiples the amount of content that is created. But if I looked at it, that the maximum allowable or available attention for one person is, at the maximum, 16 hours a day, if you add 100% of their available attention bandwidth, you could get 1, 1000 minutes or 100 of those jacksonian units everybody that we only have those. We only have 110 minute units and we're competing. We're competing against the greatest creators ever Like we're creating. We're competing against the people who are making the tippy top shows on Netflix and the tippy top shows on any of these streaming things. I don't think that it's, I think, the novelty of it to everybody's. It's in the wow moment right now that I think everybody's seeing wow, I can't believe you could do this. And it's funny to look at the comments because everybody's commenting oh, this is the end of Hollywood, hollywood's over. I don't think so. Dan: Hollywood's been kind of over for the last five or ten years. I mean it's very interesting. I think this is a related topic. I'm just going to bounce it off you. The Democratic Party has decided that they have to create their own Joe Rogan, because they now feel that Joe Rogan as a person, but also, as you know, a kind of reality out in the communication world tipped the election in 2024. Dean: Who have they nominated? Dan: Yeah, that Trump being on Joe Rogan and a few other big influencers was the reason, and so they're pouring billions of dollars now into creating their own Joe Rogans. But the truth of it is they had a Joe Rogan. He was called Joe Rogan and he was a Democrat. Dean: Yeah, and he was a Democrat. Dan: Yeah, so you got to work out the problem. Why did Joe Rogan Democrat become Joe Rogan Republican is really the real issue question. And they were saying they're going to put an enormous amount of money into influencers because they feel that they have a fundamental messaging problem. Dean: Look how that worked out for them, with Kamala I mean they had all the A-listers. Dan: Well, they had $2 billion I mean Trump spent maybe a quarter of that and they had all the A-listers. They had Oprah. They had, you know, they had just Beyonce, they just had everybody and it didn't make any difference. So I was thinking about it. They think they have a messaging problem. They actually have an existential problem because nobody can nobody can figure out why the democratic party should even exist. This is the fundamental issue why, why, why should a party like this even exist? Dean: I I can't I? Dan: I don't know, I mean, can you answer the question? I can't answer the question I really don't know why this party actually exists. So it's a more fundamental problem to get people's attention. They have no connection, I think, with how the majority of people who show up and vote are actually going about life, are actually going about life. So you have these new mediums of communication and I'm using Google Flow as an example but do you actually have anything to communicate? Dean: Right, it all definitely comes down to the idea. It's capability and ability. I think that that's where we get into the capability column in the VCR formula. That capability is one thing is why I've always said that idea is the most valuable, you know? Dan: um, yeah, because you know, execution of a better idea, a capability paired with a better ability, is going to create a better result but if it's just a way of selling something that people were resisting buying and they were resisting buying in the first place have you really? Dean: made it. Dan: Have you really made a breakthrough? Dean: Have you really made a breakthrough? That was my next journey in my journal was after I realized that. Okay, first of all, everybody is competing for the same 1,000 minutes available each day per human for attention each day per human for attention, and they can't you know, do you can't use all of that time for consuming content there has to be. They're using, you know, eight hours of it for, uh, for working, and you know four hours of it for all the stuff around that, and it's probably, you know, three or four hours a day of available attention. Dan: Boy, that would be a lot. Dean: I think you're right, like I think that's the thing. I'm just assuming that's the, you know, that's the. Well, when you, you know, in the 50s, Dan, what was the? I mean that was kind of the. There was much less competition for attention in the 50s in terms of much less available, right, like you look at, I was thinking that's the people you know, getting up in the morning, having their breakfast, getting to work, coming home, having their dinner and everybody sitting down watching TV for a few hours a night. That's. That seems like that was the american dream, right? Or they were going bowling or going, uh, you know it was the american habit yeah, that's what I meant. That that's it exactly, exactly. The norm, but now, that wasn't there were three channels. Yeah, and now the norm is that people are walking around with their iPhones constantly attached to drip content all day. Dan: Well, I don't know, because