Split (1)

train · 2.09M rows

identifier stringlengths 1 43	dataset stringclasses 3 values	question stringclasses 4 values	rank int64 0 99	url stringlengths 14 1.88k	language stringclasses 1 value	title stringlengths 0 200	top_image stringlengths 0 125k	meta_img stringlengths 0 125k	images listlengths 0 18.2k	movies listlengths 0 484	keywords listlengths 0 0	meta_keywords listlengths 1 48.5k	tags null	authors listlengths 0 10	publish_date stringlengths 19 32 ⌀	meta_description stringlengths 0 258k	meta_lang stringclasses 68 values	meta_favicon stringlengths 0 20.2k	meta_site_name stringlengths 0 641	canonical_link stringlengths 9 1.88k ⌀	text stringlengths 0 100k
1098	dbpedia	0	10	https://www.ask-oracle.com/birth-chart/dennis-w-sciama/	en	Dennis W. Sciama Age, Birthday, Zodiac Sign and Birth Chart	https://www.ask-oracle.c…808509_Small.jpg	https://www.ask-oracle.c…808509_Small.jpg	[ "https://www.ask-oracle.com/charts_cache/birth-chart/d/1926/bcw_wheel_dennis-w-sciama.png", "https://www.ask-oracle.com/charts_cache/birth-chart/d/1926/bcw_aspect_dennis-w-sciama.png", "https://www.ask-oracle.com/charts_cache/birth-chart/d/1926/bc__dennis-w-sciama_D1.png" ]	[]	[]	[ "" ]	null	[]	2010-06-25T09:37:49+00:00	Astrology details of Dennis W. Sciama such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.	en	https://www.ask-oracle.c…04/favicon32.png	Ask Oracle	https://www.ask-oracle.com/birth-chart/dennis-w-sciama/	Zodiac Sign (Western) Scorpio Sunsign, Tropical Zodiac Zodiac Sign (Vedic) Aries Moonsign, Sidereal Zodiac Age (Today) 97 years, 8 months, 23 days Your next birthday is 99 days away. Birthday Thursday, November 18, 1926 Death Anniversary Wednesday, December 18, 2024 Next death anniversary is 129 days away. Death Date December 18, 1999 Place of Birth Manchester Time Zone - Europe/London (0:0 W) Chinese Zodiac Sign Tiger (虎) Birth Number 9 Life Path Number 2 Name Number (Chaldean) 42 => 6 Name Number (Pythagorean) 8 Meaning of the name - Dennis follower of Dionysus Read Full Dennis Name Analysis November 18, 1926 Facts Generation Group Dennis W. Sciama belongs to the GI Generation group. Place of Birth: Manchester Place of Death: Oxford Cause of Death: Educated At: Malvern College \| Trinity College \| University of Cambridge Occupation: university teacher \| astrophysicist \| physicist \| astronomer Spouses: Children: Employers: King's College London \| University of Texas at Austin \| Cornell University \| University of Cambridge \| University of Oxford \| Harvard University Awards Received: Guthrie Medal and Prize \| Fellow of the Royal Society Astrology Analysis Western Astrology Chart North Indian Kundli Ephemeris for November 18, 1926 Note: Moon position is location and time sensitive. Planet Position (Tropical, Western) Transits on November 18, 2023 Secondary Progressions for November 18, 2023 Sun 25 Scorpio 24 25 Scorpio 52 3 Pisces 53 Moon 9 Taurus 45 0 Aquarius 13 18 Scorpio 22 Mercury 10 Sagittarius 44 12 Sagittarius 14 21 Pisces 44 Venus 24 Scorpio 39 11 Libra 13 26 Pisces 14 Mars 6 Taurus 51 25 Scorpio 48 0 Gemini 46 Jupiter 19 Aquarius 14 8 Taurus 27 8 Pisces 22 Saturn 28 Scorpio 42 0 Pisces 39 7 Sagittarius 40 Uranus 25 Pisces 38 20 Taurus 53 27 Pisces 58 Neptune 26 Leo 57 24 Pisces 58 25 Leo 23 Pluto 15 Cancer 45 28 Capricorn 14 14 Cancer 0 Rahu 9 Cancer 16 23 Aries 10 4 Cancer 8 Ketu 9 Capricorn 16 23 Libra 10 4 Capricorn 8 More For Scorpio Free Horoscopes Love Compatibility Personality Traits Scorpio Man Scorpio Woman Chandra Kundali (Equal House, North Indian Diamond Chart) Astrology Transits Analysis for Year 2024 Note: Multiple transits occurring in close proximity often signify a major event in a person's life. Dennis W. Sciama's 2024 Transits to Natal Planets Jupiter conjunction Mars Exact: 31 January, 2024 Saturn sextile Mars Exact: 10 February, 2024 Jupiter trine Ketu Exact: 20 February, 2024 Jupiter conjunction Moon Exact: 01 March, 2024 Saturn sextile Moon Exact: 11 March, 2024 Mars conjunction Jupiter Exact: 11 March, 2024 Saturn square Mercury Exact: 11 March, 2024 Jupiter opposition Sun Exact: 10 May, 2024 Jupiter opposition Venus Exact: 10 May, 2024 Jupiter opposition Saturn Exact: 20 May, 2024 Mars aspects Saturn Exact: 09 June, 2024 Mars conjunction Mars Exact: 19 June, 2024 Mars opposition Saturn Exact: 19 July, 2024 Jupiter opposition Mercury Exact: 19 July, 2024 Mars opposition Mercury Exact: 08 August, 2024 Jupiter trine Jupiter Exact: 07 September, 2024 Jupiter trine Jupiter Exact: 06 November, 2024
1098	dbpedia	3	45	https://bhavana.org.in/to-talk-of-twistors-tilings-and-many-a-thing/	en	… to talk of Twistors, Tilings and many a thing – Bhāvanā	http://bhavana.org.in/wp-content/uploads/2021/07/Roger_Penrose-1024x867.jpg		[ "https://bhavana.org.in/wp-content/uploads/2018/05/Bhavana-Logo.png", "https://bhavana.org.in/wp-content/uploads/2018/05/Bhavana-Logo.png", "http://bhavana.org.in/wp-content/uploads/2021/07/Roger_Penrose-1024x867.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/Sheldonian_Theatre.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/LionelPenrose.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/SirWilliamHodge-811x1024.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/foto-todd.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndSciama-1024x767.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/youngchandra.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseInASeminar-1024x791.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/foto-penrose.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/The_London_University_by_Thomas_Hosmer_Shepherd_1827-28-1.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/Ascending_and_Descending.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/TribarGotschuchenAustria-1024x832.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndBourgignon-725x1024.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndHawkins.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/teselation-oxford-1024x689.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			https://bhavana.org.in/to-talk-of-twistors-tilings-and-many-a-thing/	… to talk of Twistors, Tilings and many a thing Sir Roger Penrose in Conversation with Oscar García-Prada Roger Penrose was born in Colchester (England) on 8 August 1931. His father, Lionel Penrose, was an expert in human genetics, and had a great interest in mathematics, which he ably communicated to his son. His older brother, Oliver, who would go on to earn a PhD in physics got him interested in physics. His mother was also attracted to mathematics, but her training was in medicine, like that of her own father. The Penrose family was undoubtedly an illustrious family in the British intellectual life of the 20th century. Penrose went to school in his hometown until the family, owing to World War II, moved to London (Ontario, Canada), before finally returning to London (England), where he completed his studies. The first university degree he obtained was at University College London, followed by a PhD at the University of Cambridge—initially under the supervision of Sir William Hodge, and finally, under John Todd. As a doctoral student, Penrose’s time in Cambridge coincided with that of Sir Michael Atiyah who, exactly as opposed to him, was initially supervised by John Todd, but went on to finally earn his doctoral thesis under the supervision of William Hodge. Penrose’s doctoral thesis, completed in 1958, was dedicated to the study of tensor methods in algebraic geometry. Even before finishing his thesis, Penrose was deeply interested in physics. This was greatly facilitated by his interactions with Dennis Sciama at Cambridge – a physicist friend of his brother Oliver, and who many years later would eventually be the PhD thesis supervisor of Stephen Hawking – as well as the courses he attended by Hermann Bondi (PhD thesis supervisor of Sciama), and Paul Dirac. After completing his thesis, Penrose received a NATO research grant that allowed him to spend three years in the United States, first at Princeton, and later at Syracuse University. Upon his return to England in 1962–1963, he was an Associate Researcher at King’s College (London), before returning to the United States as an Associate Visiting Professor during the academic year 1963–1964, this time at the University of Texas in Austin. In 1964, he was appointed Reader at Birkbeck College (London), where two years later he would be promoted to Professor of Applied Mathematics. In 1973, he was appointed to the Rouse Ball Chair at the University of Oxford, where he went on to become Emeritus Rouse Ball Professor in 1998. His move to the University of Oxford once again coincided with the return there of Michael Atiyah, with whom he would initiate a long scientific interaction. In relation to this, Michael Atiyah would say: “When I was at Princeton at that time, before going back to Oxford, I talked with Freeman Dyson and we discussed Roger Penrose, and he said: `Oh! Roger Penrose did some very good things regarding black holes, which I have always admired, but he also did some very funny things with twistors. I didn’t understand them, so maybe, when you go to Oxford, you’ll understand what twistors are.’ And he was right, exactly right. That was the connecting link.” During the period 1983–1987, Penrose juggled his position at Oxford with the Edgar Odell Lovett Professorship at Rice University, in Houston. Other positions occupied by Penrose at various times include being the Gresham Professor of Geometry at Gresham College, London and the Francis and Helen Pentz Distinguished Visiting Professor in Physics and Mathematics at Pennsylvania State University. Roger Penrose has received several prestigious awards and honours, with the most recent one being the coveted 2020 Nobel Prize in Physics that he shared with physicists Reinhard Genzel and Andrea Ghez – a crowing moment in his long and distinguished scientific career. Penrose is married to Vanessa Thomas, Director of Academic Development at Cokethorpe School (near Oxford), and formerly responsible for Mathematics at Abingdon School, and with whom he has a son. He has three other children from a previous marriage to Joan Isabel Wedge. Personal recollections My first encounter with Penrose took place in the academic year 1986–87 at Rice University (Houston), where I had begun my doctoral studies that very year under the supervision of Raymond Wells, working on a possible twistorial correspondence for the vortex equations of superconductivity—equations that are obtained via a dimensional reduction of instantons. As mentioned above, Penrose was connected to Rice University during the period 1983–1987, holding this position jointly with the one at the University of Oxford. Penrose had been invited by Wells, a renowned expert on Complex Geometry with a long interest in Twistor Theory, and who collaborated with Penrose and other experts. Before traveling to Rice, in my last year of university in Spain, I had been preparing myself in Twistor Theory and its relation with Yang-Mills theory. Thus, the possibility of interacting with Penrose in the months he was at Rice, represented a real golden opportunity for me. Furthermore, I was extremely fortunate that Penrose invited me to visit the Mathematical Institute at the University of Oxford during the three summer months of 1987, with funding from a collaboration program between the Royal Society of London, and the Spanish National Research Council (CSIC)—the latter institution of which I have been a member, since 2002. I was not only able to interact with Penrose and his group that summer, but also with other mathematicians present there, such as Michael Atiyah, Nigel Hitchin and Simon Donaldson. This experience was not only very enriching but, in fact, even changed the course of my career, because the very next year, I moved to the University of Oxford to earn my PhD, under the joint supervision of Hitchin and Donaldson. On my regular visits to Oxford over all these years, I have met Penrose on numerous occasions, not only at the Mathematical Institute, but also at the musical concerts held at the Sheldonian Theatre in Oxford (work of the great architect Sir Christopher Wren). Already during my very first stay in Oxford in the summer of 1987, I had bumped into him at several of such concerts organised as a part of the “Handel in Oxford” festival—those that took place for several years in Oxford from the mid to the late ’80s to commemorate George Frederick Handel’s first visit to Oxford in 1733; and also, at the premiere of Athalia, Handel’s third oratorio, again at the Sheldonian Theatre. Penrose’s mathematics, and Handel’s music, have both had a strong and lasting impact on me, from thereon. The last time I met Sir Roger in person was at a concert during the closing ceremony of the conference titled “Science and Beauty”, organised by Sir Michael Atiyah in 2015 at Edinburgh, and one in which I also had the honour of rendering a singing recital, accompanied by my musician friend, the British lutenist Din Ghani. The following interview of him that I did about twenty years ago is, of course, a treasured memory for me. When did you first get interested in mathematics? RP: From quite an early age—I remember making various polyhedra when I was about 10, so I was certainly interested in mathematics then—probably even earlier, but it became more serious around the age of 10. Are there other mathematicians in your family? RP: Yes, my father Lionel Penrose was a scientist—he was a Professor of Human Genetics, but he had broad interests and was interested in mathematics—not on a professional level, but with abilities and genuine interests in mathematics, especially geometrical things. I also have an older brother Oliver who became a mathematician. He was very precocious—he was two years older than me, but four years ahead in school. He knew a lot about mathematics at a young age and took a great interest in both mathematics and physics; he earned a degree in physics later on. My mother also had an interest in geometry; she too was medically trained, just as my father was. Did you have good teachers at school? RP: I did have at least one teacher who was quite inspiring. I found his classes interesting, although maybe not terribly exciting. Where did you go to school? RP: I was at school in Canada between the ages of 8 and 13. I don’t know that I got a great deal of my mathematics interests from there. I was back in England at the age of 14. But you were born in England? RP: Yes. We went over to the US just before the War. My father had a job in a hospital in London (Ontario, Canada), where he later became the Director of Psychiatric Research. He was interested in mental disease and its inheritance, the sort of thing that he became particularly expert at, later on. So, the question of inheritance versus environmental influence were of great interest to him. I was born on 8th August, 1931 in Colchester in Essex—it’s an old Roman town, possibly the oldest town in England. My father took on a project called the Colchester Survey, which had to do with trying to decide whether environmental, or inherited qualities were more important in mental disease. The conclusion he came to was that the problem was much more complicated than anybody had thought before, which is also probably the right answer. This was before going to Canada? RP: Yes. Then we went over first to the US when it started to become clear there was going to be a war. He had this opportunity to work overseas and he took it. And when did you return to England? RP: Just after the War, in 1945. I went to University College School in London, where I became more and more interested in mathematics, but I still hadn’t thought of it as a career. I was always the one who was supposed to become a doctor, but I remember an occasion when we had to decide which subjects to do in the two final years. Each of us would go up to see the headmaster, one after the other, and he said “Well, what subjects do you want to do when you specialise next year?”. I said “I’d like to do biology, chemistry and mathematics” and he said “No, that’s impossible—you can’t do biology and mathematics at the same time, we just don’t have that option”. Since I had no desire to lose my mathematics, I said “Mathematics, physics and chemistry”. My parents were rather annoyed when I got home; my medical career had just disappeared in one stroke. Where did you go to university? RP: I went to University College London for my undergraduate degree. My father was a professor there, and so I could go there without paying any fees. My older brother had also been there as an undergraduate, and he then went on to Cambridge to earn a Ph.D. in physics. I went to Cambridge afterwards to do my Ph.D. in mathematics. I was mainly a pure mathematician in those days. I had specialised in geometry and went to Cambridge to do research in algebraic geometry, where I worked under William Hodge. A contemporary who was also starting at the same time was Michael Atiyah, who later won the Fields Medal, became President of the Royal Society, Master of Trinity College at Cambridge, and was also the very first director of the Isaac Newton Institute. When you first become a research student you’ve no idea who the other people with you are. It took me a while to realise that there was something special about him. So, it was a bit intimidating, I remember, at the beginning. I worked with Hodge for only one year, because he decided that the kind of problems I was interested in were not in his line of interest. I then worked under John Todd for two years, but during that period I also became more and more interested in physics, largely because of my friendship with Dennis Sciama, who rather took me under his wing. He was a good friend of my brother’s, and I think I made something of an impression on him when I visited Cambridge and asked him some questions about the steady-state universe, which I don’t think he’d quite thought about. So, he probably thought it was worth cultivating my interest in physics. So, was he one of the most influential people you came across? RP: He was very influential on me. He taught me a great deal of physics, and the excitement of doing physics came through; he was that kind of a person, one who conveyed the excitement of what was currently going on in physics—it was partly Dennis Sciama, and partly lectures that I attended `on the side’ when I was in my first year. I remember going to three courses, none of which had anything to do with the research I was supposed to be doing. One was a course by Hermann Bondi on general relativity which was fascinating; Bondi had a wonderful lecturing style which made the subject come alive. Another was a course by Paul Dirac on Quantum Mechanics, which was beautiful in a completely different way; it was just such a perfect collection of lectures, and I really found them extremely inspiring. And the third course, which later on became very influential although at the time I didn’t know it was going to, was a course on mathematical logic given by Stourton W.P.\,Steen. I learnt about Turing machines and about Gödel’s Theorem, and I think I formulated during that time the view I still hold—that there is something in mental phenomena, something in our understanding of mathematics in particular, which you cannot encapsulate by any kind of computation. That view has stuck with me since that period. You’ve worked in many areas, but let me start with your 1960s work in cosmology. With Stephen Hawking you discovered the singularity theorems that won you both the prestigious Wolf prize. What are these theorems about, and what do they say about space-time? RP: Well, singularities are regions of space-time where the laws of physics break down. The main singularity one hears about is the Big Bang, which represents the origin of the universe. Now cosmological models were introduced in accordance with the Einstein equations of general relativity, which describe curvature of space-time in terms of the matter content. The equations determine the time-evolution of the universe. You apply these equations to a very uniform universe, which is what people did originally, assuming that the universe is homogeneous and isotropic, in accordance with the standard models that are used to describe cosmology on a large scale. If you extrapolate Einstein’s equations backwards, you find that at the very beginning was this moment where the density became infinite and all matter was concentrated in a single place. The Big Bang represents the explosion of matter away from this—in fact, the whole of space-time originated in this single event. Some people used to worry about this, just as I did, because it represents a limit to what we can understand in terms of known physical laws. The same situation arose later when people started to worry about what happens to a star which is too massive to hold itself apart, and singularities arise. Back in the 1930s, S.~Chandrasekar showed that a white dwarf star, which is a really concentrated body, can have the mass of the sun, or a bit more. We know that such objects exist—the companion of Sirius is the most famous one—but if such a body has more than about one-and-a-half times the mass of the sun, then as Chandrasekar showed, it cannot hold itself apart as a white dwarf, and will continue to collapse; nothing can stop its collapse. A white dwarf is basically held apart by what’s called `electron degeneracy pressure’—this means that the electrons satisfy an exclusion principle which tells you that two electrons cannot be in the same state, and this implies that when they get concentrated, they hold the star apart. So, it’s this exclusion principle in effect that stops a white dwarf star from collapsing. However, what Chandra showed is that gravity will overcome this force if the star is too massive, and then its electron degeneracy pressure cannot hold it apart. This problem occurs again in what’s called neutron degeneracy pressure, which is again the exclusion principle but now applied to neutrons. What happens is that the electrons get pushed into the protons and you have a star made of neutrons. Those neutrons hold themselves apart by not being able to be in the same state. But again, the Chandrasekar argument comes to bear on the neutron stars and you find that they also have a maximum mass which is believed to be not much more than that of a white dwarf. So, anything with, say, twice the mass of the sun would seem to have no resting place and would go on collapsing, unless it could throw off some of its material. But it seems unlikely that it would throw off enough material under all circumstances, especially if it started with a mass of, say, ten times the mass of the sun. So, what happens to it? Round about 1939, Robert Oppenheimer and various students of his—in particular, Hartland Snyder—produced a model of the collapse of a body. As an idealisation, they considered a body made of pressure-less material, which was assumed to be exactly spherically symmetrical—and they showed that it will collapse down, to produce what we now call a black hole. A black hole is basically what happens when a body is concentrated to such a small size for such a large mass that the escape velocity is either the velocity of light, or even exceeds the velocity of light—the escape velocity being the minimum speed at which an object thrown from the surface of the body escapes to infinity, and doesn’t ever fall back again. It’s about 25,000 miles an hour for an object on the surface of the earth. But if you concentrate the density of the earth so much, or take a larger body with a mass of, say, twice the mass of the sun and concentrate it down so that it is now just a few miles across, the escape velocity will then reach the speed of light. And then it becomes a black hole, if the escape velocity exceeds the velocity of light, so that nothing can escape, not even light. This is exactly what happened in the model that Oppenheimer and Snyder put forward in 1939. But it didn’t catch on. Nobody paid any attention to it, least of all Einstein, as far as one knows. I think the view of many people was that if you remove the assumption of spherical symmetry then the exact model that Oppenheimer and Snyder had suggested would not be appropriate, and who knows what would happen? Maybe it would not concentrate into a tiny thing in the centre, but would just swirl around in some very complicated motion and come spewing out again—I think this was the kind of view some people had. And you begin to wonder whether assuming that there’s no pressure was even a fundamentally correct assumption to start with, because matter does experience pressure when it gets concentrated. This was revived in the early 1960s when the first quasars were discovered. These extremely bright shining objects seemed to be so tiny, yet were so massive that one would have to worry about whether an object had actually reached the kind of extreme density limits that I’ve just been talking about, where you wouldn’t see it if it was really inside what’s called the event horizon, and where the escape velocity exceeded the velocity of light; but if you got close to it, then very violent processes could be seen taking place in its vicinity, which could also consequently produce extraordinarily bright objects. When the first quasar was observed, people began to worry again about whether what we now call black holes might not really be there out in the universe. So, I began thinking about this problem and the whole question of whether the assumption of exact spherical symmetry could be circumvented, using techniques of a topological nature which I had started to develop for quite other reasons. What people had done till then was just solve complicated equations, but that’s in itself not very good if you want to introduce irregularities and so on, because you simply can’t solve the equations. So, I looked at this from a completely different point of view, which was to look at general topological issues: Could one obtain a contradiction from the assumption that the collapse takes place without any singularities? Basically, what I proved was a theorem which was published in 1965 in Physical Review Letters, where I showed that if a collapse takes place until a certain condition holds (a qualitative condition which I called the existence of a trapped surface), then you could expect to see some type of a singularity. What it really showed is that space-time could not be continued, and that it must come to an end somewhere—but it doesn’t say what the nature of that end is, it just says that space-time cannot be continued indefinitely. Can you test this theory in our universe? RP: Well, the first question is: do black holes exist? They are almost a theoretical consequence of the kind of discussion I’ve just referred to. Then Stephen Hawking came in as a beginning graduate student working with Dennis Sciama, and he took off from where I’d started, introducing some other results mainly to do with cosmology, rather than black holes. Later, we put our results together and showed that singularities arise in even more general situations than we had individually been able to handle before. Now there is a big assumption here to which we still don’t know the answer. It’s called Cosmic Censorship, a term I introduced to emphasise the nature of this hidden presumption, and one that is often tacitly made. Cosmic censorship asserts that the so-called `naked singularities’ do not occur. We know from the singularity theorems that singularities of some kind do occur, at least under appropriate initial conditions that are not unreasonable—but we don’t know if those singularities are necessarily hidden from external view. Are they clothed by what we call a horizon, so one can’t actually see them? With a black hole you have this horizon which shields that singularity from being viewed from the outside. Now it’s conceivable that you could have these naked singularities, but they’re normally considered to be more outrageous than black holes. The general consensus seems to be that these don’t happen, and this tends to be my view also. If you assume that they don’t occur, then you must get black holes. So, it’s a theoretical conclusion that if you have a collapse of a body which is beyond a certain size, then you get black holes. there is something in mental phenomena, something in our understanding of mathematics, which you cannot encapsulate by any kind of computation. Now one type of system that astronomers have observed is where there is a double star system, only one member of which is visible. The invisible component is taken to be a black hole—Cygnus X-1 was the first convincing example. It’s an X-ray source, and what is seen is a blue supergiant star which is in orbit about something; the `something’ is invisible through a telescope, but seems to be a source of X-rays. Now the X-rays would come about if material is dragged into a tiny region, and gets heated in the process of being dragged in; the material probably forms a disc, which is also the view people have. The material gets dragged off the companion star, the blue supergiant star, and it spirals into the hole, in the standard picture. It gets hotter and hotter until it reaches X-ray temperatures, and eventually becomes a source of X-rays; this is also what’s observed. Now this doesn’t tell you that this object is actually a black hole, but the dynamics of the system