Podcasts about sidereus

Le dichiarazioni di Paolo Del Brocco, amministratore delegato di Rai Cinema, al Bellaria Film Festival evidenziano un problema critico dell'industria cinematografica italiana: “Le velleità autoriali ammazzano l'industria. Sono una palestra ma non hanno pubblico.” Del Brocco ha sottolineato che sebbene le opere prime siano considerate una palestra per i registi emergenti, spesso mancano del sostegno del pubblico. In un momento in cui il mercato cinematografico italiano sembra non essere in grado di assorbire i titoli prodotti, emergono interrogativi cruciali. È davvero insostenibile investire in opere prime autoriali se il pubblico non le apprezza più? Attraverso recenti articoli che coinvolgono anche il ministro della cultura Gennaro Sangiuliano, discutiamo e approfondiamo la situazione attuale dell'industria cinematografica italiana, cercando di comprendere le sfide e le opportunità che i registi emergenti devono affrontare oggi. Tra questi Simone Bozzelli, regista di Patagonia, fra le opere prime sostenute da Rai Cinema nel 2023 e presente tra il pubblico del Bellaria Film Festival.Come sempre un grande grazie va a Sidereus, amici e rental di fiducia, che ci ospitano nel loro Studi0, accogliendo con entusiasmo il progetto.Maggiori informazioni sul loro sito!Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via, GYBE Studio e SidereusUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu

"Poor Things" e "Kinds of Kindness" rappresentano due aspetti distinti del regista Yorgos Lanthimos, vincitore del Leone d'oro alla 80ª edizione della Mostra internazionale d'arte cinematografica di Venezia. Nonostante i due film condividano parte del cast e uno stile visivo apparentemente simile, differiscono notevolmente dal punto di vista strutturale e narrativo. Questo contrasto ha polarizzato il pubblico, dividendo gli spettatori tra chi apprezza uno dei due film e chi preferisce l'altro. Mossi dal successo di "Poor Things" e dalla negativa accoglienza di "Kinds of Kindness", abbiamo deciso di approfondire la discussione su queste opere e il nostro mancato rapporto con Lanthimos come autore.Come sempre un grande grazie va a Sidereus, amici e rental di fiducia, che ci ospitano nel loro Studi0, accogliendo con entusiasmo il progetto.Maggiori informazioni sul loro sito!Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via, GYBE Studio e SidereusUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu

Nel contesto cinematografico, il termine "needle drop" si riferisce all'inserimento di una canzone preesistente nella colonna sonora di un film. Questo termine deriva dall'azione fisica di posizionare la puntina ("needle") di un giradischi sul vinile per riprodurre una traccia specifica. Per gli autori, il "needle drop" è uno strumento potente per arricchire la narrazione e l'impatto emotivo delle loro opere. Per i produttori, rappresenta un'opportunità di espandere i profitti generati dal film. In ogni caso, molte pellicole ci rimangono impresse nella nostra memoria per la loro colonna sonora, che continuiamo ad ascoltare anche fuori dalla sala. A volte però, la popolarità delle tracce inserite può finire per eclissare il film stesso.Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via e GYBE StudioUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu, Sidereus

Sabato 20 aprile, al Cinema Godard di Fondazione Prada, si è svolta una Masterclass con Jia Zhangke, il principale rappresentante della sesta generazione di registi cinesi. Jia, recentemente in concorso a Cannes con "Caught by the Tides" e considerato uno dei cineasti più importanti al mondo, ha condiviso la sua esperienza e il processo di sviluppo dietro i suoi film. Abbiamo avuto la fortuna e il privilegio di partecipare a questo evento, prendendo appunti che abbiamo poi discusso insieme in questo episodio.Grazie ancora a Sidereus, amici e rental di fiducia, che ci hanno ospitati nel loro Studi0 e hanno accolto con entusiasmo il progetto. Maggiori informazioni sul loro sito e in puntata!Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via e GYBE StudioUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu, Sidereus