I've never Not. Dean: you drip content, all well. Dan: Well, I don't know, because I've never not you and I have never. I've never actually done that, so I don't actually, I don't actually know what, what people are do, I do know that they're doing it because I can? I can observe that when I'm in any situation that I'm watching people doing something that I would never do. In other words, I can be waiting for a plane to leave, I'm in the departure lounge and I'm watching, just watching people. I would say 80 or 90 percent of the people. I'm watching are looking at their phones, yeah, but. Dean: I'm not, but I'm not yes, yes, I'm actually. Dan: I'm actually watching them and uh, wondering what are they? Doing why? Dean: no. Dan: I'm. I'm wondering why they're doing what they're doing. Yeah, yeah, yeah. And, for example, I never watch the movie when I'm on an airplane, but I notice a lot of people watching the screen. Yeah, so, and you know, if anything, I've got my Kindle and I'm reading my latest novel. Yes, that's basically what I'm doing now, so so, you know, I think we're on a fundamental theme here is that we talk about the constant multiplication of new means to do something. Constant multiplication of new means to do something, but the only value of that is that you've got someone's attention. Yes, and my thing, my thinking, is that google flow will only increase the competition for getting yes, attention, attention that nobody, nobody's getting anyway. Dean: That's exactly right, that's it. And then my next thought is to what end? Dan: Well, they're out competing some other means. Dean: In other words, there's probably an entire industry of creating video content that has just been created, too, based on this new capability. I so I just think, man, these whole, I think that you know, I'm just, I'm just going. Dan: I'm just going ahead a year and we just got on our podcast and it'll be you. It won't be me. Dan did you see what such and such company just brought out? And I'll tell you, no, I didn't. And they say this is the thing that puts the thing I was talking about a year ago completely out of. Dean: Isn't that funny, that's what I'm seeing. It probably was a year ago that we had the conversation about Charlotte. Dan: Well, no, it was about six months ago. I think it was six months ago. Dean: Maybe yeah. Dan: But we were talking about Notebook, we were talking about Google. Dean: Notebook. Dan: I had one of my team members do it for me three or four times and then I found that the two people talking it just wasn't that interesting. It really didn't do it so I stopped't want to be dismissive here and I don't want to be there but what if this new thing actually isn't really new because it hasn't expanded the amount of tension that's available on the planet? Dean: biggest thing you have to, the biggest thing that you have to increase for something to be really new is actually to increase the amount of human attention that there is on the planet, and I don't know how you do that because, right, it seems to be limited yeah, well, I guess I mean you know, one path would be making it so that there it takes less time to do the things that they're spending their time other than it seems to me, the only person who's got a handle on this right now is Donald Trump. Dan: Donald seems to have a greater capacity to get everybody's attention than anyone anyone in my lifetime. Mm-hmm, yeah, he seems to have. Dean: I mean you look at literally like what and the polarizing attention that he gets. Like certainly you'd have to say he doesn't care one way or the other. Dan: He doesn't really care love or love, love or hate. He's kind of got your attention yeah one thing that I'm. He's got Canada's attention yeah. Dean: I mean really. Dan: That and $7 will get you a latte today getting. Canada's attention. Dean: It won't get you an. Americano, but it'll get you a Canadiano, okay. Dan: Yeah, it's so funny because I just I've created a new form and. I do it with perplexity it's called a perplexity search and give you a little background to this. For the last almost 20, 25 years 24, I think it is I've had a discussion group here in Toronto. Dean: It's about a dozen people. Right. Dan: And and every quarter we send in articles and then we create an article book, usually 35, 40 articles, which is really interesting, and it's sort of the articles sort of represent a 90 to 180 day sense of what's going on in the world. You know, you kind of get a sense from the articles what was going on in the world and increasingly, especially since AI came out. I said, you know, these articles aren't very meaty. They don't know it's one person's opinion about something or one person's. You know, they've got it almost like a rant that they put into words about some issues so what I? resorted to is doing perplexity search where, for example, I have one that I've submitted. This was the week when we had to submit our articles and we'll be talking about them in July, the second week of July. So they have to be formatted, they have to be printed. July, so they have to