are such that the invisible component has to be much too massive to be either a white dwarf or a neutron star, because of the Chandrasekar argument, and so on. So, the evidence is indirect: what one knows is that there is a tiny highly concentrated object which seems to be dragging material into it, and from the neighbourhood of which one sees X-rays emanating. Also, gamma ray sources seem to be black hole systems, and there may now be many other examples, other double star systems, or black holes in galactic centres. Indeed, there is convincing evidence for a very concentrated dark object at the centre of our own galaxy, of the order of something like a million solar masses. It seems to be a standard phenomenon that galaxies may have these highly concentrated objects which we believe to be black holes in their centres. Some galaxies may have large ones, and quasars are now believed to be galaxies which have at their centres objects that are much brighter than the entire galaxy—so all you see is this central region which is extraordinarily bright. It’s bright because it has dragged material into it, and it gets extraordinarily hot and spews things out in certain directions at nearly the speed of light. You see examples of things where jets emerge out of centres of galaxies, and things like that. But all this evidence is still indirect. It’s not that one knows for sure that black holes are really out there, it’s just that the theory tells us that there ought to be black holes there, and the theory fits in very well with the observations. But most observations do not directly say that these objects are indeed black holes, although there’s impressive recent evidence of material being swallowed by one without a trace. There’s also another potential possibility of the direct observation of a black hole: when I say `direct’, it’s more because the theory of black holes is so well developed that one knows very closely what the relevant geometry should be. There’s a geometry known as a Kerr geometry, which seems to be the unique endpoint of a collapsed object forming a black hole, and this geometry has very interesting specific properties. Some of these could be tested to see whether the concentrated objects that we know are out there, really do conform with the Kerr geometry. That would add much more direct evidence for black holes, but it’s something for the future. What would be the most striking physical implications of the singularities here? RP: What the singularities tell us is that the laws of classical general relativity are limited. I’ve always regarded this as a strength in general relativity. It tells you where its own limitations are. Some people thought that it was a weakness of the theory because it has these blemishes, but the fact that it really tells you where you need to bring in additional physics is a powerful ingredient in the theory. Now what we believe is that singularities are regions where quantum theory and general relativity come together, where things are both small and massive at the same time. `Small’ is where quantum effects become important, and `massive’ is where general relativity becomes important. So, when you get these two things happening together, which is what happens in singularities, then the effects of both general relativity and quantum mechanics must be considered together. Now this applies both in the Big Bang, and in the singularities in black holes, and it would also apply if the whole universe were to ever collapse—although that would just be a conglomeration of all the black holes, into one bigger black hole. There’s one thing I find particularly interesting, however, which is the stark contrast between the Big Bang and the singularities in black holes. It’s a bit ironic, because in the earlier stages of the black hole singularity discussions, their reasonableness was that we already know there’s a singularity in the Big Bang. It was argued that the singularities in black holes are just the same as the Big Bang, but time is going the other way—so if you have one, you should have the other. This was quite a plausible kind of argument, but when we look at these things in detail, we see that the structures are completely different: the structure that the Big Bang had was very smooth and uniform, whereas the structure we expect to find in singularities is very complicated and chaotic—at a completely different end of the spectrum. In fact, this is all tied up in a deep way with the second law of thermodynamics. This law tells us that there is a time asymmetry in the way things actually behave. This is normally traced far back in time to some very ordered structure in the very early stages of the universe—and the further you trace it back, the more you find that this ordered structure is indeed the Big Bang. So, what is the nature of that ordered structure in the Big Bang, and what is its cause? Well, in relation to what I was just saying, it is quantum gravity. We believe that this is where quantum theory and gravitational theory come together. And what this tells us—and I’ve been saying this for quite a few years but few people seem to pick up on this completely obvious point—is that the singularity structure, which is where we see general relativity and quantum mechanics coming together most blatantly, is time-asymmetrical. So, it tells me that the laws involved in quantum gravity, combining quantum theory with general relativity, must be time-asymmetrical, whereas the laws we normally see in physics are time-symmetrical. It also tells us, it seems to me, that the laws of quantum gravity are not just concerned with applying quantum mechanics to general relativity—when I say `just’, it’s a gross understatement because nobody knows how to do that, but I think it must be a union between these two theories, giving a new theory of a different character. It’s not just quantum mechanics: quantum mechanics itself will have to change its structure and it will have to involve an asymmetry in time, but I have reason to believe that this is all tied in with the measurement problem—the collapse of the wave function, the curious features that quantum theory has which makes it in many respects a totally unsatisfying theory from the point of view of a physical picture, or as a philosophically satisfying view of the world. Quantum mechanics is very peculiar, because it involves incompatible procedures. My own view is that this is something that we will only understand when we’ve brought Einstein’s general relativity in with quantum mechanics, and combined them both into a single theory. So, my view on quantum gravity is quite different from that of most people. What most people seem to say is “Oh, you’ve got to try and quantise general relativity, and quantise gravitation theory, and quantise space-time”: to `quantise’ means to take the rules of quantum mechanics as they are, and try to apply them to some classical theory, but I prefer not to use that word. I say that the theory we seek also involves a change in the very structure of quantum mechanics. It’s not simply quantising something; it’s bringing in a new theory that has standard quantum theory as one limit. It also has standard general relativity as another limit, but it would be a theory that is different in character from both those theories. Let me come to another aspect of your work. One of your greatest inventions is twistor theory, which you introduced around 1967. What is ‘Twistor Theory’? RP: Well, the main object of twistor theory is to find the appropriate union between general relativity and quantum mechanics. I suppose I had this view for many years (actually, from 1963 on), before I talked about this singularity issue and the asymmetry, and so on. I’d already felt that one needs a radically different way of looking at things, and twistor theory was originally motivated by such considerations. Since we can’t just `quantise’, we need other guiding principles. Let me mention two of them. One was non-locality, because one knows about phenomena in which what happens at one end of a room seems to depend on what happens at the other end. These experiments were performed in the early ’80s by Alain Aspect in Paris—all right, those experiments hadn’t been performed when I introduced twistor theory, but the original ideas were there already—I mean the Einstein-Podolsky-Rosen phenomena, which tell you that quantum mechanics says that you have these `entanglements’—things at one end of the world seem to be entangled with things at the other end. Now that’s only a vague motivation: it’s not really something that twistor theory even now has a great deal to say about, but it does say that somehow non-locality is important in our descriptions, and twistor theory (as it has developed) certainly has features of non-locality, over and above those I was aware of when I started thinking about these ideas. Originally, rather than having points in space-time as the fundamental objects, I thought more in terms of entire light rays as being fundamental. The reason for thinking about light rays actually came from something quite different, which I regard as perhaps the most important motivation underlying twistor theory. In the union between quantum mechanics and general relativity, I feel strongly that complex numbers and complex analytic structures are fundamental to the way that the physical world behaves. I suppose that part of my reason for this goes way back to my own mathematical training. When I first learnt about complex analysis at university in London, I was totally `gob-smacked’—it just seemed to me an incredible subject; some of the simplest ideas in complex analysis, such as, that if a function is smooth then it’s analytic, are properties which I always thought were totally amazing. What are twistors, and how are they more fundamental than a point in space-time? RP: Well, you see, if I follow the complex analysis well enough, I can come back to this. First of all, complex analysis is just mathematics, and it’s beautiful mathematics that’s tremendously useful in many other areas of mathematics. But in quantum theory you see it being present at the root of the subject—for the first time one sees that it’s really there in nature, and that nature operates (at least in the small scale) according to complex numbers. Now the thing that struck me from quite early on—it’s one of the earliest things I did in relativity—is that if you look out at the sky, you see a sphere; but if you consider two observers looking out at the same sky, one of whom is moving with a high speed relative to the other, then they see a slightly transformed sky relative to each other, and the transformation of that sky preserves circles, and takes angles to equal angles. Now those people who know about complex analysis know that this is the way you look at the complex numbers: you have infinity as well, and they make a sphere—the Riemann sphere—and the transformations that send that sphere to itself, the complex analytic transformations, are precisely those that send circles to circles, and preserve angles too. I was completely struck by this phenomenon, as it seems to me that what you’re doing when you look at the sky is that you’re seeing the Riemann sphere—they are these complex numbers just out there in the sky, and it seemed to me that that was a kind of an appealing mathematical connection. It seemed to me to be such a beautiful fact, and in a sense, the transformations of relativity are all contained in that fact. Surely that should mean something. We already know that complex numbers are fundamental to quantum theory, and here we see complex numbers being fundamental to relativity too, when we look at it this way. I’d say that the whole programme of representing Einstein’s theory in terms of twistors is what I’m proudest of. My view was to say “all right, don’t think of the points you see when you look at the sky; what you are doing is seeing light rays. You and a star in the distance are both connected by a light ray, and the family of things that you see, as you look at the sky, is the family of light rays through your eye at this moment.” So, the thing with the complex structure is light ray space, telling you that maybe you can see this link between space-time structure and complex numbers if you concentrate not on points, but on light rays instead. So that was really the origin of twistor theory—well, that’s cheating slightly, but I suppose one cheats when one gets used to a certain idea, because although these phenomena were known to me and I realised their importance, it was something else that really steered me in the direction of twistor theory. It’s a bit technical, but had to do with complex numbers—all right, you see them in the sky, but you also see them in all sorts of other places—in solutions of Einstein’s equations, and so on—they started to come up when people looked at specific solutions of Einstein’s equations. It turned out very often that you could express things very nicely if you used complex numbers, and it suggested to me that somehow—I had this image of an iceberg, you see—what you see is a little bit at the top and there’s the rest of it down underneath, which is invisible. It’s really a huge area where these complex numbers at the tip poke up through the water, while the rest of it is underneath. So, these solutions, where one sees the complex numbers, seemed just the tip of an iceberg, and they were really underneath governing the way that the first-hand structure works. It was a search to try and find what that complex structure was, and it wasn’t until certain things that are not appropriate to describe here were clarified, that things became clear. These things are related to solutions of Maxwell’s equations and Einstein’s equations which show you that the space of light rays, although not quite a complex space because it’s got the wrong number of dimensions, but looking at its structure, can be seen as being part of another structure, a slightly extended one with six dimensions; and this now effectively produces a complex objective space, which is also a complex projective 3-space. Now with hindsight I can describe these things more satisfactorily. Let me put it like this. When you think of a light ray, that is a photon idealised in a specific way, and where you are just thinking of it as a path through space-time. But you have to bear in mind that massless particles (photons, in particular) also have spin (they spin about their direction of motion), and if you introduce the spin, they also have energy. The spin is a discrete parameter. It’s either left-handed or right-handed, but when the particle has spin, introducing the energy (a continuous parameter) imparts one more degree of freedom. So instead of having just five dimensions of light rays, you find a six-dimensional space that is naturally the complex 3-space. So, you’ve got the whole thing, the right-handed ones, the light rays and the left-handed ones, and they all fit together to form a space that’s called projective twistor space. And it seemed to me that once you take this space as being more fundamental than space-time (the main reason being that it’s complex), it ties in with other things that I’ve been interested in for years—the use of spinors and how you treat general relativity, things which I’d learnt in Bondi’s and Dirac’s lectures. This notion of spinors, as a way of treating general relativity, was something I found to be powerful, but it didn’t quite do what I wanted, which was to get rid of the points. That was what twistor theory achieved, and it’s still going on. So how do twistors actually relate to these singularity theorems? Do they have anything to say about those theorems? RP: The short answer to that question is no—or, not yet. The hope is that they will, but the subjects have been going off in two quite different directions. Twistor theory is motivated by trying to bring general relativity and quantum mechanics together. If it’s successful in that direction, then it would have something to say about the singularity problem, but at the moment it has very little direct bearing on the singularity problem. I regard it as a very long roundabout route, but one needs first to understand how Einstein’s general relativity really fits in with twistor theory. Although considerable advances have been made, some dating back to the ’80s, it’s still a question mark. We don’t completely know how to represent Einstein’s theory in relation to twistors; there are some very strong indications that there’s a good connection between the two, but how one does it is still not clear. So, my view is that the major problem in twistor theory is to see how to incorporate Einstein’s theory into the twistor framework, and it’s still not complete. What we seem to see is that in the process of incorporating Einstein’s theory into twistors, we also have to incorporate ideas of quantum mechanics. So, my hope is that in bringing classical general relativity into the scope of twistor theory, one will also see how quantum theory must be made to combine with general relativity, and in that combination, one will see how to deal with singularities, because that is the place where the combination of the two theories comes in. Also, there must be a time asymmetry in the way it comes together, and that will explain the difference between the past and the future singularities. But all these things are hopes—they’re not something I can do now. Twistor theory has been tremendously successful in applications within mathematics, but has it been helpful in understanding the nature of the physical world? RP: Not very much, I would say. It’s rather curious, but I would say that this is not unique to twistor theory. One sees it in other areas—like string theory, for instance—where people start with great ambitions to solve the problems of physics, and instead come up with ideas that have had implications within mathematics; this is certainly the case with twistor theory, its applications and its interest. If you rounded up all the people who claimed they worked on twistor theory, you’d find, I would think, that a vast majority of them were mathematicians with no particular interest in physics—they might be interested in differential geometry, or integrable systems, or representation theory. Very few of them would have physics as their prime interest, so it’s kind of ironic that here’s a theory that’s supposed to be answering the problems of physics, and yet it’s not caught on at all on the physics side. You mentioned string theory. Are there connections between twistor theory and string theory? RP: I think there probably are. It’s not something that has been deeply explored, and the groups of people who work on these subjects are more or less disjoint. There have been some attempts to bring the theories together, but I think that the right vehicle for doing so hasn’t come about yet. I wouldn’t be at all surprised to find that in the future some more significant links between these two areas are found, but I don’t see it right now. These new theories involving p-branes seem to be more suitable, somehow? RP: Well, there is a connection, but I don’t know how significant it is. I was talking to Ed Witten some time ago, and he was telling me about the 5-branes they’re interested in. But that’s curious, because in work that Michael Singer did some years ago with Andrew Hodges and me, the suggestion was made that what one should really be looking at is generalisations of strings. Whenever you see an ordinary string, you should really think of it as a surface, because it’s a string in time. It’s one-dimensional in time, so that gives you two dimensions. These things are studied very much in connection with complex one-dimensional spaces (Riemann surfaces), so they are in some natural way associated with these Riemann surfaces. Now what we had in mind, which was much more in line with twistor theory, is to look at a complex three-dimensional version of this, which we called pretzel twistor spaces; they’re complex three-dimensional spaces, so they are six real-dimensional, and if you can think of them as branes in some sense, then they are 5-branes. Now is there a connection between those 5-branes and the 5-branes of string theory? I just don’t know, and I haven’t explored it. I didn’t mention it to Witten when I talked to him, but there might be something to explore here. That’s just off the top of my head, I don’t know, but yes, it might be that there’s a connection there. In the early 1970s you discovered two chickens that can tile the plane in a way that must be non-periodic. How did you find these non-periodic—or perhaps, I should say aperiodic—tilings? RP: Yes, aperiodic tile sets, I suppose, but the tilings are non-periodic. Tiling problems have always been a doodling side interest of mine, just for fun; if I got bored with what I was doing I’d try and fit shapes together, for no particular scientific reason—although I supposed that there was some connection with my interest in cosmology, in that there seem to be large structures in the universe that are very complicated on a large scale, whereas one believes that they should be governed by simple laws at their roots. So, I tried to find a model where we have simple local structures that produce great complications when scaled to much larger areas; I had an interest in certain types of hierarchical design. So, I played around with such hierarchical tilings, where you form bigger shapes out of smaller ones; the bigger ones you produce have the same character but are on a larger scale than what you just did. I also had an interest in Maurits Escher, and his work and met him on one occasion: I had produced single tile shapes that would tile only in rather complicated ways, and Escher himself used one of these in his last picture. What was the name of these tiles? The magic something? RP: That’s different: those are impossible objects. The staircase and the tribars that people now call the `impossible triangle’ were things my father and I played around with. Later, Escher incorporated them in some of his pictures: `Ascending and Descending’ used the staircase, and the `Waterfall’ used the triangle. And he actually used ours, because we sent him a copy of our paper. I met Escher once, and left him a copy of a puzzle I’d made which consisted of wooden pieces which he had to try and assemble. Well, he managed to do this all right, and somewhat later when I explained the basis on which it was constructed, he produced a picture called Ghosts—as far as I’m aware it was his last picture, when he was quite ill—and it’s based on this tile I’d shown him—twelve different orientations of this shape. But that was just a sideline, an amusement really, and the way the tilings came about was in two stages. I’m sure I owe a debt to Johannes Kepler, although I didn’t realise it at the time, because my father owned a book showing the picture that Kepler designed which had a number of different tilings that he played with. Some of these were of pentagons, and these tilings with pentagons are very close to the tiling shapes I produced later. Now I was aware of these things because I’d seen them, but they were not what I thought of when I was producing my own. They just coloured my way of thinking, which must be rather similar to what happened to Dan Shechtman when he discovered quasicrystals. He hadn’t thought about my tilings, but when I spoke to him later, he said he was aware of them. I suspect that it’s the sort of thing that puts you in a `kind of’ frame of mind, so that when you see something, you’re more receptive to it than you would have been otherwise. So yes, I’m sure it’s true of me with Kepler that I was more receptive to his kind of design. These three-dimensional forms of your tiles have appeared in recent years, as Quasicrystals. Did you ever anticipate such applications of your non-periodic tilings? RP: Well, I did, but I was overcautious I suppose, because I certainly knew this was a theoretical possibility. But what worried me was that if you ever tried to assemble them, you’d find it very hard, and without a kind of foresight, it’s difficult not to make mistakes. I sometimes gave lectures on these tilings, and people asked me `does this mean that there’s a whole new area of crystallography’—and my response would be `yes, that’s true—however, how would nature produce things like this, because they would require this non-local assembly?’. And it seemed to me that maybe you could synthesise such objects with great difficulty in the laboratory, but I didn’t see how nature would produce them spontaneously. Now I think, although people now understand them better, the situation is much the same. I still don’t think we know how they’re produced spontaneously, and there are different theories about how they might come about—maybe there was something a little bit non-local, something basically quantum-mechanical, about those assemblies which I came to think is probably true, but it’s not an area that people are agreed about—in fact, it’s not totally agreed that quasicrystals are this kind of pattern, although I think it’s getting pretty well accepted now. There was no line – you couldn’t say what was recreational and what was professional work. I was first shown the physical objects, the diffraction patterns, by Paul Steinhardt at a conference in Jerusalem to do with cosmology. I was talking about general relativity and energy and he was talking about inflationary cosmology, and he came up to me and said, “Look, I want to talk to you about something that has nothing to do with this conference”. He showed me these diffraction pictures that he’d produced, and it was quite startling but very gratifying—in fact, curiously enough, I wasn’t completely surprised. I suppose I felt that it must be right and nature is doing it somehow. Nature seems to have a way of achieving things in ways which may seem miraculous; this was just another example of that. Have any other examples of your work in recreational mathematics found reflections in natural phenomena, or in physics? RP: One thing I got from my father is that you never draw a line between the two. He was like that—he did things for fun, which might be making children’s toys out of wood—puzzles, or gadgets connected with his work. He’d make things like complicated slide rules that were supposed to test some statistical results. He made a bust of one of his patients, I seem to remember, and then he spent his later years producing wooden models that reproduce themselves. There was no line—you couldn’t say what was recreational and what was professional work. In 1989 you published a best-selling book, The Emperor’s New Mind, where you’re concerned with computers and artificial intelligence, the mind, the laws of physics, and many other things. What is the central question you address in this book? RP: I think I mentioned earlier that I had formulated a certain view while I was a graduate student. Before that, I’d been quite sympathetic to the idea that we were all computers, but it seemed to me that Gödel’s theorem tells us that there are aspects of our understanding which you cannot encompass in a computational picture. Nevertheless, I still maintain a scientific viewpoint that something in the laws of physics allows us to behave the way we do, but that the laws of physics are much deeper. My view is that we know much less about them than many people would maintain. So, I was quite prepared to believe that there was something outside computation. I’ve been interested in mathematical logic for a long time, and I’d known for a long time that there are things of a mathematical nature that are outside computation; that didn’t frighten me—it just seemed to me `all right, why not?’ Then I saw a television programme where Marvin Minsky, Edward Fredkin and others were making outrageous statements about how computers were going to exceed everything we could do. What they were saying was logical if we were indeed computers—but since I didn’t believe that, it seemed to me that this was something they’d completely missed—and not only had they missed it, I’d myself never seen it anywhere else. So, as I’d previously considered writing a popular or semi-popular book on physics—something I thought I’d do at some stage in life, but perhaps not until I had retired—this provided an opportunity: `All right, let’s explain things about physics and what the world is like, as far as we know, but with a different focus—let’s explore the laws of physics to see whether there’s scope for something of a non-computational character’. I’d never seen anybody put this forward as a serious viewpoint. Since it seemed to me that it needed to be put forward, that’s what I did. So, this was an attack on artificial intelligence; but you also proposed that since quantum mechanics was incomplete, the understanding of physical laws had to precede any understanding of the functioning of the mind. RP: Yes, I’d felt that if there was something non-computational, it needed to be outside the laws that we presently understand in physics, because they seem to have this computational character. And it also seemed to me that the biggest gap in our understanding is when quantum theory relates to large-scale objects, where the rules of quantum mechanics give us nonsense—they tell us that cats can be alive and dead at the same time, and so on, which is nonsense; we don’t see our world like that. Yet quantum theory was supposed to be so absolutely accurate, so why are we not aware of the manifestations of that theory on a large scale? It seemed to me that the theory can’t be quite accurate and that there must be some changes that take place when it gets involved with large-scale objects. I think I’d already thought that this had to do when gravitational phenomena started to become entangled with quantum effects—that’s when the changes start to appear, and there are good reasons for believing that. So that is what I believed in at the time, and still believe; but when writing The Emperor’s New Mind, I didn’t really have any clear idea on where in brain function, quantum effects could start to become important and have an influence on large-scale effects, and where these new physical processes that should be non-computable, could come in. So, I started writing the book, expecting that by the time I’d finished I’d have some clearer ideas on these. This happened to some degree—I was very ignorant about lots of things that had to do with the brain when I started, and I had to study hard to write the chapters specifically on them, and in particular the idea of `brain plasticity’—that the connections between neurons can change, and that these changes can take place quickly—it seemed to me that this was very important, and that the new physics comes in to regulate these changes. So, has this given you any clue as to what changes are needed in quantum mechanics? RP: A little, but the physical motivations are largely independent. I did, however, think about the needed changes in quantum mechanics a little more seriously than before, and I changed my views between writing the two books. You’re now referring to your second book Shadows of the Mind. Did you pursue the same problems in this book? RP: Yes, but Shadows of the Mind had slightly ambivalent purposes. Originally, I started to write it to address some of the points that arose out of people’s criticisms and misunderstandings of The Emperor’s New Mind, and in particular my treatment of Gödel’s theorem. I just didn’t expect the kind of vehement responses that I got. I was very naive, perhaps. I didn’t realise that people would feel attacked in the manner they did, and would therefore respond by attacking me, even while misunderstanding a lot of what I was trying to say. The main point that I was making about Gödel’s theorem was that if you have a system which you believe in, and which you also believe might be usable as mathematical proof, then you can produce a statement which lies beyond the scope of the system, but which now you must also necessarily believe in. Now there is an assumption here that the system is consistent, something which I didn’t bother to stress particularly, because it seemed to me quite obvious that there’s no point in using the system if you don’t think it’s consistent: the proof is no proof if it’s in a system you don’t thoroughly believe in and therefore don’t trust its consistency. That seemed to me to be obvious, but I didn’t make those points strongly and so there are loopholes that people could point to, which of course they did. So, I felt it necessary to address these issues with a great deal more care in Shadows. It was not meant to be a particularly long or popular book; it was just addressing these points and was quite technical and complicated in places, but in the process of writing this book, two things happened. One of them was that I received a letter from Stuart Hameroff telling me about the cytoskeleton whose structures inside cells I was totally ignorant of. But most people who work in artificial intelligence didn’t seem to know about them either; Marvin Minsky didn’t, as he told me afterwards. But it seemed to me that here was a completely new area for which it was much more plausible that quantum effects could be important. They are much smaller structures than neurons and are much more tightly organised structures. The most relevant of these were microtubules, where one has a much more credible arena for coherent quantum phenomena to take place. It is still hard to see how this takes place, because it is difficult to maintain quantum coherence on the large scale that one needs in order for these ideas to work. One needs to go beyond what can be done in any physics lab today, and there is no physical experiment performed today that can achieve the kind of quantum coherence at the level that I would need in order for the kind of phenomena to take place, and that I suspect are taking place all the time in our brains. So, nature has been a lot cleverer than physics has been able to get so far, but why not? It seems to me quite plausible that this is the case. The cytoskeleton, and in particular microtubules, seem to me to be structures where quantum coherence is much more plausible. So, I changed the nature of this book. I wanted to put in microtubules and the cytoskeleton, and so I needed to learn a little bit more about it and to express why I think that’s important in brain action. The other thing which happened was that I somewhat shifted my viewpoint on quantum state-reduction, in relation to gravity. The viewpoint I’d held for quite a long time, and which is expressed in The Emperor’s New Mind, is more or less that, if you have too big a discrepancy between two states, then they don’t superpose and the state reduces. This discrepancy is to be measured in terms of space-time geometry; I called it the one graviton criterion. It is to do with how many gravitons come into this difference between the two states. Now in work that I did subsequently, and also in work that had been done by others (particularly Lajos Diósi, a Hungarian, and Giancarlo Ghirardi in Italy) who had developed different ideas in connection with quantum state-reduction, it seemed to me that I needed to modify the view that I had before. I think it’s quite a significant modification. Basically, when you have two states that are significantly different from each other, then their superposition becomes unstable, and there is a calculable time scale involved in how long it takes for the superposition to `decay’ to one state or the other. The details are probably a bit too technical for here, but there indeed is a finite time scale, rather than an instantaneous reduction, and this time scale produces figures that are much more plausible—also, it is easier to use and it may be much more relevant to brain action. Consciousness seems to be such a different phenomenon from the other things we see in the physical world… One can see how to use it, and these ideas were developed in collaboration with Stuart Hameroff. We produced a number of suggestions about how this idea could be carried forward, but again we found a great deal of opposition. A lot of these ideas are clearly speculative, but I don’t think it is that speculative that something like this is going on. It seems to me it has got to be. Consciousness seems to be such a different phenomenon from the other things we see in the physical world that it’s got to be something very special, in physical organisation. I can’t see that it’s really just the same old physics put together in more complicated systems. It’s got to be something of quite a different character from other things that are important in the way the world operates. This new physics would be only occasionally employed in a useful way, and you have to have a very careful organisation that takes advantage of whatever is going on in state-reduction, and channelise it in a direction which makes us operate. But it is very rarely actually taken advantage of in physical systems, where most things don’t use this phenomenon in any useful way at all. In these books you reveal yourself to be a philosopher. How have you come to terms with the Great Mystery? RP: Well, there are lots of hugely unanswered questions—there’s no doubt about that. I’d certainly want to emphasise that even if everything that Stuart Hameroff and I say turns out to be absolutely correct, it would still not answer these questions. I hope we are moving a little in the right direction towards answering those questions. However, I think there’s very little progress towards answering the deep questions of what is going on in mentality, who we are, what is consciousness, why are we here, and why does the universe allow beings who can be self-aware, or if there is life after death? Any questions of that nature seem to me to require us to know more about what the world is like—we really know very little. People say, and physicists often say: we nearly have the solution to the grand theory of the universe which is just around the corner, the theory of everything. I simply just don’t believe that. I think there are major areas of which we have almost no understanding at all, and it’s quite curious that one can have a view which seems to encompass (at least in principle) most of the things that you see around you, and of why they behave this way or that way. One of the major things that isn’t explained is simply ignored and just swept under the carpet by physicists generally, which is quantum state-reduction. They say: quantum theory is a beautiful theory; it works perfectly well and describes how tiny particles behave. But, to put it bluntly, it gives you the wrong answer. What the theory tells us is that, for example, if you had Schrödinger’s famous cat, the cat could very easily be put into a state of being alive and dead simultaneously. That’s simply wrong; it doesn’t do that. So, what is it? I mean, there is something big missing from our view of the world, it’s huge and it’s not just a tiny phenomenon which we haven’t quite got hold of, because we’ve got to get even that last decimal place right, and the coupling constant or something: it’s a huge aspect of the way the world behaves which we simply do not understand, and understanding it is, in my view, one small step towards understanding what mentality is. I think it must be a part of it, but it is still not going to answer the question of mentality. We may well know what state-reduction is (and I expect that we will eventually know, if only we don’t destroy ourselves first); then that theory will have as part of its nature some completely different way of looking at the world from the way we have now. We’ve already seen that happen in Einstein’s general relativity, because before that we had Newton’s theory which told us how bodies attracted each other with forces and moved around and so on. It’s beautifully accurate: Newton’s theory is incredibly precise. It tells you how the planets move around in their orbits to almost complete precision—not quite, but almost. You might think it only requires a little tiny modification to make it completely right, but that’s not what happened. Einstein produced a theory that is so completely different. Its structure is utterly different from that of Newton’s theory, but it gives almost exactly the same answers. The philosophical framework of that theory is quite different. The very nature of space is warped, and that changes our whole outlook. Now what I am saying is that when we see how quantum theory is to be changed to accommodate state-reduction as a phenomenon, with the measurement process as a phenomenon, we shall have to come to terms with a completely different way of looking at what matter is, and what the world is like. Are you saying that this is a step that will help us to address questions that are typically addressed, by some people at least, by religion? RP: Well, it will, I think so. But you see, that I’m more `tolerant’ is not quite the right word. I think I’m a little bit more supportive of religious viewpoints than many totally scientific people would be. It’s not that I believe in the dogma that is attached to any of the established religions, because I don’t. On the other hand, religions are trying to address questions which are not addressed by science, particularly moral issues. I regard morality as something with an absolute `platonic’ component which is outside us. Is there really a platonic absolute notion of `the good’? I have to say, I’m inclined somewhat in that direction. I think morality is not just man made, but there are things outside us which we have nothing in the way of scientific understanding of at the moment, but which nevertheless are part of a big overall picture, and which maybe someday will all come together. So, I mean these questions are nowadays considered not to be part of science, but they’re part of religion, you see. Well, as I say, I don’t believe in the dogma of religion, but I do think that religion is groping for something which we don’t know the answers to yet, and which is outside traditional science. So, I suppose what I think is that the whole scientific enterprise must broaden its scope, and eventually perhaps even change its character. We have touched on only a fraction of your work but what is the result, theorem or theory that you are most happy with? RP: Well, I’d have to say twistor theory. The non-periodic tilings are nice, and they’re something to show to somebody. But this is not something which is as deep, and it’s not something I’ve devoted so much of my life to. Even when I call it `twistor’, this is slightly inappropriate, because we don’t know what the theory is yet, the real theory. But if I can answer your question in that way, I think I’d say that the whole programme of representing Einstein’s theory in terms of twistors is what I’m proudest of. I don’t know if you’d call that an answer to your question, because it’s not a theorem, it’s not one result, it’s a body of ideas. I suppose in amongst those, I would think the `non-linear graviton construction’ is probably the one thing which I feel most pleased about so far, but it is yet part of a bigger programme, and I don’t regard that as an endpoint; it’s something on the way. I hope that when one really understands how the Einstein equations can be incorporated into twistor theory, we’ll see something, a much broader picture of which that is just a part. But we don’t quite have that fully yet. How do you actually work? How do you select a problem? I’ve seen you many times in your lectures and seminars making pictures—do you visualise things that way? RP: A lot is very visual, but not entirely visual. Certainly, some things I’ve done are not entirely visual; for example, algebraic things aren’t. But I do find visual imagery absolutely essential in my work, and that’s the way I usually do it. I often start to write something down, but it doesn’t help very much. I may see a picture sometimes, but even drawing it on a piece of paper doesn’t help, because it’s not something you can still express very well that way. It’s an image which is hard to put down, but I do find expressing things by drawing pictures reasonably accurately helps sometimes, but sometimes it’s an accuracy that’s also very misleading. You’ve got to know what it means. I mean, the pictures are not really accurate because I might draw a picture of something which has got the wrong number of dimensions, and it’s really in a complex space rather than a real space, but you get a feeling for knowing what’s reliable and what isn’t in a picture. In some ways it’s a relief when one can do a calculation. If you can reduce something to a calculation, then you can deal with it; but so few of the things I do actually find their way into calculations, because that’s not the problem. The problem is a conceptual or a geometrical problem—often conceptual: you have to look at things in the right way. And that can be quite hard sometimes. But I suppose what I am probably best at, when it comes to mathematics, is the geometrical, where I can visualise things well. I don’t find it very easy to work with complicated formulae or analytic notions. It’s an uphill job sometimes. To a certain extent, things in analysis can be looked at geometrically. Nature seems to have a way of achieving things in ways which may seem miraculous. What are you working on right now? RP: Well, what I think about most of the time when I’m not doing something else, like trying to write up endless things one after the other, is this problem about the Einstein equations and twistors, which I think is almost there, or is very close to being resolved; but it’s not completely clear. I regard that as the major problem. I also try to make progress with the quantum state-reduction problem—even with some possible experiments. You’ve mentioned a number of mathematicians and physicists, but who is your most admired mathematician or physicist? RP: That’s a tough one—there are a lot of them. I’m not sure there’s a single one as a mathematician. I always had a tremendous admiration for Bernhard Riemann because he was a miracle man. As a mathematician, I think it probably would be him, I guess, but it’s not quite clear because on the physics side I’ve always thought of Galileo Galilei, Isaac Newton, J.C.~Maxwell and Albert Einstein as being the four most major figures. Of those, I suppose one would have to say that Newton was a more impressive figure than Einstein, no matter how impressive Einstein is. I mean, he’s had absolutely wonderful ideas. General relativity is a fantastic theory—of any physical theory that I’ve seen, I’d put general relativity at the top because it’s amazing. But Newton was such a powerful mathematician, and Einstein was less so. Einstein had these tremendous physical insights, but Newton had this great power as a mathematician, as well as deep physical insights. And I’ve always had a soft spot for Maxwell, and also for Galileo—I think I’ve always admired him from a long time back. I don’t know—I’m not trying to single out any one in particular. Riemann as a mathematician I suppose, possibly more than Carl Friedrich Gauss, I would say. Archimedes also, I suppose, was a very impressive character; as also Leonhard Euler. What is your opinion about the direction in which research in mathematics and physics is going nowadays? RP: Something I’ve found slightly discouraging about the way things go these days, which is not the fault of the mathematicians or the physicists, is the problem of technology. Although technology is a wonderful thing, it has the effect of magnifying fashions. It’s so easy to communicate ideas from one end of the world to the other instantaneously, and this means that the fashions have global control over what goes on. It means that a lot of progress can be made in fashionable areas, but there’s something which is lost in there, I feel. It’s a bit silly to hark back or think about things in this way, but when communications were much more difficult there were these little pockets of people working on different things. Maybe I have this starry-eyed view of what it was like; it probably wasn’t like that. Fashions were still important in the old days too, but somehow there’s something about the global nature of the fashions these days which I find a bit disturbing. But it’s worse in physics than it is in mathematics, I think. I always used to think that mathematics was immune from this kind of thing. You would have these people working away and developing their wonderful ideas in relative isolation, and occasionally getting together, and some things would spring from the coming together of different viewpoints. But now it’s much more as if you can go anywhere and they’re all working on the same thing, which is rather discouraging. In physics, it is particularly like that. This applies to highly theoretical work where there is no stabilising input from experiment. Communication is obviously beneficial, but the aspect you’re remarking on is actually a negative one. RP: It is a negative one, I think. And there’s another thing that goes along with this. It’s not relevant in mathematics, but in physics it’s to do with the expense of big experiments, which means that you have to build bigger and bigger machines to look at higher energies, and so on. I can see why they do that, but since the experiments are so expensive, they require a lot of money and government backing and huge organisations, and therefore you must have committees to decide which to support, and so on. Committees have to decide where the money’s going, so they consult people who are considered to be the experts in the relevant areas, and therefore the things tend to get locked in certain directions because the experts have already got there, as they were the ones who were important in the development of the current theories. It’s hard to break away from this. It becomes a political thing as well. RP: It does become political as well, because money is involved. One doesn’t have the free-ranging way of thinking about things that was there before. So, I’m only expressing the negative points, because maybe the positive ones are more obvious. Obviously, there’s huge activity—all over the world you find people who work in areas and who have never before had a chance to think seriously about science. Now the internet allows them to get involved. That’s all positive and I agree with that, but I’m just pointing out that there’s a downside also, which I find disturbing. Are you questioning the way in which what’s important and what’s not are decided? RP: It is hard to advise them, you see, because they’re caught up in the system, and if young researchers want to get jobs after doing research, they must work in an area which is going to be recognised by the people who employ them. If I were talking from the point of view of science, I’d say that in quantum state-reduction there are some important problems: you see why quantum mechanics needs modification. But if they’re working on that, it’s regarded as marginal at best, and crackpot at worst. I could even say that with twistor theory: in mathematics it seems to have caught on, but as a physical theory—if you work in twistor theory you’ll find it hard to get a job. There are very few people in physics departments who know about this subject and consider it important. I remember reading in one of your papers that twistor theory was an esoteric subject from that point of view. Do you still maintain this view? RP: Yes, it’s not much studied as a physical theory. I’m not unhappy from my own personal point of view, because when it gets studied by lots of people it becomes too complicated to find out what they’re doing. I’d have to learn and understand their notation, which would probably be different from mine—and that’s hard work. But if I know that nobody’s working on it, then that’s fine—I’m not rushed, and I don’t have to think I’ve got to get in there before someone else does! Tiling problems have always been a doodling side interest of mine That’s right. But what recent development in science at large has made the greatest impact on you? RP: Gosh, I’d say cosmology is one of the areas. Gravitational lensing—I worked on it for a little bit at one point; it’s an amazing thing. I’d say that astrophysics and cosmology are exciting areas. What aspects do you find most interesting? RP: What I was talking about, gravitational lensing. I find it interesting because it’s an effect of Einstein’s general relativity, which I think people thought was very hard to measure. It was the first thing that convincingly suggested that Einstein’s theory might be right. The Eddington experiment showed the deflection of light of the stars by the sun, but to see this effect on a cosmological scale, to see a galaxy focused by another galaxy, would have seemed absolutely ridiculous. Nowadays it’s an observational tool, people use it all the time—it’s a way by which you can tell the mass of an object just by saying how much focusing it exerts on the image behind it, and it’s wonderful. It’s not just that it’s a powerful tool in cosmology, but also perhaps because it uses something which is close to my heart I suppose; that’s why I like that one so much. But that’s just one area; there are lots of other things. I suppose the experiments on quantum entanglements (non-locality): you can get two ends of the room, 12 metres apart—well, nowadays it’s longer than that —by quantum entanglement effects, the two are now connected through quantum mechanics, and it’s amazing. One knew it had to be there in quantum theory, but it’s very impressive to see that it’s real. Quasicrystals are remarkable. High temperature superconductors are amazing, and so are developments in molecular biology. Some of the things that people are now learning about cells and about cytoskeletons and microtubules—I find them fantastic. Partly this is because I didn’t know what was going on in biology, and having got slightly involved in this subject, I see some remarkable things. I came across Erwin Schrödinger’s book What is life, for which you wrote a preface. RP: That’s right, and it mentions ideas related to aperiodic crystals that he believed were at the heart of life. Can you tell us something about this? RP: My father was very taken with the idea, I recall, and we had these mechanical devices I mentioned earlier which reproduce themselves, and he then developed much more elaborate devices which he made of wood, little things with levers which copied themselves. He sometimes referred to these things in Schrödinger’s terminology as `aperiodic crystals’—a crystal that went on for a while and then stopped growing, because that was how it came to an end. Life was to be thought of in that way. So, it had some influence on him, and indirectly on me. But I don’t know about the quasi-periodic tilings, or whether it has any such connection, historically. I eventually realised that Bach is really my favourite by quite a long way What books are you reading at the moment? RP: Gosh, I never get a chance, though sometimes I have to review a book. I’m not reading one right now. It’s one of my regrets that I find myself so busy that I have hardly any time to read anything for fun, which I like to do. If the day had 36 hours, what would you like to do? RP: If it had 36 hours, there should be a rule that the extra twelve were only allowed to be used for things that were not directly to do with one’s work. I enjoy reading when I get the chance, and also going to the theatre, to films, and listening to concerts—all the things I’d love to do more of. But there are films that I never get the chance to see, including some wonderful ones that are going around now. I used to read quite a bit of science fiction, but I hardly have a chance to now. I sometimes read Michael Frayn; I find him tremendously funny. What about music? Do you have a favourite composer? RP: On the whole I prefer classical music, but I enjoy jazz too—my wife’s influence! My parents each had a favourite composer: for my father it was Wolfgang Amadeus Mozart, who was his God, and for my mother it was Johann Sebastian Bach. I eventually realised that Bach is really my favourite by quite a long way; I’ve always regarded those two as a cut above the other composers. Bach—I think I see much more in his work, there’s something you can always go back to, and there’s yet more and more of it. But I think it’s the perfection in Mozart that I find somewhat magical. I’ve always rated him above Ludwig van Beethoven, who never had quite the same magic for me. I can see he had the power and originality, but somehow there’s not quite the magic there. Maybe even with Franz Schubert there’s a bit of magic that I don’t quite see in Beethoven. To go back further, I like Antonio Vivaldi, Henry Purcell and others. But I also quite like some modern composers, such as Igor Stravinsky, Sergei Prokofiev and Dmitri Shostakovitch. What do you consider the most profound scientific development of the last century? RP: Einstein’s general theory of relativity. I might have also said quantum mechanics, but I think that that theory isn’t finished yet, because of the measurement paradox. I discuss these things in my new book, The Road to Reality, which should be published soon. It’s almost completed, but still there’s work to be done on it. It’s about mathematics and physics and the profound relation between the two. In it I try to give my views of some of the popular developments in modern theoretical physics—I may get myself into more trouble! It’s the perfection in Mozart that I find somewhat magical Finally, what will keep you busy in the future? RP: I have many more books in mind, so I’ll keep writing. Also, I’ll keep working on twistor theory, as there’s a great deal to do in that subject. I have new ideas to do with quantum state-reduction—even an experiment (FELIX) which I hope will be performed in space while I’m still alive! In addition to all this, I recently had a baby boy (Maxwell Sebastian—Max, for short) who was born on 26 May 2000, and which will keep me even busier! \blacksquare Footnotes Oscar García-Prada, is a renowned mathematician working as a CSIC Research Professor at ICMAT in Madrid, Spain. His research combines ideas from differential & algebraic geometry with theoretical physics, while studying moduli spaces and geometric structures. He earned a DPhil from Oxford in 1991, under the guidance of Simon Donaldson and Nigel Hitchin. He is equally passionate about mathematics outreach, in addition to being a trained vocalist, with musical performances in many European venues. This interview was first published in two parts in the December 2000 and March 2001 editions of the Newsletter of the European Mathematical Society. It is republished here, with minor edits, and with permission.