Mad Max: Fury Road, quarto capitolo della saga, è considerato all'unanimità il più importante action-blockbuster hollywoodiano contemporaneo, in grado di coinvolgere intelligentemente lo spettatore in uno spettacolo audio-visivo senza precedenti. A distanza di quasi dieci anni, George Miller torna al franchise con Furiosa: A Mad Max Saga, prequel dallo sviluppo vacillante che torna sui passi del capitolo precedente. Visto l'impatto enorme che hanno sul pubblico, quanto è cambiato il Cinema blockbuster hollywoodiano in questi dieci anni?Grazie ancora a Sidereus, amici e rental di fiducia, che ci hanno ospitati nel loro Studi0 e hanno accolto con entusiasmo il progetto. Maggiori informazioni sul loro sito e in puntata!Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via e GYBE StudioUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu, Sidereus

L'ultima uscita targata A24 è "Civil War", film diretto da Alex Garland, che immagina il viaggio di un gruppo di reporter nei futuri Stati Uniti coinvolti in una guerra civile. Espandendo lo sguardo di immagini reali (l'assalto al Campidoglio) e immagini possibili, Civil War, apoliticamente, vuole essere una riflessione sull'informazione, sull'etica e sull'immediato, in cerca del consenso di tutti.Grazie ancora a Sidereus, amici e rental di fiducia, che ci hanno ospitati nel loro Studi0 e hanno accolto con entusiasmo il progetto. Maggiori informazioni sul loro sito e in puntata!Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via e GYBE StudioUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu, Sidereus

In the early 1990s—a mere thirty years ago— America Online was launched into cyberspace and the Hubble Telescope was launched into outer space. These have changed our lives. And it's an odd parallel to two technological advancements from the Middle Ages—one from 1436 and another from 1608. In 1436, German goldsmith Johannes Gutenberg invented a printing press with movable type. In 1608, an unknown person invented the telescope, an idea that spread as a result of printing and was quickly picked up by Galileo who built his own, studied the heavens, and had his revolutionary findings printed by printing press. At the Wyoming School of Catholic Though this past June, adult learner listened to this introduction to Early Modern science by Dr. Paul Giesting. Readings: C.S. Lewis, The Discarded Image, Chapter 1 Johannes Trithemius, De laude scriptorum, extracts Francis Bacon, Novum organum, Aphorism 129 of Book I Galileo Galilei, Sidereus nuncius, abridged Johannes Kepler, Dioptrics extract from the preface Elizabeth Eisenstein, The Printing Revolution in Early Modern Europe, pages 206-212

Patrizia Caraveo, laurea in Fisica all'Università di Milano, è Direttore dell'Istituto di Astrofisica Spaziale e Fisica Cosmica di Milano. Ha collaborato in diverse missioni spaziali internazionali. Il suo campo d'interesse principale è il comportamento delle stelle di neutroni alle diverse lunghezze d'onda. In anni di sforzi volti all'identificazione della sorgente Geminga, riconosciuta come la prima pulsar senza emissione radio, ha messo a punto una strategia multilunghezze d'onda per l'identificazione delle sorgenti gamma galattiche. E' autrice di diversi libri ed è un volto noto in quanto la sua capacità di spiegare in modo estremamente semplice concetti di difficile comprensione la rende una divulgatrice contesa dai media. La sua curiosità e l'amore per la sua professione l'hanno spinta a collaborare anche con un artista valtellinese - Daniele Pigoni - con il quale ha allestito una mostra a Bormio dal titolo “Sidereus i colori delle stelle” che riporta agli elementi primordiali del nostro universo.

Summary:Nine months after he starts casually hooking up with Uraraka, Bakugou takes a leap of faith.↳ kchk week 2020, day 4, stargazing: fluff, established fwb, future ficThank you so much for listening!Please leave the kudos/comment on the fic: https://archiveofourown.org/works/25605781To request a fic to be read, don't hesitate to message us on twitter: https://twitter.com/_reading_room_Support the show

Una piacevole chiacchierata con il più giovane imprenditore aerospaziale del mondo sulle sfide dello spazio, la meraviglia e la passione che ci spingono a esplorare, e su qualche trend di business del settore.