be formatted, they have to be printed, they have to be the book has to be put together and the book has to be sent out. Usually, everybody has about four weeks to read 35 articles. So my articles I have four articles this time and they all took the form, and one of them was 10 reasons why American consumers will always like their gas-fueled cars. Okay, and there were 10 reasons. And then I say, with each of the reasons, give me three bullet point, statistical proof of why this is true. And it comes out to about five pages, and then I have it write an introduction and a conclusion. This is a format that I've created with Propoxy. It takes me about an hour to start, to finish, to do the whole thing, and I read this and I said this is really, really good, this is really good. You know this is very meaty, you know it's got. You know it's just all fact, fact, fact, fact, fact, and it's all put together and it's organized. So I don't know what the response is going to be, because this is the first time I did it, but I'll never get an article from the New York Times or an article from the Wall Street Journal again and submit it, because my research is just incredibly better than their research, you know. And so my sense is that, when it comes to this new AI thing, people who are really good at something are going to get better at something, and that's the only change that's going to take place, and the people who are not good at something are going to become it's going to become more and more revealed of how not good they are. Yeah, yeah, like the schmucks are going to look schmuckier, the schmuckification of America and you can really see this because it's now the passion of the news media in the United States to prove how badly they were taken in by the Biden White House, that basically he, basically he wasn't president for the last four years, for the last four years there were a bunch of aides who had access to the pen, the automatic pen where you could sign things, and now they're in a race of competition how brutally and badly they were taken in by the White House staff during the last four years. But I said, yeah, but you know, nobody was ever seduced who wasn't looking for sex. You were looking to be deceived. Yeah, you know, all you're telling us is what easily bribe-able jerks you actually are right now, and so I think we're. You know. I'm taking this all back to the start of this conversation, where you introduced me to Google Flow. Yeah, and I'll be talking to Mike Koenigs in you know a few days, and I'm sure Mike is on to this and he will have Mike, if there's anybody in our life who will have done something with this. Dean: it's Mike Koenigs that's exactly right. Dan: You're absolutely right. Dean: Yeah. Dan: Mike will have three or four presentations using this. Yes, but the big thing I come down to. What do you have that is worth someone else's attention to pay attention to? Do you have something to communicate? Dean: Do you have something to communicate that? And my sense is it can only be worth their time if it's good for them to pay attention to you for a few minutes. You're exactly right, that is an ability. Do you have the ability to get somebody's attention? Because the capability to create that, content is going to be. Dan: There's's going to be only a few people at the tippy top that have well, that's not going to be the issue that's not going to be the issue that's not going to be the issue, that's the how is taken care of. Yes, that's exactly it. The question is the why? Dean: yes, I put it, you were saying the same thing. I think that that it's the what I just said, the why and the what. Why are we? What? To what end are we doing this? And then, what is it that's going to capture somebody's attention? Uh, for this, and I think that that's yeah, I mean, it's pretty amazing to be able to see this all unfold. Dan: Hmm. Dean: You know, yeah, yeah. But there's always going to be a requirement for thinking about your thinking and the people who think about their thinking. I think that people this is what I see as a big problem is that people are seeing AI as a surrogate for thinking that oh what a relief I don't have to think anymore. Dan: Yeah. Dean: I saw a meme that said your Gen Z doctors are cheating their way through medical school using chat GPT. Probably time to start eating your vegetables, it's probably time to start living healthily. Exactly yes. Dan: It's very interesting. I was interviewed two or three days ago by New Yorker magazine actually. Dean: Really Wow. Dan: Fairly, and it was on longevity. Dean: OK, because you're on the leaderboard right. Dan: The longevity, yeah, and, and they had interviewed Peter Diamandis and they said you ought to talk to Ann Sullivan, nice guy, the interviewer. I said the biggest issue about, first of all, we're up against a barrier that I don't see any progress with, and that is that our cells reproduce about 50 times. That seems to be built in and that most takes us to about 120,. You know, and there's been very few. We only have evidence of one person who got to 120, 