1098	dbpedia	2	3	https://pantheon.world/profile/person/Dennis_W._Sciama	en	Dennis W. Sciama Biography	https://pantheon.world/api/screenshot/person?id=2463623	https://pantheon.world/api/screenshot/person?id=2463623	[ "https://pantheon.world/images/icons/icon-nav.svg", "https://pantheon.world/images/logos/logo_pantheon.svg", "https://pantheon.world/images/icons/icon-search.svg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/ui/profile-w.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/1104242.jpg", "https://pantheon.world/images/profile/people/1227787.jpg", "https://pantheon.world/images/profile/people/332556.jpg", "https://pantheon.world/images/profile/people/713353.jpg", "https://pantheon.world/images/profile/people/1925384.jpg", "https://pantheon.world/images/profile/people/211458.jpg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/profile/people/466394.jpg", "https://pantheon.world/images/profile/people/1615445.jpg", "https://pantheon.world/images/profile/people/696386.jpg", "https://pantheon.world/images/profile/people/415428.jpg", "https://pantheon.world/images/profile/people/475627.jpg", "https://pantheon.world/images/profile/people/3757166.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/9000925.jpg", "https://pantheon.world/images/profile/people/1439977.jpg", "https://pantheon.world/images/profile/people/408948.jpg", "https://pantheon.world/images/profile/people/28829086.jpg", "https://pantheon.world/images/profile/people/8758831.jpg", "https://pantheon.world/images/profile/people/67059317.jpg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/profile/people/546849.jpg", "https://pantheon.world/images/profile/people/295633.jpg", "https://pantheon.world/images/profile/people/612754.jpg", "https://pantheon.world/images/profile/people/1164523.jpg", "https://pantheon.world/images/profile/people/5990609.jpg", "https://pantheon.world/images/profile/people/476897.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/720943.jpg", "https://pantheon.world/images/profile/people/5463025.jpg", "https://pantheon.world/images/profile/people/958838.jpg", "https://pantheon.world/images/profile/people/547498.jpg", "https://pantheon.world/images/profile/people/1226508.jpg", "https://pantheon.world/images/profile/people/292138.jpg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/profile/people/1973826.jpg", "https://pantheon.world/images/profile/people/2647804.jpg", "https://pantheon.world/images/profile/people/12081386.jpg", "https://pantheon.world/images/profile/people/36168859.jpg", "https://pantheon.world/images/profile/people/2847891.jpg", "https://pantheon.world/images/profile/people/1497835.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/486610.jpg", "https://pantheon.world/images/profile/people/1817428.jpg", "https://pantheon.world/images/profile/people/5028353.jpg", "https://pantheon.world/images/profile/people/1179329.jpg", "https://pantheon.world/images/profile/people/319233.jpg", "https://pantheon.world/images/profile/people/39773.jpg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/profile/people/15003874.jpg", "https://pantheon.world/images/profile/people/583782.jpg", "https://pantheon.world/images/profile/people/466394.jpg", "https://pantheon.world/images/profile/people/1395165.jpg", "https://pantheon.world/images/profile/people/1186614.jpg", "https://pantheon.world/images/profile/people/76748.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/32194683.jpg", "https://pantheon.world/images/profile/people/769122.jpg", "https://pantheon.world/images/profile/people/465034.jpg", "https://pantheon.world/images/profile/people/446830.jpg", "https://pantheon.world/images/profile/people/8225041.jpg", "https://pantheon.world/images/profile/people/1921485.jpg", "https://pantheon.world/images/profile/people/2463623.jpg", "https://pantheon.world/images/profile/people/466394.jpg", "https://pantheon.world/images/profile/people/7092006.jpg", "https://pantheon.world/images/profile/people/1138167.jpg", "https://pantheon.world/images/profile/people/1049937.jpg", "https://pantheon.world/images/profile/people/1571952.jpg", "https://pantheon.world/images/profile/people/1198919.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=256&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=640&q=75 2x", "https://pantheon.world/images/logos/logo_CL.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=96&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=256&q=75 2x", "https://pantheon.world/images/logos/logo_facebook.svg", "https://pantheon.world/images/logos/logo_twitter.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/images/favicon.ico		null	Dennis W. Sciama Dennis William Siahou Sciama, (; 18 November 1926 – 18 December 1999) was an English physicist who, through his own work and that of his students, played a major role in developing British physics after the Second World War. He was the PhD supervisor to many famous physicists and astrophysicists, including John D. Barrow, David Deutsch, George F. R . Read more on Wikipedia
1098	dbpedia	3	44	https://www.sciencemediacentre.org/expert-reaction-to-nobel-prize-for-physics/	en	expert reaction to Nobel prize for physics			[ "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/HeaderLogo_Out.svg", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/HeaderLogo_Over.svg", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/rss.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/rss_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/twitter.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/twitter_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/blogger.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/blogger_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_RoundUps_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_RoundUps_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Briefings_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Briefings_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Headlines_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Headlines_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterLogo.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/email-footer.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterNode.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterNode_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/mythic-beasts-logo.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.sciencemediacentre.org/expert-reaction-to-nobel-prize-for-physics/	The 2020 Nobel Prize in Physics, has been half awarded to Prof Roger Penrose for his discovery that black hole formation is a prediction of the general theory of relativity, and the other half of the award was jointly received by Prof Reinhard Genzel and Prof Andrea Ghez for the discovery of a black hole at the centre of our galaxy. Dr Marco Bruni, Reader in Cosmology and Gravitation at the University of Portsmouth, said: “In its best tradition, the Nobel Prize physics committee has assigned this year’s prize on results that have now been well established for a while, on the existence of black holes. It is remarkable that half the prize is going to Roger Penrose for his theoretical work in the 60s on the inevitability of black hole formation, with the other half going to Reinhard Genzel and Andrea Ghez for their astronomical observations in the 90s providing evidence for the existence of a super-massive black hole in the centre of our galaxy, the Milky Way. Physics advances through the interplay between theory and experiments, and this year’s prize, really recognise the importance of this interchange. It is also great to see a woman becoming a Nobel Laureate in physics – she is only the fourth since 1901 – so it is good to see the physics committee breaking away from a mostly men-only tradition. “It is particularly great to see Roger Penrose awarded the Nobel prize in physics for his theoretical work on the inevitability of black holes formation. Penrose is no-doubt a genius, and he was inspired to work on physics problems by Dennis Sciama. Several of us at the University of Portsmouth’s Institute of Cosmology and Gravitation have a direct connection with Sciama, as we did our PhDs with some of the many of Sciama’s students. Sciama established a school in astrophysics in the 60s in Cambridge, when Penrose met him, and later in Oxford in the 70s and in Trieste (Italy) in the 80s. Many in Sciama’s school have worked on black hole’s physics and in cosmology, and in a sense the prize to Penrose is a recognition of this great legacy.” Dr Laura Nuttall, Senior Lecturer in Gravitational Waves at the University of Portsmouth, said: “It’s great to see Penrose, Ghez and Genzel recognised with the Nobel prize. Penrose is synonymous with black holes. His work in proving how black holes form, as well as their centre being a singularity, has opened so many fields, including that of searching for gravitational waves. Ghez and Genzel’s work has also inspired many, such as the Event Horizon Telescope who only released an image of a supermassive black hole last year. It’s wonderful, that their work is very much taken as a given today – of course black holes form from the collapse of matter and of course there’s a black hole at the centre of the galaxy. It’s easy to forget that this has not always been the case!” Professor David Wands, Professor of Cosmology at the University of Portsmouth, said: “Roger Penrose is a brilliant and original thinker: he brought a unique geometrical insight and applied it to physical theories to derive remarkable and profund results. His work established the inevitability of singularities in Einstein’s General Theory of Relativity, including his famous work with Stephen Hawking on the nature of the Big Bang singularity. It is great to see the Nobel committee recognise his exceptional contributions in mathematical physics.” Prof Jerome Gauntlett, Imperial College London, Professor of Theoretical Physics: “I’m absolutely delighted with today’s announcement of the Nobel Prize for Physics! “Black holes are structures in the very fabric of space and time and are amongst the most extraordinary structures that are known to exist in the universe. Within General Relativity, Einstein’s theory of gravity, they have the remarkable property that once one passes through the event horizon there is no way back. It is necessarily a one way journey to something called a spacetime singularity, where the current laws of physics break down. Black hole solutions to Einstein’s equations were first found shortly after Einstein formulated his theory in 1915, but it was decades before their properties were properly understood and it started to become accepted that they might actually exist in nature. “Roger Penrose laid the foundations for our modern understanding of black holes in the 1960s. In a highly original and profound development he introduced new mathematical methods to study Einstein’s equations. His work revealed that in certain situations the formation of a black hole in the gravitational collapse of a star is essentially inevitable and this is when black holes started to be taken more seriously. Furthermore, his work showed that inside every black hole there must be a spacetime singularity. This is in fact a wonderful opportunity for fundamental physics: if one wants to understand the laws of physics that takes us beyond Einstein’s theory and the laws of quantum mechanics, we should think about black holes! “We now know through the work of Ghez and Genzel that there is a supermassive black hole in the centre of our galaxy. Over the past few years we have also seen spectacular confirmation of the existence of black holes via the gravitational waves that they emit when they merge with each other. We are certainly living in a very exciting era for black hole science.” Oliver Jennrich, ESA scientist working on LISA, said: “Black holes play a fundamental role both in our understanding of the Universe and the formation of the structures that we see today, such as galaxies and groups of galaxies. The discovery of a black hole in the center of our galaxy through the observation of the orbit of stars not only confirms our understanding of General Relativity, it also raises many more new questions e.g. on the history of such massive objects and their influence on their environments. The planned ESA mission LISA, a mission to observe gravitational waves will be able to detect mergers of such massive black holes essentially everywhere in the Universe and will be able to shed light on the questions on how the massive black in the centers of galaxies form and about their role in the formation of the large-scale structures in the Universe.” Dr. Matteo Guainazzi, ESA scientist working on Athena, said: “The Nobel Prize to Prof. Genzel and Ghez constitutes the culmination of a decade-long endeavor to find unquestionable observational evidence of the existence of astrophysical black holes. This stream of investigation was triggered by the theoretical insight that black holes are an inevitable consequence of Einstein’s General Relativity as prof. Penrose’s investigation brilliantly showed”. Erik Kuulkers, ESA scientist working on INTEGRAL, said: “The work by Penrose, Genzel & Ghez has been seminal, which culminated, into the first image of a black hole captured last year. We are now able to not only understand, but also see the most extreme physics in the universe at play.” Dr Venki Ramakrishnan, President of the Royal Society, said: “It is a pleasure to see this year’s Nobel Prize in Physics recognise three outstanding scientists, and their teams, for ground-breaking work on black holes which simultaneously transformed our understanding of the universe and captured the imaginations of millions. “Professor Penrose’s seminal paper demonstrated mathematically that not only could black holes exist, but that their formation is a consistent and predictable outcome of a universe governed by general relativity. This work showed black holes were there to be found – but it was the painstaking, long-term study of the centre of our own Milky Way, by groups led by Professor Ghez and Professor Genzel, that gave the best evidence yet of a black hole on our doorstep. “Through decades of patient application, they have refined the technology and techniques for studying our galaxy, and in doing so, opened up new possibilities and questions to explore.” Professor Grahame Blair, Director of Programmes at STFC, said: “The groundbreaking work carried out by Professor Sir Roger Penrose all those decades ago truly laid the foundation for black hole science. The development of theoretical ideas of space and time has paved the way for exciting experimental discoveries in astronomy and the study of gravitational waves, as well as the remarkable observations made by fellow winners Professors Reinhard Gerzel and Andrea Ghez. “Enhancing our knowledge of the fundamental forces of particles and nature is the motivation that underpins STFC theoretical and experimental programmes. “Understanding these mysterious celestial phenomena is vital if we are to understand how the universe was formed, and ultimately how it will come to an end.” Dr Stephen Wilkins, Head of Astronomy at the University of Sussex, said: “The 2020 Nobel prize for Physics celebrates three pioneering scientists who have spent their careers trying to understand black holes. “Black holes are not only a key prediction of Einstein’s 100 year old General Theory of Relativity but are now believed to play a critical role in the regulating the growth of galaxies like the Milky Way.“ Prof Martin Rees, Astronomer Royal and Fellow of Trinity College, University of Cambridge, said: “The Genzel/Ghez work is impressive in combining near-infrared observations with very high angular resolution. This work by both groups has continued, with improving sensitivity, for long enough to monitor complete orbits of the closest-in stars: straightforward application of Newton’s law then gives the firmest evidence for the actual mass of the dark object in the Galactic Centre. (The existence of a black hole in the galactic centre was predicted nearly 50 years ago and has gradually strengthened.) “Genzel has a superb lifetime record. He and Eisenhauer have more recently achieved a major ‘leap forward’ in developing and using an instrument, called GRAVITY, which links the four telescopes of the VLT array into an interferometer. “The sustained programmes led by Genzel and Ghez have, in combination with data in other wavebands, clarified our understanding of the complex physics and ‘weather’ in the Galactic Centre. However, even the innermost stellar orbits in the Galactic Centre don’t extend any closer than a hundred times the radius of the hole. They provide (via essentially Newtonian arguments) excellent determinations of the central mass, and also a limit on deviations from general relativity in the weak -field domain. But it is other data – especially radio interferometry, data from X-ray astronomy, and above all LIGO – which currently offer direct evidence that black holes have the properties that relativity theory predicts.” Philip Diamond, Executive Director of the Royal Astronomical Society, said: “Half a century ago, even the very existence of black holes was still controversial. Through the pioneering work of Penrose, Genzel and Ghez, we not only have a vastly better understanding of how they are formed, but are able to say convincingly that giant black holes are found at the centre of every galaxy, including our own. My congratulations to all three winners!” Professor Arttu Rajantie, Professor of Theoretical Physics at Imperial College London, said: “This is a very well-deserved Nobel Prize. Through gravitational wave observations, black holes are going to dramatically advance our understanding of fundamental physics over the coming decades. Today’s Nobel laureates laid the foundations for that, both theoretically and observationally, by understanding the meaning of the black hole solutions of general relativity and by demonstrating that they really exist in the Universe.” Professor Tom Marsh of the Astronomy and Astrophysics Group at University of Warwick said: “Roger Penrose established the theoretical basis for believing that black holes were more than just theoretical constructs: they could actually form from stars. Reinhard Genzel’s and Andrea Ghez’s work is an astronomical tour de force and direct proof of the existence of the closest super-massive black-hole to Earth. They form a brilliant theoretical and experimental confirmation of a key consequence of Einstein’s General Theory of Relativity.” Dr David Clements, Astrophysicist, Imperial College London, said: “The long term monitoring of the centre of our own galaxy that has led to the discovery of the supermassive black hole at its centre, and half of this year’s Nobel Prize, was an amazing achievement. It built up data over decades from many different telescopes, with continually improving instrumentation and techniques. It was a marathon run, and has produced fantastic results.” Professor Boris Gaensicke, Professor in the Astronomy and Astrophysics Group at the University of Warwick, said: “It is fantastic to see the observational studies carried out by Andrea Ghez and Reinhard Genzel, beautifully simple in concept yet so powerful in constraining the properties of the black hole at the centre of the Milky Way, being awarded this year’s Nobel Prize in Physics. “ Roger Highfield, Science Director at the Science Museum, said: “This Nobel prize acknowledges Sir Roger’s work on black holes but he has been hugely influential in so many other ways, from his bestselling books, notably on the limitations of computers and quantum theory, our most successful theory, to his discovery of aperiodic tiling named in his honour (made famous by a battle with a manufacturer of quilted toilet paper, who appropriated his idea) and his artistic inclinations, notably his work with his father, Lionel, that inspired Escher and that can be seen in his hand-drawn slides and transparencies.” Prof Martin Rees, Astronomer Royal and Fellow of Trinity College, University of Cambridge, said: “Penrose is amazingly original and inventive, and has contributed creative insights for more than 60 years. There would, I think, be a consensus that Penrose and Hawking are the two individuals who have done more than anyone else since Einstein to deepen our knowledge of gravity. (Other key figures would include Israel, Carter, Kerr, and numerous others.) Sadly, this award was too much delayed to allow Hawking to share the credit with Penrose. “It was Penrose, more than anyone else, who triggered the renaissance in relativity in the 1960s through his introduction of new mathematical techniques. He introduced the concept of a ‘trapped surface’. On the basis of this concept, he and Hawking (more than a decade younger) together showed that the development of a singularity – where the density ‘goes infinite’ – was inevitable once a threshold of compactness had been crossed (even in a generic situation with no special symmetry). This crucial discovery firmed up the evidence for a big bang, and led to a quantitative description of black holes.” Prof Toby Wiseman, Professor of Theoretical Physics at Imperial College London, said: “This is a remarkable Nobel prize that spans from understanding the mathematics of black holes through to their experimental verification. “A key step in the story of black holes was Roger Penrose’s singularity theorem. This beautiful mathematics proves that black holes form any time when too much matter is in a small volume of space. It revolutionised our thinking about these bizarre mathematical solutions to Einstein’s equation of gravitation, General Relativity. For decades before, the black hole solution was thought to be a mathematical curiosity, not physical reality. Penrose showed that if you believe Einstein, then black holes form under very general conditions, such as when certain stars die. They must be a physical reality. “The prize also celebrates the remarkable observations of the supermassive black hole, Sagittarius A*, at the centre of the Milky Way, our own galaxy. For decades astronomers have been observing the stars near the very centre of our galaxy and have reconstructed their orbits about an invisible but very small and massive object. While we can’t see this directly it precisely fits with the black hole theory, and from looking at these orbiting stars we can deduce it has a huge mass, roughly that of 4 million suns, all put into a tiny object predicted to be just ten million kilometres in radius.” Prof Sadegh Khochfar, Professor of Theoretical Astrophysics at The University of Edinburgh, said: “This year’s prize recognises all that is good about astrophysical research. Making theoretical predictions on the fundamentals of physics and embarking on a challenging decade-long observational campaign to test them. The existence of black holes provides deep understanding of the laws of gravity and opens up the question on their formation and evolution within the context of an evolving Universe. “With the existence of a super-massive black hole proven in the centre of our own galaxy we can now embark on testing the laws of gravity even with higher precision in extreme conditions such as around a black hole.” Professor Martin Ward, Emeritus Temple Chevallier Professor of Astronomy at Durham University, said, “This a great example of theoretical insight and prediction followed by state-of-the-art observational evidence. Using classical Newtonian mechanics the nearest super massive black hole at our Galactic Centre was revealed, and so ‘Darkness made visible’.” Prof Tom McLeish, Professor of Natural Philosophy at the University of York, said: “Penrose, Genzel and Ghez together showed us that Black Holes are awe-inspiring, mathematically sublime, and actually exist ” Prof Jim Al-Khalili, Professor of Physics, Professor of Public Engagement in Science, EPSRC Media Fellow, University of Surrey, said: “I can’t tell you how delighted I am that Roger Penrose has been recognised with a Nobel Prize. For many outside of physics he has been see as being in the shadow of his long-time collaborator, the late Stephen Hawking. But while Einstein’s general theory of relativity predicts the existence of black holes, Einstein didn’t himself believe they really existed. Penrose was the first to prove mathematically, in 1965, that they are a natural consequence of relativity theory and not just science fiction.”