José María Irujo, jefe de Investigación del el periódico El País, nos explica el robo de Sidereus Nuncius, la que para muchos es la obra más importante de la historia de la astronomía

Conoce la historia del robo en España del libro de Galileo Galilei que cambió la historia de la astronomía. Escucha además la anécdota de la Toma de la Bastilla en el espacio, las noticias de la semana, y el desafío de este episodio. Para comentarios o sugerencias, escríbeme a laika.podcast@gmail.com

durée : 00:04:05 - Le Journal de l'histoire - par : Anaïs Kien - L'histoire un peu folle d'un exemplaire du Sidereus Nuncius, manuscrit de Galilée datant de 1610, volé à la Bibliothèque nationale d’Espagne et remplacé par un faux. L'institution le savait mais n'a rien dit...

En el programa de hoy escucharemos mucha música. Sección Underground Nacional hoy suenan: Sidereus, Verdugo, Dunkel Mind, S.N.A.K.E. Madame Babilonia, Injector Sección internacional: KAT, Zero 2 Nothing, Epica Sección de recordatorio de bandas Evolve. PODÉIS ESCUCHARNOS EN NUETRAS PLATAFORMAS MIXCLOUD, IVOOX, SPOTIFY y GOOGLE PODCAST CADA MARTES A PARTIR DE LAS 18:30 ESTARÁN DISPONIBLES NUESTROS PODCAST Y LOS VIERNES DE 13:30- 14:30 LOS JUEVES PODEIS ESCUCHARNOS 16:00-17:00 sonando en CD MUSIC RADIO (Esp) y simultáneamente en 16:00-17:00 ROCK AND ROLL PREACHERS (ESP) 16:00-17:00 EL REINO DE LOS SUEÑOS (ESP) 15:00-16:00 RADIO LATINA (POR) 9:00-10:00 NEZA ROCK AND ROLL (MEX) 9:00-10:00 COMPILADOS RADIO METAL(MEX) 11:00-12:00 EN TUS OIDOS (CHL) MIERCOLES 17:00-18:00 (COL) ALTAVOX RADIO

The man responsible for arguably the most important invention in modern history was a terrible businessman. He was taken advantage of by "partners" and left basically penniless. So, maybe there is something to this whole uomo universale thing. If Gutenberg was as savvy as he was inventive, maybe his great, great, great...great...great ancestors would be rich. Maybe they are, but not because he gave them any money though. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

En su poema “Año de Meteoros”, el poeta Walt Whitman describe una “extraña y gigante procesión de meteoritos que pasaba, deslumbrante, por encima de nuestras cabezas”. El astrónomo forense Donald Olson investigó el poema y encontró el fenómeno que lo había inspirado: un meteorito de pastoreo que cruzó el cielo de Nueva York el 20 de julio de 1860 y que fue retratado por el pintor Federich Church en un maravilloso cuadro.La historia del arte y el conocimiento de la astronomía han estado siempre íntimamente relacionados. Algunos especialistas, como la astrónoma Montserrat Villar se dedican a rastrear los cielos de los cuadros para conocer la influencia que tuvo el conocimiento científico de cada época en las obras. Acompañados por ella, entramos en las salas del Museo del Prado para hacer un recorrido por sus cuadros con una visión distinta. ¿Qué reflejan los cielos de las grandes obras maestras y qué sabían del cielo sus autores?* Si quieres ver los cuadros de los que hablamos en el episodio, haz clic aquí.** Enlaces para saber más: página de Donald Olson, Una lección de astronomía en los cielos del Prado (Next), Trabajos de astronomía forense (Fogonazos), Cervantes y el enigma de las lunas de Júpiter (El Mundo)*** Para despistados: La ilustración de Javi Álvarez para este capítulo es una versión del famoso grabado de Flammarion en la

En su poema “Año de Meteoros”, el poeta Walt Whitman describe una “extraña y gigante procesión de meteoritos que pasaba, deslumbrante, por encima de nuestras cabezas”. El astrónomo forense Donald Olson investigó el poema y encontró el fenómeno que lo había inspirado: un meteorito de pastoreo que cruzó el cielo de Nueva York el 20 de julio de 1860 y que fue retratado por el pintor Federich Church en un maravilloso cuadro.La historia del arte y el conocimiento de la astronomía han estado siempre íntimamente relacionados. Algunos especialistas, como la astrónoma Montserrat Villar se dedican a rastrear los cielos de los cuadros para conocer la influencia que tuvo el conocimiento científico de cada época en las obras. Acompañados por ella, entramos en las salas del Museo del Prado para hacer un recorrido por sus cuadros con una visión distinta. ¿Qué reflejan los cielos de las grandes obras maestras y qué sabían del cielo sus autores?* Si quieres ver los cuadros de los que hablamos en el episodio, haz clic aquí.** Enlaces para saber más: página de Donald Olson,  Una lección de astronomía en los cielos del Prado (Next), Trabajos de astronomía forense (Fogonazos), Cervantes y el enigma de las lunas de Júpiter (El Mundo)*** Para despistados: La ilustración de Javi Álvarez para este capítulo es una versión del famoso grabado de Flammarion en la