121, 122, a woman in France, and she died about 10 years ago. I do think that there can be an increase in the usefulness of 120 years. In other words, I think that I think there's going to be progress in people just deciding well, I got 120 years and I'm going to use them as profitably as I can, and I said that's kind of where I that's kind of where I am right now and, uh, I said, uh, I have this thing called one 56, but the purpose of the one 56 is so that I don't, um, uh, misuse my time right now. Right, that's really, that's really the reason for it. And I said you know, at 81, I'm doing good. I'm as ambitious as I've ever been. I'm as energetically productive as I've ever been. That's pretty good. That's pretty good because when I look around me, I don't see that being true for too many other people and see that being true for too many other people. It was really, really interesting, I said, if we could get half the American population to be more productive from years 60 to 100, a 40-year period. I said it would change the world. It would totally change the world. So I said the question is do you have actually anything to be usefully engaged with once you get to about 60 years old? Do you have something that's even bigger and better than anything you've done before? And I said you know, and my sense is that medicine and science and technology is really supporting you if you're interested in doing that. But whether it's going to extend our lifetime much beyond what's possible right now. I said I don't think we're anywhere near that. Dean: I don't either. Yeah, I think you look at that, but I think you hit it on the head. That of the people who are the centenarians, the people who make it past a hundred. They're typically, they're just hung on. They made it past there but they haven't really had anything productive going on in their life for a long time since 85 years old, very rare to see somebody. Uh, yeah, you know, I mean you think about Charlie Bunger, you know, died at 99. And you look at, norman Lear made it to 101. And George Burns to 100. But you can count on one hand the people who are over 80 that are producing. Yeah, you're in a rare group. Where do you stand on the leaderboard right now? Dan: I was number 12 out of 3,000. That was about four months ago. Dean: That was about four months ago. Dan: I only get the information because David Hasse sends it to me. My numbers were the same. In other words, it's based on your rate of aging. Dean: That's what the number is when I was number one. Dan: the number, was this, and my number is still the same number. And when I was number one, the number was this and my number is still the same number. It just means that I've been out-competed by 11 others, including the person who's paying for the whole thing, brian Johnson. But you know useful information, yeah. Dean: But you know useful information. Dan: Yeah, you know and you know. But the big thing is I'm excited about the next workshop we're doing this quarter. I'm excited about the next book we're writing for this quarter. So so I've always got projects to be excited about. Dean: I love it All righty, I love it Alrighty. Okay, dan, that was a fun discussion. I'll be back next week, me too. I'll see you right here. 1:03:42 - Dan: Yeah, me too. Awesome See you there. Okay, bye, bye,

We're thrilled to kick off our new role as the official podcast of the Surf Foil World Tour (SFT)! In this episode, we sit down with Jørgen Vogt and Tom Hartmann, the masterminds behind the SFT, a groundbreaking world tour for non-wind-powered foiling disciplines. From its roots in the GKA (Kite World Tour) and GWA (Wing Foil World Tour) to embracing pump foiling, surf foiling, and more, Jørgen and Tom share how the SFT is uniting passionate amateurs and pros alike, fostering a vibrant foiling community. This chat dives into the tour's grassroots vibe and big ambitions.In this episode, you'll discover:SFT's Origin Story: How a 2019 Cape Town car chat sparked a new tour, building on Jørgen's GKA success and Tom's windsurf tour experience.Five Core Disciplines: Pump foiling, surf foiling, downwind foiling, e-foiling, and wake foiling—accessible sports for lake lovers, yacht owners, and wave chasers.Grassroots Appeal: Why the SFT's Pro-Am approach welcomes enthusiasts, not just pros, fostering friendships and community at events like Pensacola and Sicily.Global Growth: From Düsseldorf's indoor World Cup to North America's rising demand, with the Atlanta Foil Fast World Cup (June 13-15, 2025) on the horizon.Event Challenges: Navigating financial hurdles and explaining niche foiling to sponsors, unlike the established GKA and GWA tours.Jørgen & Tom's Partnership: A chance meeting at a Mauritius Kite World Cup party led to a dynamic duo driving foiling's future.Community Impact: How SFT events, like Sicily's Water Experience, invite newcomers to try foiling, sparking passion across generations.Check out the SFT at https://www.surffoilworldtour.com/ for event schedules and details. Join the foiling community and catch the Atlanta Foil Fest World Cup vibe!