1098	dbpedia	2	2	https://www.wikitree.com/wiki/Sciama-5	en	Dennis William Siahou Sciama (1926-1999)	https://www.wikitree.com…ges/og-image.png	https://www.wikitree.com…ges/og-image.png	[ "https://www.wikitree.com/images/wikitree-small.png.pagespeed.ce.5G9g5z_Ayb.png", "https://www.wikitree.com/images/icons/male.gif.pagespeed.ce.sk2cBn-ts3.gif", "https://www.wikitree.com/images/icons/privacy60.png.pagespeed.ce.40ChhYgHYM.png", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/pedigree.gif.pagespeed.ce.4kSwuvQoBH.gif", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/photo.php/a/a2/WikiTree_Image_Library-37.png", "https://www.wikitree.com/images/icons/help.gif.pagespeed.ce.1TvA_97yy8.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif" ]	[]	[]	[ "Dennis Sciama genealogy" ]	null	[]	1926-11-18T00:00:00	Is this your ancestor? Explore genealogy for Dennis Sciama born 1926 Manchester, Lancashire, England, United Kingdom died 1999 Oxford, Oxfordshire, England, United Kingdom including ancestors + more in the free family tree community.	en	/favicon.ico		https://www.wikitree.com/wiki/Sciama-5	Ancestors [sibling(s) unknown] Husband of [private wife (1930s - unknown)] [children unknown] Profile last modified 22 Jan 2024 \| Created 5 Jan 2024 This page has been accessed 95 times. Biography Dennis Sciama is Notable. Dennis was born in 1926. He passed away in 1999.[1] was an English physicist who, through his own work and that of his students, played a major role in developing British physics after the Second World War. He was the PhD supervisor to many famous physicists and astrophysicists, including John D. Barrow, David Deutsch, George F. R. Ellis, Stephen Hawking, Adrian Melott and Martin Rees, among others; he is considered one of the fathers of modern cosmology. Sciama earned his PhD in 1953 at the University of Cambridge supervised by Paul Dirac, with a dissertation on Mach's principle and inertia. His work later influenced the formulation of scalar-tensor theories of gravity. In 1959, Sciama married Lidia Dina, a social anthropologist, who survived him, along with their two daughters. Sciama was a warm person with a love for the civilized things in life. He enjoyed good company, music, and opera, in the later part of his life often retreating to his flat in Venice where, with his wife Lydia, he enjoyed the Venetian lifestyle. Sources ↑ https://www.findagrave.com/memorial/134655370/dennis-william_siahou-sciama https://en.wikipedia.org/wiki/Dennis_W._Sciama Wikidata: Item Q284336, en:Wikipedia https://www.nature.com/articles/35001716 https://royalsocietypublishing.org/doi/pdf/10.1098/rsbm.2009.0023 The National Archives; Kew, London, England; 1939 Register; Reference: Rg 101/7576j Oxford City Council, Oxford, England; Oxford, England; Oxford City Council Burial Registers
1098	dbpedia	3	13	https://arxiv.org/html/2109.10241v4	en	Life in a random universe: Sciama’s argument reconsidered			[ "https://arxiv.org/html/x1.png", "https://arxiv.org/html/x2.png", "https://arxiv.org/html/x3.png", "https://arxiv.org/html/x4.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	License: arXiv.org perpetual non-exclusive license arXiv:2109.10241v4 [physics.hist-ph] 22 Feb 2024 Life in a random universe: Sciama’s argument reconsidered Zhi-Wei Wang1,2⁣†12†{}^{1,2\dagger}start_FLOATSUPERSCRIPT 1 , 2 † end_FLOATSUPERSCRIPT and Samuel L. Braunstein3⁣∗3∗{}^{3\ast}start_FLOATSUPERSCRIPT 3 ∗ end_FLOATSUPERSCRIPT Abstract Random sampling in high dimensions has successfully been applied to phenomena as diverse as nuclear resonances, neural networks and black hole evaporation. Here we revisit an elegant argument by the British physicist Dennis Sciama, which demonstrated that were our universe random, it would almost certainly have a negligible chance for life. Under plausible assumptions, we show that a random universe can masquerade as ‘intelligently designed,’ with the fundamental constants instead appearing to be fined tuned to be achieve the highest probability for life to occur. For our universe, this mechanism may only require there to be around a dozen currently unknown fundamental constants. We speculate on broader applications for the mechanism we uncover. I Introduction Whatever might be eventually concluded about a universal definition for life, we can certainly agree that the universe we inhabit has so far supported the emergence, evolution and continued sustenance of human beings. Despite our having grown collectively more powerful than most known species, within the universe we are very fragile and maintain a precarious hold on existence. We are carbon based, requiring a planetary body to live on, which follows a comfortable and steady orbit around a single and not too energetic star. These constraints already place tight bounds on the fundamental constants of the universe. To ensure that a population of yellow dwarf stars like our sun exist, the fine structure constant must be tuned to within a percent or two of its current value (outside this narrow range almost all stars would either be blue giants, or red dwarfs) Misner1970 . The cosmological constant must be between 120-124 orders-of-magnitude smaller than its naive quantum field-theoretic value. The upper bound ensures that bodies can form gravitationally Weinberg1987 ; Weinberg1998 and the lower bound ensures that nascent life will not be extinguished by proximity to gamma ray bursts Piran2016 . To ensure that nuclear reactions within stars can form carbon, but not have the process bypassed leaving only oxygen, a remarkable set of coincidences is required among the fundamental constants so that one resonant energy level exists, yet another level just fails to be resonant Hoyle1954 . Many of the fundamental constants therefore seem to be boxed into a narrow range of values compatible with our existence Carter1974 . Of course, a less anthropocentric view would considerably broaden this range Adams2019 (see discussion). How can we understand our being in such a human-compatible universe? It has been suggested Dicke1961 that the fundamental constants may have been selected ‘randomly’ among all possible values. If that were the case, then such compatibility is merely a condition consistent with our being here to observe it. Given enough potential universes to randomly choose from, almost anything could happen and the conditional probability for human compatibility would be one. Equivalently, if these ‘random selections’ were individual universes within a multiverse, then our universe being human compatible would be the same as us being located in one of the universes within the multiverse where humans are possible. In other words, given enough potential universes almost anything will happen. Such ‘explanations’ are said to invoke the weak anthropic principle Carter1974 , yet they explain nothing and fail to provide any real resolution. Are they at least predictive? Dennis Sciama, considered to be one of the fathers of modern cosmology, argued that were our universe random, in either sense given above, then it would almost certainly have a low probability for life as we know it Deutsch2011 ; Wang2023 . Sciama assumed that the feature distinguishing different potential universes was the set of specific values taken by the fundamental constants; the underlying physical laws themselves being fixed. We can then envision the human-compatible universes as an ‘island’ within a ‘sea’ of more general possibilities. Each point on the island or in the sea describes a unique universe that is described by a distinct set of fundamental constants. The dimensionality of this space of points is naively given by the number of fundamental constants. Thus the human-compatible island of universes corresponds to some shape in a high dimensional space. The shoreline of the island corresponds to the boundary separating universes with a chance for human life to form from those where this is impossible. Thus, the shoreline itself will be made up of universes with an exactly vanishing probability for such life. Assuming continuity, as one moves inland, this probability will increase, reaching a maximum presumably somewhere far in from the shoreline. This probability landscape is different from the chance of randomly selecting a universe. Because the range of parameters consistent with human life is quite small, one might expect any smooth measure for randomly selecting universes, to be approximately uniform across the island. Sciama’s argument now follows from a well-known concentration-of-measure phenomenon Milman1988 : Consider an n𝑛nitalic_n-dimensional cube (a hypercube) with side length s𝑠sitalic_s and hence volume s×s×⋯×s=sn𝑠𝑠⋯𝑠superscript𝑠𝑛s\times s\times\cdots\times s=s^{n}italic_s × italic_s × ⋯ × italic_s = italic_s start_POSTSUPERSCRIPT italic_n end_POSTSUPERSCRIPT. Now suppose you paint this hypercube, causing the side length to marginally increase to s+δ𝑠𝛿s+\deltaitalic_s + italic_δ. The volume of the paint used is simply (s+δ)n−sn≥n⁢sn−1⁢δsuperscript𝑠𝛿𝑛superscript𝑠𝑛𝑛superscript𝑠𝑛1𝛿(s+\delta)^{n}-s^{n}\geq n\,s^{n-1}\delta( italic_s + italic_δ ) start_POSTSUPERSCRIPT italic_n end_POSTSUPERSCRIPT - italic_s start_POSTSUPERSCRIPT italic_n end_POSTSUPERSCRIPT ≥ italic_n italic_s start_POSTSUPERSCRIPT italic_n - 1 end_POSTSUPERSCRIPT italic_δ. But even if the layer of paint is very thin, so δ≪smuch-less-than𝛿𝑠\delta\ll sitalic_δ ≪ italic_s, in sufficiently high dimensions, n≥s/δ𝑛𝑠𝛿n\geq s/\deltaitalic_n ≥ italic_s / italic_δ, the volume of the paint will exceed the volume of the original hypercube. Thus, were we to grind up our thinly painted hypercube and take a random sample, we would most likely find paint! This is not only true for hypercubes, but for any shape in high dimensions Milman1988 . The volume, and similarly the weight, will be entirely concentrated within a thin layer at the surface. Thus, figuratively, a high-dimensional orange is essentially only its peel. See Fig. 1. Applied to the high-dimensional island of human-compatible universes, a randomly selected universe will then almost certainly be found in a narrow band on the shore. However, since there is no chance for life at the shoreline or anywhere off the island, the probability for life would be expected to be very low for a typical random universe lying in this narrow band at the shore. II Method Is this space of universes really high dimensional? In 1936 Eddington counted four fundamental constants Eddington1936 . This count excludes Newton’s gravitational constant, the speed of light, Planck’s constant and the permittivity of the vacuum, all used to provide scales for dimensional quantities like length, time, mass and electric charge Eddington1936 . Just a few years ago this count had grown to 26 for the ‘standard model’ including the cosmological constant for gravity Siegel2018 . Today, if we add three neutrino masses, the count would be 29. However, our current model of the universe hardly explains everything. There remain numerous long-standing open questions, many cosmological in nature, such as matter-antimatter asymmetry, dark matter, dark energy and more. Thus it would be surprising if the total number of the fundamental constants in a complete theory of the universe were not much larger. Although it did not figure into Sciama’s original argument, we shall see that the shape of the island plays a crucial role in the possible apparent reversal of Sciama’s conclusion. Note that the ‘orange peel’ result itself is essentially independent of this shape, which follows simply from the scaling of the ‘hypervolume’ with dimensionality. Thus, there is no question about a randomly selected universe compatible with human life having a set of fundamental constants that almost certainly lie on the narrow shore, with a low chance for life like us. Notwithstanding this, where on the island the universe appears to lie can depend on the island’s shape. This can be the case whenever our knowledge of the list of fundamental constants is incomplete. In this case, we would consider the island and its surrounding sea to be a lower-dimensional space than it actually is. Our view of the island would be one that projects out the unknown constants. This may be visualized as an ‘X-ray’ of the actual n𝑛nitalic_n-dimensional island onto a lower m𝑚mitalic_m-dimensional island describing the known constants. See Fig. 2. III Results In the case that the island has the shape of a uniform-weight n𝑛nitalic_n-dimensional cube (a hypercube), with independent bounds on each constant, the X-ray is simply a lower-dimensional uniform-weight hypercube. See Fig. 2(a). Again the lower-dimensional shore contains the greatest weight. By contrast, for a uniform-weight hyperball shaped island, the X-ray, integrating out many dimensions, leads to a narrow Gaussian with the weight concentrated at the center of the island, far inland from the shoreline (see Appendix). See Fig. 2(b). Further, if the uniform-weight n𝑛nitalic_n-dimensional hypercube is X-rayed along a skewed orientation (e.g., one randomly chosen) the projected island is again well approximated by a Gaussian with the weight concentrated at the center of the island (see Appendix). See Fig. 2(c). Surprisingly, the result we find for a hyperball-shaped island shown in Fig. 2(b), or equivalently, the skew-oriented hypercube-shaped island shown in Fig. 2(c) may well represent the generic result. Firstly, the human-compatible island will be formed by those universes whose fundamental constants simultaneously satisfy a series of human-compatible constraints. Each of these constraints may be thought of as dividing the space of all possible universes into two subsets: those that satisfy a specific constraint for life and those that fail to. Now, as already mentioned, the range of parameters consistent with human life is quite small; the island itself is in some sense ‘small.’ Consequently, assuming each constraint is smooth, its action constraining our island should be well approximated locally by a separating hyperplane in the space of universes. Combining the hyperplanes of these individual human-compatible constraints then yields a description of the human-compatible universes as well approximated by a convex faceted island. Secondly, the various correlations and coincidences found among the fundamental constants when determining the human-compatible island’s shoreline Hoyle1954 ; Carter1974 ; Eddington1939 , suggest that the facets associated with such correlations will be tilted with respect to the axes given by the fundamental constants themselves. Combined, these arguments yield a convex island whose facets have a skewed orientation. Finally, the projective central limit theorem Diaconis1984 ; Klartag2007 ensures that virtually any projection of such a high n𝑛nitalic_n-dimensional uniform-weight shape will be well approximated by a Gaussian with variance scaling as 1/n1𝑛1/n1 / italic_n (with respect to a suitably chosen diameter). However, the projective central limit theorem only tells us that the distribution is peaked far inland from the accessible (projected) shoreline as n→∞→𝑛n\rightarrow\inftyitalic_n → ∞ (for the hyperball, in fact we find that m/n≪1much-less-than𝑚𝑛1m/n\ll 1italic_m / italic_n ≪ 1 is sufficient; see Appendix). What about the probability for the accessible parameters nevertheless being found on the projected shore near the boundary? We find a universal behavior for the tail of the distribution of the projected hyperball as m/n→1→𝑚𝑛1m/n\rightarrow 1italic_m / italic_n → 1. In particular, in Fig. 3 we compute the probability to be within 5%percent55\%5 % of the projected shoreline versus the fraction of accessible constants, m/n𝑚𝑛m/nitalic_m / italic_n, when an n𝑛nitalic_n-dimensional hyperball is projected down to m𝑚mitalic_m dimensions. For n∈{42,100,250}𝑛42100250n\in\{42,100,250\}italic_n ∈ { 42 , 100 , 250 }, we see that if less than a threshold of around 80%percent8080\%80 % of the total number of fundamental constants are accessible, then the chance of being near the boundary is less than around 0.350.350.350.35. Thus, taking as null hypothesis that our universe is random, there would be a low chance for finding the fundamental constants of the universe to be near the shoreline until we had knowledge of the vast majority of all the universe’s parameters. IV Discussion and Summary In summary, Sciama’s reasoning suggests that were our universe random, there would be a statistical signature whereby the fundamental constants would almost certainly lie near the boundary of human-compatible universes. One might view Sciama’s result to be solely that a random universe would lead to a scenario where life as we know it is only barely possible. This ‘orange peel’ argument stands firm and may even explain the apparent scarcity of intelligent life in the universe, potentially resolving Fermi’s paradox Cirkovic2016 . However, since the island of parameters consistent with any type of lifeform would appear to be significantly larger Adams2019 than that considered solely for the sake of humans, it is likely that life itself may be very common in our universe. This rough-and-ready prediction for a random universe may well be falsifiable within the coming years. However, presuming that our knowledge of the fundamental constants is incomplete, we have shown the signature for a random universe can be reversed. For example, were our universe random with 42 fundamental constants (instead of the merely 29 currently known), and taking the shape of the human-compatible island of parameters as discussed above, there would be only ≃5.5%similar-to-or-equalsabsentpercent5.5\simeq 5.5\%≃ 5.5 % chance of the set of those 29 currently known constants to lie within 5%percent55\%5 % of the boundary where human life becomes impossible. Instead, the greatest likelihood would be to find these known constants to be far within the ‘projected’ human-compatible island of universes, mimicking a universe built by intelligent design to create intelligence. Currently there is no direct evidence to support the claim that Sciama’s statistical signature applies to our universe (outside of consistency with the null results from SETI SETI ). However, this observation is in the context of fundamental theories which cannot yet explain everything about our universe, so there is a widely accepted expectation that new physics, along with additional fundamental constants, would be needed. Further, our current best guess for a fundamental theory, string theory, naturally contains a multiverse and hence a random selection mechanism. Combined with our analysis above, these reasoned expectations suggest the statistical prediction that at least around a dozen fundamental constants, and possibly many more, are yet to be discovered to fully explain our universe. Can any wider scientific lesson be learned from our arguments? Beyond the anthropic issues discussed here, they may be relevant to astronomy and indeed any field when viewed as a data science. After all, our analysis suggests potential pitfalls when considering how to interpret data sampled from constrained sets. In particular, unknown degrees of freedom are common in some systems and the viewing of low-dimensional ‘sections’ of high-dimensional data is virtully the sine qua non of any data science strategy. Finally, humanity’s looking out to the stars has always had at its heart a search for meaning. Curiously, it may well be that our analysis here shows, not how to create meaning ‘out of whole cloth,’ but how to greatly enhance any scintilla. Indeed, if we consider the intelligent design of the universe as an artful act, whatever else it might be, then we have uncovered a mechanism whereby even a random universe may appear artful; or loosely speaking, whereby even an atheist might say Wilde1889 “life imitates art.” Recalling that our analysis is based on concentration-of-measure phenomena in high-dimensional spaces, it is natural to ask whether this mechanism for imitating art may not have grander application. For example, could one enhance the artfulness of an almost soullessly generated piece of ‘art’ to make it mimic a true work of art; not by slavish copying, but perhaps by so constraining the work around with interconnections and correlations – the coincidences constraining our fundamental constants – that one may begin to find it harder to distinguish between such a piece and an intelligently crafted work? These correlations acting to ‘tilt the facets of our island’ and so produce an apparent lower-dimensional artful enhancement. For something complex, having a sufficient number of working parts, it may not even be necessary to hide part of the work; or as with our analysis here, it may be crucial to first build the work and then make large portions inaccessible; be they backstory, foundation, milieu, history, whatever. And if anything like this can succeed, why not look further, perhaps toward the imitation of intelligence itself. Maybe the magic behind creating meaning has ‘simply’ been a matter of hiding much of the supporting artifice from the audience, and even from ourselves. Acknowledgments Z.