La grande scoperta tecnica del cannocchiale è presentata attraverso il Sidereus nuncius di Galileo Galilei, evidenziando come la figura di scienziato e quella di ingegnere finiscano per sovrapporsi attraverso la funzione teorico-pratica dello strumento. Paolo Galluzzi Sidereus nuncius di Galileo Galilei festivalfilosofia 2017 | arti Venerdì 15 Settembre 2017 Modena

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Leonard Bernstein, Paul McCartney and Osvaldo Golijov all wrote high-profile music that wasn't entirely theirs. They used orchestrators (Bernstein in West Side Story), musical collaborators (McCartney's concert works) and assistant melodists (Golijov’s Sidereus) to help get their thoughts on paper. But while many composers farm out tasks to students and assistants with full transparency, the scandal surrounding the Japanese composer Mamoru Samuragochi goes far deeper. The man known as “Japan’s Beethoven” — because he supposedly continued to compose despite a profound hearing loss — admitted last week that he’d been paying someone else to write his music for nearly two decades. What’s more, his ghost writer also came forward to reveal how little he had been paid, and to claim that Samuragochi’s deafness was all an act (Samuragochi on Wednesday offered an apology and an explanation that his hearing had partially returned). And it’s not only Japanese musicians who have expressed outrage over the revelations. On this episode of Conducting Business, Francisco J. Núñez, director of the Young People’s Chorus of New York City (YPC), tells host Naomi Lewin that his chorus is currently in a bind, trying to determine whether to go ahead with a long-scheduled performance of Samuragochi’s choral piece Requiem Hiroshima on March 26, alongside two visiting Japanese choruses. The YPC, whose core program serves 1,300 New York City children from ages 7 to 18, performed the requiem in Tokyo last summer and briefly met with Samuragochi. “I was very sad,” Núñez said when asked about the revelations. “I’ve been receiving texts and snap-chats from all of our singers actually. He had won our hearts with the story. It seems to me, music is always about the way you paint the picture around the actual music and a picture was painted around Samuraguchi.” The piece in question is a choral tribute to a 15-year-old boy who died from the effects of radiation from the U.S. bombing of Hiroshima in 1945. “If anyone else had given me this piece of music I would not say, ‘Wow, this is an incredible piece of music,’” Núñez admitted. “But it was because it came from someone who we thought couldn’t hear.” Anne Midgette, the classical music critic of the Washington Post, agrees that the outrage is not over his use of a ghostwriter, but the fictional persona he developed to create the ruse. “I feel the outrage is about the personal fraud – the deception, the pretending to be deaf, pretending to be a genius,” she said. “If he had been open about the collaboration, I think there would be no outrage at all because this kind of collaboration is a normal part of the artistic process these days.” The case comes as a culture of borrowing and collaboration has opened up new gray areas in music, says Richard Elliott, a cultural musicologist at the University of Sussex in England. “In popular music it’s become kind of accepted that what we’re hearing is a fabrication," he noted. "Authorship goes far beyond the composer and the lyricists and involves all kinds of technologists – engineers, mixers, producers." Núñez said his choir is still debating whether to perform the Requiem Hiroshima with a correct attribution – or pull it from the program altogether. “I have received many e-mails from Japan asking me to no longer perform this piece of music,” he noted. “Even I don’t understand what actually happened here – that someone is able to deceive so many people for so long.” Listen to the full segment above, subscribe to our podcast on iTunes and share your own thoughts on this case in the comments box below. Photo: Takashi Niigaki, ghost writer of deaf composer Mamoru Samuragochi dubbed 'Japan's Beethoven,' leaves a press conference in Tokyo on February 6, 2014.

Sidereus Nuncius

Il "Nuncius sidereus" di Galileo Galilei