After 2 months, 8 cities, and 3 bottles of wine… the Sicily episode is finally here—take two. And this time, the mic was actually turned on.

SEASON 7: All Roads Lead to ClermontMiniseries: Southern Italy and Sicily, 1085 - 1095EPISODE 159: Rebellions & Conquests: Hauteville Edition, Pt2Roger Borsa and Bohemond hold onto a tenuous peace, while their uncle Count Roger faces challenges back in Sicily. Maybe a little vacay to the island of Malta could do the trick…Members-Only Series on Patreon:For only a dollar per month, you can hear multiple varying stories and storylines so far through the 11th century, including but not limited to the creation of the Kingdom of Poland, what's happening on the Continent while Duke William is conquering England, and, currently, our series called “The Book of Alexios” detailing all those details of the monumental medieval emperor, Alexios Komnenos, that didn't make it into the public podcast. Every dime donated will be put directly back into the show, so I hope you consider becoming a Patreon member!  Just follow this link to our Patreon page to peruse the right “subscription” for you: https://www.patreon.com/FortunesWheelPodcast. Social Media:YouTube Page: Fortune's Wheel PodcastFacebook Page: https://www.facebook.com/fortunes.wheel.3 X (formerly Twitter) Page: https://twitter.com/WheelPodcast

Dennis is joined via Zoom by playwright Tom Jacobson whose latest play Tasty Little Rabbit is currently showing at the Moving Arts Theatre in Los Angeles. The play tells the true story of a 1936 Fascist Italian investigation of pornography charges in Taormina, Sicily. This artistic prosecution uncovers a much darker secret of a 1890s love triangle between photographer Wilhelm Von Gloeden, an a 18 year-old Sicilian boy and a mysterious Irish poet. Tom talks about how he first learned of the true story, visiting Sicily as part of his research, the riveting "Kissing Contest" scene at the play's center and why the story is so relevant to today. He also talks about how he's been able to be so productive as a playwright while working a day job as a fundraiser for organizations like the Natural History Museum, LACMA and the Los Angeles Zoo. Other topics include: falling in love with theater as a kid in Oklahoma, using a New York-based alias to get his breakthrough play Cyberqueer produced in Los Angeles, writing plays to upset his mother, being told he's "too old to write for TV" at the age of 33, meeting his husband of 30 years on a blind date and why he loves being a part of the LA theater community.

This podcast episode titled "5 Terrifying Folkloric Dolls That Come to Life" explores five haunting stories of allegedly sentient dolls from around the world, including Robert the Doll from Florida, the hair-growing Okiku Doll from Japan, Mexico's disturbing Island of the Dolls, Sicily's identity-stealing Pupa dolls, and the Caribbean's deliberately animated Jumbie Dolls used in spiritual practices. Discover more TERRIFYING podcasts at http://eeriecast.com/   Follow Carman Carrion!    https://www.instagram.com/carmancarrion/?hl=en   https://twitter.com/CarmanCarrion   Subscribe to Spotify! https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY   Please Review Us on iTunes! https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184   Music and sound effects used in the Freaky Folklore Podcast have or may have been provided/created by:  CO.AG: https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvA Myuu: https://www.youtube.com/channel/UCiSKnkKCKAQVxMUWpZQobuQ Jinglepunks: https://jinglepunks.com/ Epidemic Sound: https://www.epidemicsound.com/ Kevin MacLeod: http://incompetech.com/ Dark Music: https://soundcloud.com/darknessprevailspodcast Soundstripe: https:// Learn more about your ad choices. Visit podcastchoices.com/adchoices