-W.W. wishes to express his sincere gratitude to Professors Yanming Ma and Haijun Wang for their gracious invitation and invaluable support throughout this project. APPENDIX IV.1 Projection of an (n−1)𝑛1{(n-1)}( italic_n - 1 )-sphere to one dimension Consider a smooth convex n𝑛nitalic_n-dimensional geometric body with a uniform probability distribution across and within it. The projective central limit theorem claims that as n→∞→𝑛n\to\inftyitalic_n → ∞, if we project such a body to lower dimensions, the probability will concentrate to a ‘center’ of the lower dimensional object Diaconis1984 ; Klartag2007 ; Knaeble2015Ap . This phenomenon has been proved for all smooth convex geometric bodies and the limiting probability distribution is claimed to be a Gaussian distribution with variance scaling as 1/n1𝑛1/n1 / italic_n. Here we compute this exactly for an (n−1)𝑛1(n-1)( italic_n - 1 )-sphere (the surface of an n𝑛nitalic_n-dimensional ball) projected to m𝑚mitalic_m dimensions. We find for large n−m𝑛𝑚n-mitalic_n - italic_m that the resulting distribution is Gaussian with variance scaling as 1/n1𝑛1/n1 / italic_n. This is in agreement with the more general, though looser claim of the projective central limit theorem when n≫mmuch-greater-than𝑛𝑚n\gg mitalic_n ≫ italic_m. Finally, combining the ‘orange peel’ concentration of measure result, we argue that the same limit to a Gaussian with variance scaling as 1/n1𝑛1/n1 / italic_n will hold for the projection of an n𝑛nitalic_n-dimensional ball onto m𝑚mitalic_m dimensions. Because the general calculation is rather complicated, we start with the simpler case of projecting an (n−1)𝑛1(n-1)( italic_n - 1 )-sphere onto a single dimension. An (n−1)𝑛1(n-1)( italic_n - 1 )-sphere with unit radius in n-dimensional Euclidean space (Cartesian coordinates) may be described as satisfying x12+x22+⋯+xn2=1subscriptsuperscript𝑥21subscriptsuperscript𝑥22⋯subscriptsuperscript𝑥2𝑛1x^{2}_{1}+x^{2}_{2}+\cdots+x^{2}_{n}=1italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT + ⋯ + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT italic_n end_POSTSUBSCRIPT = 1. It may be transformed into the hyper-spherical coordinate by x1subscript𝑥1\displaystyle x_{1}italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT =\displaystyle== −cos⁡φ1subscript𝜑1\displaystyle-\cos\varphi_{1}- roman_cos italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT x2subscript𝑥2\displaystyle x_{2}italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT =\displaystyle== −sin⁡φ1⁢cos⁡φ2subscript𝜑1subscript𝜑2\displaystyle-\sin\varphi_{1}\cos\varphi_{2}- roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_cos italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋮⋮\displaystyle\vdots⋮ xn−1subscript𝑥𝑛1\displaystyle x_{n-1}italic_x start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT =\displaystyle== −sin⁡φ1⁢sin⁡φ2⁢⋯⁢cos⁡φn−1subscript𝜑1subscript𝜑2⋯subscript𝜑𝑛1\displaystyle-\sin\varphi_{1}\sin\varphi_{2}\cdots\cos\varphi_{n-1}- roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_sin italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ roman_cos italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT xnsubscript𝑥𝑛\displaystyle x_{n}italic_x start_POSTSUBSCRIPT italic_n end_POSTSUBSCRIPT =\displaystyle== −sin⁡φ1⁢sin⁡φ2⁢⋯⁢sin⁡φn−1,subscript𝜑1subscript𝜑2⋯subscript𝜑𝑛1\displaystyle-\sin\varphi_{1}\sin\varphi_{2}\cdots\sin\varphi_{n-1},- roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_sin italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ roman_sin italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT , (1) where φ1,φ2,…,φn−2∈[0,π]subscript𝜑1subscript𝜑2…subscript𝜑𝑛20𝜋\varphi_{1},\varphi_{2},\ldots,\varphi_{n-2}\in[0,\pi]italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_n - 2 end_POSTSUBSCRIPT ∈ [ 0 , italic_π ] and φn−1∈[0,2⁢π]subscript𝜑𝑛102𝜋\varphi_{n-1}\in[0,2\pi]italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT ∈ [ 0 , 2 italic_π ]. Here the minus sign is just for future convenience; note that each xisubscript𝑥𝑖x_{i}italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT is not sensitive to such a minus sign. Then in hyper-spherical coordinates, the volume element of such an (n−1)𝑛1(n-1)( italic_n - 1 )-sphere may be written d⁢Ωn−1=sinn−2⁡(φ1)⁢sinn−3⁡(φ2)⁢⋯⁢sin2⁡(φn−3)⁢sin⁡(φn−2)⁢d⁢φ1⁢d⁢φ2⁢⋯⁢d⁢φn−2⁢d⁢φn−1,𝑑subscriptΩ𝑛1superscript𝑛2subscript𝜑1superscript𝑛3subscript𝜑2⋯superscript2subscript𝜑𝑛3subscript𝜑𝑛2𝑑subscript𝜑1𝑑subscript𝜑2⋯𝑑subscript𝜑𝑛2𝑑subscript𝜑𝑛1d\Omega_{n-1}=\sin^{n-2}(\varphi_{1})\sin^{n-3}(\varphi_{2})\cdots\sin^{2}(% \varphi_{n-3})\sin(\varphi_{n-2})\,d\varphi_{1}d\varphi_{2}\cdots d\varphi_{n-% 2}d\varphi_{n-1},italic_d roman_Ω start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT = roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 3 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_n - 3 end_POSTSUBSCRIPT ) roman_sin ( italic_φ start_POSTSUBSCRIPT italic_n - 2 end_POSTSUBSCRIPT ) italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_n - 2 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT , (2) as is easily checked by computing the Jacobian for this transformation. Integrating this volume element over the entire sphere yields the standard result Sn−1subscript𝑆𝑛1\displaystyle S_{n-1}italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT =\displaystyle== ∫𝑑Ωn−1differential-dsubscriptΩ𝑛1\displaystyle\int d\Omega_{n-1}∫ italic_d roman_Ω start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT (3) =\displaystyle== ∫sinn−2⁡(φ1)⁢sinn−3⁡(φ2)⁢⋯⁢sin2⁡(φn−3)⁢sin⁡(φn−2)⁢𝑑φ1⁢𝑑φ2⁢⋯⁢𝑑φn−2⁢𝑑φn−1superscript𝑛2subscript𝜑1superscript𝑛3subscript𝜑2⋯superscript2subscript𝜑𝑛3subscript𝜑𝑛2differential-dsubscript𝜑1differential-dsubscript𝜑2⋯differential-dsubscript𝜑𝑛2differential-dsubscript𝜑𝑛1\displaystyle\int\sin^{n-2}(\varphi_{1})\sin^{n-3}(\varphi_{2})\cdots\sin^{2}(% \varphi_{n-3})\sin(\varphi_{n-2})\,d\varphi_{1}d\varphi_{2}\cdots d\varphi_{n-% 2}d\varphi_{n-1}∫ roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 3 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_n - 3 end_POSTSUBSCRIPT ) roman_sin ( italic_φ start_POSTSUBSCRIPT italic_n - 2 end_POSTSUBSCRIPT ) italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_n - 2 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT =\displaystyle== πn−22⁢Γ⁢(n−12)Γ⁢(n2)⁢Γ⁢(n−22)Γ⁢(n−12)⁢⋯⁢Γ⁢(22)Γ⁢(32)⁢2⁢πsuperscript𝜋𝑛22Γ𝑛12Γ𝑛2Γ𝑛22Γ𝑛12⋯Γ22Γ322𝜋\displaystyle\pi^{\frac{n-2}{2}}\frac{\Gamma(\frac{n-1}{2})}{\Gamma(\frac{n}{2% })}\frac{\Gamma(\frac{n-2}{2})}{\Gamma(\frac{n-1}{2})}\cdots\frac{\Gamma(\frac% {2}{2})}{\Gamma(\frac{3}{2})}2\piitalic_π start_POSTSUPERSCRIPT divide start_ARG italic_n - 2 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT divide start_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG divide start_ARG roman_Γ ( divide start_ARG italic_n - 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG ⋯ divide start_ARG roman_Γ ( divide start_ARG 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG 3 end_ARG start_ARG 2 end_ARG ) end_ARG 2 italic_π =\displaystyle== 2⁢πn2Γ⁢(n2),2superscript𝜋𝑛2Γ𝑛2\displaystyle\frac{2\pi^{\frac{n}{2}}}{\Gamma(\frac{n}{2})},divide start_ARG 2 italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT end_ARG start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG , where Γ⁢(n)Γ𝑛\Gamma(n)roman_Γ ( italic_n ) is the gamma function so Γ⁢(1)=1Γ11\Gamma(1)=1roman_Γ ( 1 ) = 1, and in moving from the second to the third line we have used the result that ∫0πsinm⁡(φ)⁢𝑑φ=π⁢Γ⁢(m+12)Γ⁢(m+22).superscriptsubscript0𝜋superscript𝑚𝜑differential-d𝜑𝜋Γ𝑚12Γ𝑚22\int_{0}^{\pi}\sin^{m}(\varphi)\,d\varphi=\sqrt{\pi}\,\frac{\Gamma(\frac{m+1}{% 2})}{\Gamma(\frac{m+2}{2})}.∫ start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT roman_sin start_POSTSUPERSCRIPT italic_m end_POSTSUPERSCRIPT ( italic_φ ) italic_d italic_φ = square-root start_ARG italic_π end_ARG divide start_ARG roman_Γ ( divide start_ARG italic_m + 1 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_m + 2 end_ARG start_ARG 2 end_ARG ) end_ARG . (4) We now consider projecting the uniformly distributed (n−1)𝑛1(n-1)( italic_n - 1 )-sphere onto a single dimension (i.e., the case m=1𝑚1m=1italic_m = 1). Normalizing the measure of Eq. (2) by Sn−1subscript𝑆𝑛1S_{n-1}italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT, we may compute the expectation of a general function of φ1subscript𝜑1\varphi_{1}italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT as ⟨f⁢(φ1)⟩delimited-⟨⟩𝑓subscript𝜑1\displaystyle\langle f(\varphi_{1})\rangle⟨ italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) ⟩ =\displaystyle== 1Sn−1⁢∫f⁢(φ1)⁢𝑑Ωn−11subscript𝑆𝑛1𝑓subscript𝜑1differential-dsubscriptΩ𝑛1\displaystyle\frac{1}{S_{n-1}}\int f(\varphi_{1})d\Omega_{n-1}divide start_ARG 1 end_ARG start_ARG italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT end_ARG ∫ italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) italic_d roman_Ω start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT (5) =\displaystyle== 1Sn−1⁢∫0πf⁢(φ1)⁢sinn−2⁡(φ1)⁢πn−32⁢Γ⁢(n−22)Γ⁢(n−12)⁢Γ⁢(n−32)Γ⁢(n−22)⁢⋯⁢Γ⁢(22)Γ⁢(32)⁢2⁢π⁢𝑑φ11subscript𝑆𝑛1subscriptsuperscript𝜋0𝑓subscript𝜑1superscript𝑛2subscript𝜑1superscript𝜋𝑛32Γ𝑛22Γ𝑛12Γ𝑛32Γ𝑛22⋯Γ22Γ322𝜋differential-dsubscript𝜑1\displaystyle\frac{1}{S_{n-1}}\int^{\pi}_{0}f(\varphi_{1})\sin^{n-2}(\varphi_{% 1})\,\pi^{\frac{n-3}{2}}\frac{\Gamma(\frac{n-2}{2})}{\Gamma(\frac{n-1}{2})}% \frac{\Gamma(\frac{n-3}{2})}{\Gamma(\frac{n-2}{2})}\cdots\frac{\Gamma(\frac{2}% {2})}{\Gamma(\frac{3}{2})}2\pi\,d\varphi_{1}divide start_ARG 1 end_ARG start_ARG italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT end_ARG ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n - 3 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT divide start_ARG roman_Γ ( divide start_ARG italic_n - 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG divide start_ARG roman_Γ ( divide start_ARG italic_n - 3 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - 2 end_ARG start_ARG 2 end_ARG ) end_ARG ⋯ divide start_ARG roman_Γ ( divide start_ARG 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG 3 end_ARG start_ARG 2 end_ARG ) end_ARG 2 italic_π italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT =\displaystyle== Γ⁢(n2)2⁢πn2⁢∫0πf⁢(φ1)⁢sinn−2⁡(φ1)⁢2⁢πn−12Γ⁢(n−12)⁢𝑑φ1Γ𝑛22superscript𝜋𝑛2subscriptsuperscript𝜋0𝑓subscript𝜑1superscript𝑛2subscript𝜑12superscript𝜋𝑛12Γ𝑛12differential-dsubscript𝜑1\displaystyle\frac{\Gamma(\frac{n}{2})}{2\pi^{\frac{n}{2}}}\int^{\pi}_{0}f(% \varphi_{1})\sin^{n-2}(\varphi_{1})\,\frac{2\pi^{\frac{n-1}{2}}}{\Gamma(\frac{% n-1}{2})}\,d\varphi_{1}divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG 2 italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT end_ARG ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) divide start_ARG 2 italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT =\displaystyle== ∫0πf⁢(φ1)⁢sinn−2⁡(φ1)⁢Γ⁢(n2)π⁢Γ⁢(n−12)⁢𝑑φ1.subscriptsuperscript𝜋0𝑓subscript𝜑1superscript𝑛2subscript𝜑1Γ𝑛2𝜋Γ𝑛12differential-dsubscript𝜑1\displaystyle\int^{\pi}_{0}f(\varphi_{1})\sin^{n-2}(\varphi_{1})\,\frac{\Gamma% (\frac{n}{2})}{\sqrt{\pi}\,\Gamma(\frac{n-1}{2})}\,d\varphi_{1}.∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG square-root start_ARG italic_π end_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT . Consequently, the distribution on φ1subscript𝜑1\varphi_{1}italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT is given by P⁢(φ1)⁢d⁢φ1=sinn−2⁡(φ1)⁢Γ⁢(n2)π⁢Γ⁢(n−12)⁢d⁢φ1,φ1∈[0,π]formulae-sequencePsubscript𝜑1𝑑subscript𝜑1superscript𝑛2subscript𝜑1Γ𝑛2𝜋Γ𝑛12𝑑subscript𝜑1subscript𝜑10𝜋\text{P}(\varphi_{1})\,d\varphi_{1}=\sin^{n-2}(\varphi_{1})\,\frac{\Gamma(% \frac{n}{2})}{\sqrt{\pi}\,\Gamma(\frac{n-1}{2})}\,d\varphi_{1},\qquad\varphi_{% 1}\in[0,\pi]P ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT = roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG square-root start_ARG italic_π end_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ∈ [ 0 , italic_π ] (6) To see the probability distribution in Euclidean space, we need to transform Eq. (6) back to the coordinate x1subscript𝑥1x_{1}italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT. Since x1=−cos⁡φ1subscript𝑥1subscript𝜑1x_{1}=-\cos\varphi_{1}italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT = - roman_cos italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT, we have d⁢x1=sin⁡φ1⁢d⁢φ1𝑑subscript𝑥1subscript𝜑1𝑑subscript𝜑1dx_{1}=\sin\varphi_{1}d\varphi_{1}italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT = roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT and sin⁡(φ1)=1−x12subscript𝜑11subscriptsuperscript𝑥21\sin(\varphi_{1})=\sqrt{1-x^{2}_{1}}roman_sin ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) = square-root start_ARG 1 - italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT end_ARG and hence we obtain P⁢(x1)⁢d⁢x1=Γ⁢(n2)π⁢Γ⁢(n−12)⁢(1−x12)n−32⁢d⁢x1,x1∈[−1,1].formulae-sequencePsubscript𝑥1𝑑subscript𝑥1Γ𝑛2𝜋Γ𝑛12superscript1superscriptsubscript𝑥12𝑛32𝑑subscript𝑥1subscript𝑥111\text{P}(x_{1})\,dx_{1}=\frac{\Gamma(\frac{n}{2})}{\sqrt{\pi}\,\Gamma(\frac{n-% 1}{2})}(1-x_{1}^{2})^{\frac{n-3}{2}}dx_{1},\qquad x_{1}\in[-1,1].P ( italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT = divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG square-root start_ARG italic_π end_ARG roman_Γ ( divide start_ARG italic_n - 1 end_ARG start_ARG 2 end_ARG ) end_ARG ( 1 - italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ) start_POSTSUPERSCRIPT divide start_ARG italic_n - 3 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ∈ [ - 1 , 1 ] . (7) We may also obtain an exact expression for the variance (Δ⁢x1)2=1n.superscriptΔsubscript𝑥121𝑛(\Delta x_{1})^{2}=\frac{1}{n}.( roman_Δ italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT = divide start_ARG 1 end_ARG start_ARG italic_n end_ARG . (8) It is easy to see that this probability distribution gets narrower and narrower as n𝑛nitalic_n increases. Using the result that limn→∞(1−xn)n=e−xsubscript→𝑛superscript1𝑥𝑛𝑛superscript𝑒𝑥\lim_{n\to\infty}(1-\frac{x}{n})^{n}=e^{-x}roman_lim start_POSTSUBSCRIPT italic_n → ∞ end_POSTSUBSCRIPT ( 1 - divide start_ARG italic_x end_ARG start_ARG italic_n end_ARG ) start_POSTSUPERSCRIPT italic_n end_POSTSUPERSCRIPT = italic_e start_POSTSUPERSCRIPT - italic_x end_POSTSUPERSCRIPT we see that for sufficiently small x1subscript𝑥1x_{1}italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT and large n𝑛nitalic_n Eq. (7) may be approximated by a Gaussian with variance 1/n1𝑛1/n1 / italic_n, for the case m=1𝑚1m=1italic_m = 1. This result is in exact agreement with that given in previous work Knaeble2015Ap , we shall see below that the exact result yields a subtly different outcome for m>1𝑚1m>1italic_m > 1. IV.2 Projecting to m𝑚{m}italic_m-dimension When projecting an (n−1)𝑛1(n-1)( italic_n - 1 )-sphere onto m𝑚mitalic_m Cartesian dimensions, the logic is similar to that given in the previous section but now we will need to integrate out the angles from the set {φm+1,φm+2,…,φn−1}subscript𝜑𝑚1subscript𝜑𝑚2…subscript𝜑𝑛1\{\varphi_{m+1},\varphi_{m+2},\ldots,\varphi_{n-1}\}{ italic_φ start_POSTSUBSCRIPT italic_m + 1 end_POSTSUBSCRIPT , italic_φ start_POSTSUBSCRIPT italic_m + 2 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT }. Thus, we find ⟨f⁢(φ1,…,φm)⟩=1Sn−1⁢∫f⁢(φ1,…,φm)⁢𝑑Ωn−1delimited-⟨⟩𝑓subscript𝜑1…subscript𝜑𝑚1subscript𝑆𝑛1𝑓subscript𝜑1…subscript𝜑𝑚differential-dsubscriptΩ𝑛1\displaystyle\langle f(\varphi_{1},\ldots,\varphi_{m})\rangle=\frac{1}{S_{n-1}% }\int f(\varphi_{1},\ldots,\varphi_{m})\,d\Omega_{n-1}⟨ italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) ⟩ = divide start_ARG 1 end_ARG start_ARG italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT end_ARG ∫ italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) italic_d roman_Ω start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT (9) =\displaystyle== 1Sn−1⁢∫0π⋯⁢∫0πf⁢(φ1,…,φm)⁢sinn−2⁡(φ1)⁢sinn−3⁡(φ2)⁢⋯⁢sinn−m−1⁡(φm)1subscript𝑆𝑛1subscriptsuperscript𝜋0⋯subscriptsuperscript𝜋0𝑓subscript𝜑1…subscript𝜑𝑚superscript𝑛2subscript𝜑1superscript𝑛3subscript𝜑2⋯superscript𝑛𝑚1subscript𝜑𝑚\displaystyle\frac{1}{S_{n-1}}\int^{\pi}_{0}\cdots\int^{\pi}_{0}f(\varphi_{1},% \ldots,\varphi_{m})\,\sin^{n-2}(\varphi_{1})\sin^{n-3}(\varphi_{2})\cdots\sin^% {n-m-1}(\varphi_{m})divide start_ARG 1 end_ARG start_ARG italic_S start_POSTSUBSCRIPT italic_n - 1 end_POSTSUBSCRIPT end_ARG ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT ⋯ ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 3 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 1 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) ×πn−m−22⁢Γ⁢(n−m−12)Γ⁢(n−m2)⁢Γ⁢(n−m−22)Γ⁢(n−m−12)⁢⋯⁢Γ⁢(22)Γ⁢(32)⁢ 2⁢π⁢d⁢φ1⁢d⁢φ2⁢⋯⁢d⁢φmabsentsuperscript𝜋𝑛𝑚22Γ𝑛𝑚12Γ𝑛𝑚2Γ𝑛𝑚22Γ𝑛𝑚12⋯Γ22Γ322𝜋𝑑subscript𝜑1𝑑subscript𝜑2⋯𝑑subscript𝜑𝑚\displaystyle\phantom{\frac{1}{S_{n-1}}\int^{\pi}_{0}\cdots\int^{\pi}_{0}}% \times\pi^{\frac{n-m-2}{2}}\frac{\Gamma(\frac{n-m-1}{2})}{\Gamma(\frac{n-m}{2}% )}\frac{\Gamma(\frac{n-m-2}{2})}{\Gamma(\frac{n-m-1}{2})}\cdots\frac{\Gamma(% \frac{2}{2})}{\Gamma(\frac{3}{2})}\,2\pi\,d\varphi_{1}d\varphi_{2}\cdots d% \varphi_{m}× italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n - italic_m - 2 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT divide start_ARG roman_Γ ( divide start_ARG italic_n - italic_m - 1 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG divide start_ARG roman_Γ ( divide start_ARG italic_n - italic_m - 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - italic_m - 1 end_ARG start_ARG 2 end_ARG ) end_ARG ⋯ divide start_ARG roman_Γ ( divide start_ARG 2 end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG roman_Γ ( divide start_ARG 3 end_ARG start_ARG 2 end_ARG ) end_ARG 2 italic_π italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT =\displaystyle== Γ⁢(n2)2⁢πn2⁢∫0π⋯⁢∫0πf⁢(φ1,…,φm)⁢sinn−2⁡(φ1)⁢sinn−3⁡(φ2)⁢⋯⁢sinn−m−1⁡(φm)⁢2⁢πn−m2Γ⁢(n−m2)⁢𝑑φ1⁢𝑑φ2⁢⋯⁢𝑑φmΓ𝑛22superscript𝜋𝑛2subscriptsuperscript𝜋0⋯subscriptsuperscript𝜋0𝑓subscript𝜑1…subscript𝜑𝑚superscript𝑛2subscript𝜑1superscript𝑛3subscript𝜑2⋯superscript𝑛𝑚1subscript𝜑𝑚2superscript𝜋𝑛𝑚2Γ𝑛𝑚2differential-dsubscript𝜑1differential-dsubscript𝜑2⋯differential-dsubscript𝜑𝑚\displaystyle\frac{\Gamma(\frac{n}{2})}{2\pi^{\frac{n}{2}}}\int^{\pi}_{0}% \cdots\int^{\pi}_{0}f(\varphi_{1},\ldots,\varphi_{m})\,\sin^{n-2}(\varphi_{1})% \sin^{n-3}(\varphi_{2})\cdots\sin^{n-m-1}(\varphi_{m})\,\frac{2\pi^{\frac{n-m}% {2}}}{\Gamma(\frac{n-m}{2})}\,d\varphi_{1}d\varphi_{2}\cdots d\varphi_{m}divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG 2 italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT end_ARG ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT ⋯ ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 3 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 1 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) divide start_ARG 2 italic_π start_POSTSUPERSCRIPT divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT end_ARG start_ARG roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT =\displaystyle== ∫0π⋯⁢∫0πf⁢(φ1,…,φm)⁢sinn−2⁡(φ1)⁢sinn−3⁡(φ2)⁢⋯⁢sinn−m−1⁡(φm)⁢Γ⁢(n2)πm2⁢Γ⁢(n−m2)⁢𝑑φ1⁢𝑑φ2⁢⋯⁢𝑑φm.subscriptsuperscript𝜋0⋯subscriptsuperscript𝜋0𝑓subscript𝜑1…subscript𝜑𝑚superscript𝑛2subscript𝜑1superscript𝑛3subscript𝜑2⋯superscript𝑛𝑚1subscript𝜑𝑚Γ𝑛2superscript𝜋𝑚2Γ𝑛𝑚2differential-dsubscript𝜑1differential-dsubscript𝜑2⋯differential-dsubscript𝜑𝑚\displaystyle\int^{\pi}_{0}\cdots\int^{\pi}_{0}f(\varphi_{1},\ldots,\varphi_{m% })\sin^{n-2}(\varphi_{1})\sin^{n-3}(\varphi_{2})\cdots\sin^{n-m-1}(\varphi_{m}% )\,\frac{\Gamma(\frac{n}{2})}{\pi^{\frac{m}{2}}\Gamma(\frac{n-m}{2})}\,d% \varphi_{1}d\varphi_{2}\cdots d\varphi_{m}.∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT ⋯ ∫ start_POSTSUPERSCRIPT italic_π end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - 3 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 1 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG italic_π start_POSTSUPERSCRIPT divide start_ARG italic_m end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT . Since the volume element described by two different coordinates systems may be connected by the Jacobian, we have d⁢x1⁢d⁢x2⁢⋯⁢d⁢xm=J⁢d⁢φ1⁢d⁢φ2⁢⋯⁢d⁢φm,𝑑subscript𝑥1𝑑subscript𝑥2⋯𝑑subscript𝑥𝑚J𝑑subscript𝜑1𝑑subscript𝜑2⋯𝑑subscript𝜑𝑚dx_{1}dx_{2}\cdots dx_{m}=\text{J}\,d\varphi_{1}d\varphi_{2}\cdots d\varphi_{m},italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT = J italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT , (10) where J is the Jacobian describes this volume transformation. From Eq. (1), we know that J may be written as J=\|∂xi∂φj\|=\|sin⁡φ10⋯0cos⁡φ1⁢cos⁡φ2sin⁡φ1⁢sin⁡φ2⋯0⋮⋮⋱⋮cos⁡φ1⁢sin⁡φ2⁢⋯⁢sin⁡φm−1⁢cos⁡φmsin⁡φ1⁢cos⁡φ2⁢⋯⁢sin⁡φm−1⁢cos⁡φm⋯sin⁡φ1⁢⋯⁢sin⁡φm\|Jsubscript𝑥𝑖subscript𝜑𝑗subscript𝜑10⋯0subscript𝜑1subscript𝜑2subscript𝜑1subscript𝜑2⋯0⋮⋮⋱⋮subscript𝜑1subscript𝜑2⋯subscript𝜑𝑚1subscript𝜑𝑚subscript𝜑1subscript𝜑2⋯subscript𝜑𝑚1subscript𝜑𝑚⋯subscript𝜑1⋯subscript𝜑𝑚\displaystyle\text{J}=\Bigl{\|}\frac{\partial x_{i}}{\partial\varphi_{j}}\Bigr{% \|}=\left\|\begin{array}[]{cccc}\sin\varphi_{1}&0&\cdots&0\\ \cos\varphi_{1}\cos\varphi_{2}&\sin\varphi_{1}\sin\varphi_{2}&\cdots&0\\ \vdots&\vdots&\ddots&\vdots\\ \cos\varphi_{1}\sin\varphi_{2}\cdots\sin\varphi_{m-1}\cos\varphi_{m}&\sin% \varphi_{1}\cos\varphi_{2}\cdots\sin\varphi_{m-1}\cos\varphi_{m}&\cdots&\sin% \varphi_{1}\cdots\sin\varphi_{m}\end{array}\right\|J = \| divide start_ARG ∂ italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT end_ARG start_ARG ∂ italic_φ start_POSTSUBSCRIPT italic_j end_POSTSUBSCRIPT end_ARG \| = \| start_ARRAY start_ROW start_CELL roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT end_CELL start_CELL 0 end_CELL start_CELL ⋯ end_CELL start_CELL 0 end_CELL end_ROW start_ROW start_CELL roman_cos italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_cos italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT end_CELL start_CELL roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_sin italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT end_CELL start_CELL ⋯ end_CELL start_CELL 0 end_CELL end_ROW start_ROW start_CELL ⋮ end_CELL start_CELL ⋮ end_CELL start_CELL ⋱ end_CELL start_CELL ⋮ end_CELL end_ROW start_ROW start_CELL roman_cos italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_sin italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ roman_sin italic_φ start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT roman_cos italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT end_CELL start_CELL roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT roman_cos italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ roman_sin italic_φ start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT roman_cos italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT end_CELL start_CELL ⋯ end_CELL start_CELL roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ⋯ roman_sin italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT end_CELL end_ROW end_ARRAY \| (15) Since terms in the upper triangle in the Jacobian, Eq. (15), are all zero, the Jacobian trivially reduces to J=sinm⁡(φ1)⁢sinm−1⁡(φ2)⁢⋯⁢sin⁡(φm).Jsuperscript𝑚subscript𝜑1superscript𝑚1subscript𝜑2⋯subscript𝜑𝑚\displaystyle\text{J}=\sin^{m}(\varphi_{1})\sin^{m-1}(\varphi_{2})\cdots\sin(% \varphi_{m}).J = roman_sin start_POSTSUPERSCRIPT italic_m end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_m - 1 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) . (16) Inserting Eq. (16) into Eq. (10) yields d⁢x1⁢d⁢x2⁢⋯⁢d⁢xm=sinm⁡(φ1)⁢sinm−1⁡(φ2)⁢⋯⁢sin⁡(φm)⁢d⁢φ1⁢d⁢φ2⁢⋯⁢d⁢φm,𝑑subscript𝑥1𝑑subscript𝑥2⋯𝑑subscript𝑥𝑚superscript𝑚subscript𝜑1superscript𝑚1subscript𝜑2⋯subscript𝜑𝑚𝑑subscript𝜑1𝑑subscript𝜑2⋯𝑑subscript𝜑𝑚dx_{1}dx_{2}\cdots dx_{m}=\sin^{m}(\varphi_{1})\sin^{m-1}(\varphi_{2})\cdots% \sin(\varphi_{m})\,d\varphi_{1}d\varphi_{2}\cdots d\varphi_{m},italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT = roman_sin start_POSTSUPERSCRIPT italic_m end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_m - 1 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) italic_d italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT , (17) and substituting Eq. (17) into Eq. (9) yields ⟨f⁢(φ1,…,φm)⟩delimited-⟨⟩𝑓subscript𝜑1…subscript𝜑𝑚\displaystyle\langle f(\varphi_{1},\ldots,\varphi_{m})\rangle⟨ italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) ⟩ =\displaystyle== ∫−11∫−sin⁡φ1sin⁡φ1⋯⁢∫−sin⁡(φ1)⁢⋯⁢sin⁡(φm−1)sin⁡(φ1)⁢⋯⁢sin⁡(φm−1)f⁢(φ1,…,φm)⁢sinn−m−2⁡(φ1)⁢sinn−m−2⁡(φ2)⁢⋯⁢sinn−m−2⁡(φm)subscriptsuperscript11superscriptsubscriptsubscript𝜑1subscript𝜑1⋯superscriptsubscriptsubscript𝜑1⋯subscript𝜑𝑚1subscript𝜑1⋯subscript𝜑𝑚1𝑓subscript𝜑1…subscript𝜑𝑚superscript𝑛𝑚2subscript𝜑1superscript𝑛𝑚2subscript𝜑2⋯superscript𝑛𝑚2subscript𝜑𝑚\displaystyle\int^{1}_{-1}\int_{-\sin\varphi_{1}}^{\sin\varphi_{1}}\cdots\int_% {-\sin(\varphi_{1})\cdots\sin(\varphi_{m-1})}^{\sin(\varphi_{1})\cdots\sin(% \varphi_{m-1})}f(\varphi_{1},\ldots,\varphi_{m})\,\sin^{n-m-2}(\varphi_{1})% \sin^{n-m-2}(\varphi_{2})\cdots\sin^{n-m-2}(\varphi_{m})∫ start_POSTSUPERSCRIPT 1 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT - 1 end_POSTSUBSCRIPT ∫ start_POSTSUBSCRIPT - roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sin italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT end_POSTSUPERSCRIPT ⋯ ∫ start_POSTSUBSCRIPT - roman_sin ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) ⋯ roman_sin ( italic_φ start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT ) end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sin ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) ⋯ roman_sin ( italic_φ start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT ) end_POSTSUPERSCRIPT italic_f ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT italic_n - italic_m - 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) ×Γ⁢(n2)πm2⁢Γ⁢(n−m2)⁢d⁢x1⁢d⁢x2⁢⋯⁢d⁢xm,absentΓ𝑛2superscript𝜋𝑚2Γ𝑛𝑚2𝑑subscript𝑥1𝑑subscript𝑥2⋯𝑑subscript𝑥𝑚\displaystyle\phantom{\int^{1}_{-1}\int_{-\sin\varphi_{1}}^{\sin\varphi_{1}}% \cdots\int_{-\sin(\varphi_{1})\cdots\sin(\varphi_{m-1})}^{\sin(\varphi_{1})% \cdots\sin(\varphi_{m-1})}}\times\frac{\Gamma(\frac{n}{2})}{\pi^{\frac{m}{2}}% \Gamma(\frac{n-m}{2})}\,dx_{1}dx_{2}\cdots dx_{m},× divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG italic_π start_POSTSUPERSCRIPT divide start_ARG italic_m end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT , (18) where sin⁡(φi)subscript𝜑𝑖\sin(\varphi_{i})roman_sin ( italic_φ start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT ) is positive function of xisubscript𝑥𝑖x_{i}italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT. To further simplify Eq. (18), let us first consider x12+x22+⋯+xm2subscriptsuperscript𝑥21subscriptsuperscript𝑥22⋯subscriptsuperscript𝑥2𝑚x^{2}_{1}+x^{2}_{2}+\cdots+x^{2}_{m}italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT + ⋯ + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT. From Eq. (1), this may be written as x12+x22+⋯+xm2subscriptsuperscript𝑥21subscriptsuperscript𝑥22⋯subscriptsuperscript𝑥2𝑚\displaystyle x^{2}_{1}+x^{2}_{2}+\cdots+x^{2}_{m}italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT + ⋯ + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT =\displaystyle== cos2⁡(φ1)+sin2⁡(φ1)⁢cos2⁡(φ2)+⋯+sin2⁡(φ1)⁢sin2⁡(φ2)⁢⋯⁢cos2⁡(φm)superscript2subscript𝜑1superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑𝑚\displaystyle\cos^{2}(\varphi_{1})+\sin^{2}(\varphi_{1})\cos^{2}(\varphi_{2})+% \cdots+\sin^{2}(\varphi_{1})\sin^{2}(\varphi_{2})\cdots\cos^{2}(\varphi_{m})roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) + roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) + ⋯ + roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) (19) =\displaystyle== cos2⁡(φ1)+sin2⁡(φ1)⁢(1−sin2⁡(φ2))+⋯+sin2⁡(φ1)⁢sin2⁡(φ2)⁢⋯⁢cos2⁡(φm)superscript2subscript𝜑1superscript2subscript𝜑11superscript2subscript𝜑2⋯superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑𝑚\displaystyle\cos^{2}(\varphi_{1})+\sin^{2}(\varphi_{1})(1-\sin^{2}(\varphi_{2% }))+\cdots+\sin^{2}(\varphi_{1})\sin^{2}(\varphi_{2})\cdots\cos^{2}(\varphi_{m})roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) + roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) ( 1 - roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ) + ⋯ + roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) =\displaystyle== 1−sin2⁡(φ1)⁢sin2⁡(φ2)+⋯+sin2⁡(φ1)⁢sin2⁡(φ2)⁢⋯⁢cos2⁡(φm).1superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑𝑚\displaystyle 1-\sin^{2}(\varphi_{1})\sin^{2}(\varphi_{2})+\cdots+\sin^{2}(% \varphi_{1})\sin^{2}(\varphi_{2})\cdots\cos^{2}(\varphi_{m}).1 - roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) + ⋯ + roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_cos start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) . The above procedure can be repeated until we arrive at x12+x22+⋯+xm2=1−sin2⁡(φ1)⁢sin2⁡(φ2)⁢⋯⁢sin2⁡(φm).subscriptsuperscript𝑥21subscriptsuperscript𝑥22⋯subscriptsuperscript𝑥2𝑚1superscript2subscript𝜑1superscript2subscript𝜑2⋯superscript2subscript𝜑𝑚\displaystyle x^{2}_{1}+x^{2}_{2}+\cdots+x^{2}_{m}=1-\sin^{2}(\varphi_{1})\sin% ^{2}(\varphi_{2})\cdots\sin^{2}(\varphi_{m}).italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT + ⋯ + italic_x start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT = 1 - roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT ) roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ) ⋯ roman_sin start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( italic_φ start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) . (20) Applying Eq. (20) to Eq. (18) then gives ⟨f⁢(x1,…,xm)⟩delimited-⟨⟩𝑓subscript𝑥1…subscript𝑥𝑚\displaystyle\langle f(x_{1},\ldots,x_{m})\rangle⟨ italic_f ( italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) ⟩ =\displaystyle== ∫−11∫−1−x121−x12⋯⁢∫−1−x12−x22−⋯−xm−121−x12−x22−⋯−xm−12f⁢(x1,…,xm)⁢Γ⁢(n2)πm2⁢f⁢(x1,…,xm)⁢Γ⁢(n−m2)⁢(1−∑i=1mxi2)n−m−22⁢𝑑x1⁢𝑑x2⁢⋯⁢𝑑xm,subscriptsuperscript11superscriptsubscript1superscriptsubscript𝑥121superscriptsubscript𝑥12⋯superscriptsubscript1superscriptsubscript𝑥12superscriptsubscript𝑥22⋯superscriptsubscript𝑥𝑚121superscriptsubscript𝑥12superscriptsubscript𝑥22⋯superscriptsubscript𝑥𝑚12𝑓subscript𝑥1…subscript𝑥𝑚Γ𝑛2superscript𝜋𝑚2𝑓subscript𝑥1…subscript𝑥𝑚Γ𝑛𝑚2superscript1superscriptsubscript𝑖1𝑚superscriptsubscript𝑥𝑖2𝑛𝑚22differential-dsubscript𝑥1differential-dsubscript𝑥2⋯differential-dsubscript𝑥𝑚\displaystyle\int^{1}_{-1}\int_{-\sqrt{1-x_{1}^{2}}}^{\sqrt{1-x_{1}^{2}}}% \cdots\int_{-\sqrt{1-x_{1}^{2}-x_{2}^{2}-\cdots-x_{m-1}^{2}}}^{\sqrt{1-x_{1}^{% 2}-x_{2}^{2}-\cdots-x_{m-1}^{2}}}f(x_{1},\ldots,x_{m})\,\frac{\Gamma(\frac{n}{% 2})}{\pi^{\frac{m}{2}}f(x_{1},\ldots,x_{m})\Gamma(\frac{n-m}{2})}\Bigl{(}1-% \sum_{i=1}^{m}x_{i}^{2}\Bigr{)}^{\frac{n-m-2}{2}}dx_{1}dx_{2}\cdots dx_{m},∫ start_POSTSUPERSCRIPT 1 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT - 1 end_POSTSUBSCRIPT ∫ start_POSTSUBSCRIPT - square-root start_ARG 1 - italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG end_POSTSUBSCRIPT start_POSTSUPERSCRIPT square-root start_ARG 1 - italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG end_POSTSUPERSCRIPT ⋯ ∫ start_POSTSUBSCRIPT - square-root start_ARG 1 - italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT - italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT - ⋯ - italic_x start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG end_POSTSUBSCRIPT start_POSTSUPERSCRIPT square-root start_ARG 1 - italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT - italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT - ⋯ - italic_x start_POSTSUBSCRIPT italic_m - 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG end_POSTSUPERSCRIPT italic_f ( italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG italic_π start_POSTSUPERSCRIPT divide start_ARG italic_m end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT italic_f ( italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , … , italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG ( 1 - ∑ start_POSTSUBSCRIPT italic_i = 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT italic_m end_POSTSUPERSCRIPT italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ) start_POSTSUPERSCRIPT divide start_ARG italic_n - italic_m - 2 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT italic_d italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_d italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT ⋯ italic_d italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT , By spherical symmetry, it is sufficient to compute the variance on x1subscript𝑥1x_{1}italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT, but this trivially reduces to the result already obtained, since to compute it we may integrate out all the remaining coordinates x2,…,xmsubscript𝑥2…subscript𝑥𝑚x_{2},\ldots,x_{m}italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT , … , italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT. Therefore we find exactly ⟨xi⟩delimited-⟨⟩subscript𝑥𝑖\displaystyle\langle x_{i}\rangle⟨ italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT ⟩ =\displaystyle== 00\displaystyle 0 ⟨xi⁢xj⟩delimited-⟨⟩subscript𝑥𝑖subscript𝑥𝑗\displaystyle\langle x_{i}x_{j}\rangle⟨ italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT italic_x start_POSTSUBSCRIPT italic_j end_POSTSUBSCRIPT ⟩ =\displaystyle== δi⁢j⁢(Δ⁢xi)2=δi⁢jn.subscript𝛿𝑖𝑗superscriptΔsubscript𝑥𝑖2subscript𝛿𝑖𝑗𝑛\displaystyle\delta_{ij}(\Delta x_{i})^{2}=\frac{\delta_{ij}}{n}.italic_δ start_POSTSUBSCRIPT italic_i italic_j end_POSTSUBSCRIPT ( roman_Δ italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT = divide start_ARG italic_δ start_POSTSUBSCRIPT italic_i italic_j end_POSTSUBSCRIPT end_ARG start_ARG italic_n end_ARG . (22) From similar reasoning, for sufficiently large n𝑛nitalic_n the distribution becomes Gaussian. Therefore, the probability distribution over this reduced m-sphere reduces to P⁢(x1,x2,⋯,xm)=Γ⁢(n2)πm2⁢Γ⁢(n−m2)⁢(1−∑i=1mxi2)n−m−22,Psubscript𝑥1subscript𝑥2⋯subscript𝑥𝑚Γ𝑛2superscript𝜋𝑚2Γ𝑛𝑚2superscript1superscriptsubscript𝑖1𝑚superscriptsubscript𝑥𝑖2𝑛𝑚22\text{P}(x_{1},x_{2},\cdots,x_{m})=\frac{\Gamma(\frac{n}{2})}{\pi^{\frac{m}{2}% }\Gamma(\frac{n-m}{2})}\,\Bigl{(}1-\sum_{i=1}^{m}x_{i}^{2}\Bigr{)}^{\frac{n-m-% 2}{2}},P ( italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT , ⋯ , italic_x start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT ) = divide start_ARG roman_Γ ( divide start_ARG italic_n end_ARG start_ARG 2 end_ARG ) end_ARG start_ARG italic_π start_POSTSUPERSCRIPT divide start_ARG italic_m end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT roman_Γ ( divide start_ARG italic_n - italic_m end_ARG start_ARG 2 end_ARG ) end_ARG ( 1 - ∑ start_POSTSUBSCRIPT italic_i = 1 end_POSTSUBSCRIPT start_POSTSUPERSCRIPT italic_m end_POSTSUPERSCRIPT italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ) start_POSTSUPERSCRIPT divide start_ARG italic_n - italic_m - 2 end_ARG start_ARG 2 end_ARG end_POSTSUPERSCRIPT , (23) with suitable limits on the xisubscript𝑥𝑖x_{i}italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT. This is for the projection of an (n−1)𝑛1(n-1)( italic_n - 1 )-sphere to an m𝑚mitalic_m-dimensional subspace. The limit of this distribution as n−m→∞→𝑛𝑚{n-m}\to\inftyitalic_n - italic_m → ∞ and sufficiently small xisubscript𝑥𝑖x_{i}italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT, i∈{1,…,m}𝑖1…𝑚i\in\{1,\ldots,m\}italic_i ∈ { 1 , … , italic_m }, may be approximated by a Gaussian with mean zero and a variance in every direction of 1/n1𝑛1/n1 / italic_n. This result agrees with previous work Knaeble2015Ap , except on the condition needed, here n−m𝑛𝑚n-mitalic_n - italic_m large as opposed to merely n𝑛nitalic_n being large. The difference in this requirement means that as m→n→𝑚𝑛m\to nitalic_m → italic_n, where we project out fewer and fewer coordinates and finally none, the Gaussian approximation is found to wholly fail. IV.3 Projection of a rotated hypercube to two dimensions Our analysis, both analytic and numeric has largely been based on the projection of high-dimensional hyperballs. Here we consider the numerical projection of a randomly rotated high-dimensional hypercube to two dimensions. Although computing the X-ray of such a hypercube is straightforward, computing the projection of the boundary very quickly becomes computationally inaccessible. In particular, one needs to take the 2nsuperscript2𝑛2^{n}2 start_POSTSUPERSCRIPT italic_n end_POSTSUPERSCRIPT corners of the hypercube and project them to the lower dimension of interest and then compute the convex hull of those projected corners. This convex hull represents the ‘shadow’ of the rotated hypercube under ordinary light (which is assumed to be unable to penetrate the object itself). In Fig. 4 we illustrate this computation, comparing both the X-rays and shadows projected onto two dimensions of (a) a 33-dimensional hyperball and (b) a randomly rotated 20-dimensional hypercube (the highest dimension we could compute in a reasonable amount of time). As can be seen, in sufficiently high dimensnions the shadow of a randomly rotated hypercube, Fig. 4(b), looks remarkably like that of a hyperball, Fig. 4(a). Further, up to defining a suitable ‘diameter’ to make a more rigorous comparison, the X-ray projection of such hypercubes appears remarkably similar to that of the hyperball (again see Fig. 4). Consequently, in our main manuscript we used a hyperball to compute the threshold illustrated by Fig. 3 there in even higher dimensions than we can manage for hypercubes. Were much larger computational facilities available a more careful comparison should be possible, though even only a 42-dimensional hypercube entails over 4 trillion corners, so computing the projected boundary into any dimension greater than one Knaeble2015Ap would require major computational effort. References (1) C. W. Misner, K. S. Thorne & J. A. Wheeler, Gravitation, (Freeman & Co., San Francisco, 1973) p. 1216. (2) S. Weinberg, Anthropic bound on the cosmological constant Physical Review Letters 59, 2607-2610 (1987). (3) H. Martel, P. R. Shapiro, S. Weinberg, Likely values of the cosmological constant, The Astrophysical Journal 492, 29-40 (1998). (4) T. Piran, et al., Cosmic explosions, life in the universe, and the cosmological constant, Physical Review Letters 116, 081301 (2016). (5) F. Hoyle, On nuclear reactions occurring in very hot stars. I. The synthesis of elements from carbon to nickel, The Astrophysical Journal Supplement Series 1, 121-146 (1954). (6) B. Carter, Large number coincidences and the anthropic principle in cosmology, in Confrontation of Cosmological Theories with Observational Data, (Springer, Dordrecht, 1974) p. 291-298. (7) Fred C. Adams, The degree of fine-tuning in our universe – and others, Physics Reports 807, 1-111 (2019). (8) R. H. Dicke, Dirac’s cosmology and Mach’s principle, Nature 192, 440-441 (1961). (9) D. Deutsch, The Beginning of Infinity: Explanations that Transform the World (Penguin, London, 2011), pp. 99-100. (10) Z.-W. Wang,and S. L. Braunstein, Sciama’s argument on life in a random universe and distinguishing apples from oranges, Nature Astronomy, 7, 1–2 (2023). (11) V. D. Milman, The heritage of P. Lévy in geometrical functional analysis, Astérisque 157, 273-301 (1988). (12) A. S. Eddington, Relativity Theory of Protons and Electrons (Cambridge Univ. Press, Cambridge, 1936) p. 3, (13) E. Siegel, How many fundamental constants does it take to explain the universe? Forbes, Nov. 16, 2018. (14) A. S. Eddington, The Philosophy of Physical Science (Cambridge Univ. Press, Cambridge, 1939). (15) P. Diaconis & D. Freedman, Asymptotics of graphical projection pursuit, The Annals of Statistics 12, 793-815 (1984). (16) B. Klartag, A central limit theorem for convex sets, Inventiones Mathematicae 168, 91-131 (2007). (17) M. M. Ćirković, Fermi’s Paradox Is a Daunting Problem – Under Whatever Label, Astrobiology, 16, 737-740 (2016). (18) D. Overbye, The Search for E.T. Goes on Hold, for Now, The New York Times, March 23, 2020. (19) O. Wilde, The decay of lying: A dialogue, in The Nineteenth Century: A Monthly Review, ed. J. Knowles. Vol. XXV. January-June, 1889. pp. 35-56. (20) B. Knaeble, Variations on the projective central limit theorem, General Mathematics Notes 26(2), 119-133 (2015).
1098	dbpedia	1	30	https://www.sciencealert.com/stephen-hawking	en	Who Is Stephen Hawking?	https://www.sciencealert…g_topic_1024.jpg	https://www.sciencealert…g_topic_1024.jpg	[ "https://www.sciencealert.com/images/2020-06/processed/hawking_topic_600.jpg", "https://b.scorecardresearch.com/p?c1=2&c2=10055482&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[ "ScienceAlert Staff" ]	2020-06-24T08:05:01+00:00	Stephen Hawking was a theoretical physicist and cosmologist best known for advancing theoretical models on black holes and cosmic inflation, which he discusses in his popular writing on time and space.	en	https://www.sciencealert…avicon-32x32.png	ScienceAlert	https://www.sciencealert.com/stephen-hawking	Stephen Hawking was a theoretical physicist and cosmologist best known for advancing theoretical models on black holes and cosmic inflation, which he discusses in his popular writing on time and space. Hawking's university education began in 1959, when, at age 17, he attended University College, Oxford, to study physics. Seeking a PhD at University of Cambridge, Hawking was disappointed to learn that the esteemed astronomer Fred Hoyle – who is now famous for coining the term ' Big Bang' theory by mocking it on radio – wouldn't be taking any more students. His supervisor was a relatively unknown researcher by the name of Dennis Sciama. What Sciama lacked in fame he more than made up for in mentorship, encouraging a young Hawking to follow his interests. Where Hoyle was dismissive of the Big Bang, Hawking became its champion. What was Stephen Hawking's discovery on the Big Bang? Following Roger Penrose's work on the infinitely dense point of spacetime at the centres of black holes, Hawking used the mathematics of general relativity to argue the origins of the Universe itself could be found in similar physics. In 1970, Hawking and Penrose published their now famous theory on cosmological singularities, which describes the starting energy of the Universe all contained in an infinitely small volume. What were Stephen Hawking's discoveries on black holes? A key concern with the concept of black holes at that time was that according to the second law of thermodynamics, the overall amount of disorder (or entropy) in a closed system like the Universe increases with time. Since black holes can't reflect or emit light or matter, this disorder could in effect disappear. Either the long-established law on entropy was wrong, or somehow, a measure of this disorder sticks around. A theoretical physicist named Jacob Bekenstein had an answer. A graduate student at the time, Bekenstein reasoned that if the area of a black hole's 'event horizon' surface expands as light and matter falls in, it could provide a measure of its entropy. If true, this increased disorder would result in an amount of heat in relation to the black hole's surface. Hawking, aiming to disprove Bekenstein's hypothesis, instead uncovered a mathematical relationship between thermal radiation and the expanding event horizon. Referred to as ' Hawking radiation', the discovery was initially controversial, as it implied even large black holes could evaporate away over a long period of time, creating yet another paradox over the conservation of information in the Universe. While it has yet to be observed, Hawking radiation is now a largely accepted feature of these exotic cosmic objects. Why is Stephen Hawking so popular today? In 1979, Hawking was elected Lucasian Professor of Mathematics at the University of Cambridge, a position once held by the mathematician Isaac Newton. Over the ensuing years Hawking earned fame for his ideas, not just in the scientific community but in households around the world. Published in 1988, his popular science book on the strange nature of time and space, A Brief History of Time, broke records by remaining on the Times of London bestseller list for 237 weeks. That's more than four and a half years. Bio Born: 8 January 1942 to tropical medicine researcher Frank Hawking and economics and philosophy student, Isobel Eileen Hawking. Died: 14 March 2018, age 76. As a person: Hawking was diagnosed with 'amyotrophic lateral sclerosis' (ALS), a type of motor neurone disease, at the age of 21. Though initially given just two years to live, the degenerative condition progressed slower than expected, and he continued working for decades with the support of his family and friends. All topic-based articles are determined by fact checkers to be correct and relevant at the time of publishing. Text and images may be altered, removed, or added to as an editorial decision to keep information current.
1098	dbpedia	3	29	https://www.amazon.com/Renaissance-General-Relativity-Cosmology-Celebrate/dp/0521021081	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/kwizfixk/Captcha_oatnvdsgtp.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=6V5X99MZP5RWPCVB54WY&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
1098	dbpedia	0	0	https://encyclopedia.pub/entry/38160	en	Dennis W. Sciama	https://encyclopedia.pub…/header_logo.png	https://encyclopedia.pub…/header_logo.png	[ "https://encyclopedia.pub/build/images/header_logo.png", "https://encyclopedia.pub/build/images/logo.png", "https://encyclopedia.pub/build/images/point-3.png", "https://encyclopedia.pub/media/biography/202212/638fe52213955200px-Sciama2.jpg", "https://encyclopedia.pub/media/banner/202408/huodongbanner85-66b2e82a63c33.jpg", "https://encyclopedia.pub/build/images/feedback_success.png" ]	[]	[]	[ "" ]	null	[]	2022-12-07T04:41:33+01:00	Encyclopedia is a user-generated content hub aiming to provide a comprehensive record for scientific developments. All content free to post, read, share and reuse.	en	/favicon.ico		https://encyclopedia.pub/entry/38160	1. Introduction Dennis William Siahou Sciama, ( ; 18 November 1926 – 18/19 December 1999)[1][2] was a British physicist who, through his own work and that of his students, played a major role in developing British physics after the Second World War.[3][4] He was the Ph.D supervisor to many famous cosmologists, including Stephen Hawking, Martin Rees and David Deutsch; he is considered one of the fathers of modern cosmology.[5][6][7][8] 2. Education and Early Life Sciama was born in Manchester, England , the son of Nelly Ades and Abraham Sciama.[9] He was of Syrian-Jewish ancestry—his father born in Manchester and his mother born in Egypt both traced their roots back to Aleppo, Syria.[10] Sciama earned his PhD in 1953 at the University of Cambridge supervised by Paul Dirac, with a dissertation on Mach's principle and inertia. His work later influenced the formulation of scalar-tensor theories of gravity. 3. Career and Research Sciama taught at Cornell University, King's College London, Harvard University and the University of Texas at Austin, but spent most of his career at the University of Cambridge (1950s and 1960s) and the University of Oxford as a Senior Research Fellow in All Souls College, Oxford (1970s and early 1980s). In 1983, he moved from Oxford to Trieste, becoming Professor of Astrophysics at the International School of Advanced Studies (SISSA), and a consultant with the International Centre for Theoretical Physics. He also taught at the Scuola Normale Superiore of Pisa. From 1972 to 1973 he was the Donegall Lecturer in Mathematics at Trinity College Dublin.[11] During the 1990s, he divided his time between Trieste (with a residence in nearby Venice) and his main residence at Oxford, where he was a visiting professor until the end of his life. Sciama made connections among some topics in astronomy and astrophysics. He wrote on radio astronomy, X-ray astronomy, quasars, the anisotropies of the cosmic microwave radiation, the interstellar and intergalactic medium, astroparticle physics and the nature of dark matter. Most significant was his work in general relativity, with and without quantum theory, and black holes. He helped revitalize the classical relativistic alternative to general relativity known as Einstein-Cartan gravity. Early in his career, he supported Fred Hoyle's steady state cosmology, and interacted with Hoyle, Hermann Bondi, and Thomas Gold. When evidence against the steady state theory, e.g., the cosmic microwave radiation, mounted in the 1960s, Sciama abandoned it and worked on the Big Bang cosmology; he was perhaps the only prominent Steady-State supporter to switch sides (Hoyle continued to work on modifications of steady-state for the rest of his life, while Bondi and Gold moved away from cosmology during the 1960s). During his last years, Sciama became interested in the issue of dark matter in galaxies. Among other aspects he pursued a theory of dark matter that consists of a heavy neutrino, certainly disfavored in his realization, but still possible in a more complicated scenario. 3.1. Doctoral Students Several leading astrophysicists and cosmologists of the modern era completed their doctorates under Sciama's supervision, notably: George Ellis (1964) Stephen Hawking (1966) Brandon Carter (1967) Martin Rees (1967) Gary Gibbons (1973) James Binney (1975) John D. Barrow (1977) Philip Candelas (1977)[12] David Deutsch (1978) Adrian Melott (1981) Antony Valentini (1992) Sciama also strongly influenced Roger Penrose, who dedicated his The Road to Reality to Sciama's memory. The 1960s group he led in Cambridge (which included Ellis, Hawking,[13] Rees, and Carter), has proved of lasting influence. 3.2. Publications Sciama, Dennis (1959). The Unity of the Universe. London: Faber & Faber. Sciama, Dennis (1969). "The Physical Foundations of General Relativity". Science Study Series (New York: Doubleday) 58. Short (104 pages) and clearly written non-mathematical book on the physical and conceptual foundations of General Relativity. Could be read with profit by physics students before immersing themselves in more technical studies of General Relativity. Sciama, Dennis (1971). Modern Cosmology. Cambridge University Press. ISBN 9780521080699. https://archive.org/details/moderncosmology0000scia. Sciama, Dennis (1993). Modern Cosmology and the Dark Matter Problem. Cambridge University Press. ISBN 9780521438483. https://books.google.com/books/about/Modern_Cosmology_and_the_Dark_Matter_Pro.html?id=7dTOlXBLiFQC. 3.3. Awards and Honours Sciama was elected a Fellow of the Royal Society (FRS) in 1983.[1] He was also an honorary member of the American Academy of Arts and Sciences, the American Philosophical Society and the Academia Lincei of Rome. He served as president of the International Society of General Relativity and Gravitation, 1980–84. His work at SISSA and the University of Oxford led to the creation of a lecture series in his honour, the Dennis Sciama Memorial Lectures.[14] In 2009, the Institute of Cosmology and Gravitation at the University of Portsmouth elected to name their new building, and their supercomputer in 2011, in his honour.[15] Sciama has been portrayed in a number of biographical projects about his most famous student, Stephen Hawking. In the 2004 BBC TV movie Hawking, Sciama was played by John Sessions. In the 2014 film The Theory of Everything, Sciama was played by David Thewlis; physicist Adrian Melott strongly criticized the portrayal of Sciama in the film.[16] 4. Personal Life
1098	dbpedia	0	93	https://www.science.gov/topicpages/n/nelson-denny%2Breading%2Btest	en	denny reading test: Topics by Science.gov			[ "https://www.science.gov/scigov/desktop/en/images/SciGov_logo.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Assessment of the Use of the Nelson Denny Reading Test. ERIC Educational Resources Information Center Perkins, Dorothy 1984-01-01 The Nelson Denny Reading Test (NDRT) is probably the most widely used test of reading comprehension at the college level in the nation. However, reviews of the test, as well as recent reports of its failure to adequately measure gain or lack of gain of college students enrolled in reading improvement courses, do not support the popularity it hasâ¦ "Passageless" Administration of the Nelson-Denny Reading Comprehension Test: Associations with IQ and Reading Skills ERIC Educational Resources Information Center Ready, Rebecca E.; Chaudhry, Maheen F.; Schatz, Kelly C.; Strazzullo, Sarah 2013-01-01 There are few tests that assess reading comprehension in adults, but these tests are needed for a comprehensive assessment of reading disorders (RD). "The Nelson-Denny Reading Test" (NDRT) has a long-passage reading comprehension component that can be used with adolescents and adults. A problem with the NDRT is that reading comprehensionâ¦ Passageless Comprehension on the "Nelson-Denny Reading Test": Well above Chance for University Students ERIC Educational Resources Information Center Coleman, Chris; Lindstrom, Jennifer; Nelson, Jason; Lindstrom, William; Gregg, K. Noel 2010-01-01 The comprehension section of the "Nelson-Denny Reading Test" (NDRT) is widely used to assess the reading comprehension skills of adolescents and adults in the United States. In this study, the authors explored the content validity of the NDRT Comprehension Test (Forms G and H) by asking university students (with and without at-riskâ¦ The Nelson-Denny Reading Test as a Predictor of Academic Success in Selected Classes in a Specific Community College. ERIC Educational Resources Information Center Gudan, Sirkka A review of the literature indicates that the Nelson-Denny Reading Test (NDRT) may be a viable instrument for screening students and predicting their academic success in particular circumstances. In 1981, a study was conducted at Schoolcraft College to determine the extent of the relationship between the reading abilities of entering students andâ¦ Does Humor Have an Effect on the Performance of College Freshmen in Improving Scores on the Nelson Denny Reading Post Test? ERIC Educational Resources Information Center Schiller, Maryann F. A study was conducted to investigate the effects of humor on the performance of college freshmen on the Nelson Denny Reading Post Test. The subjects, 36 college freshmen from two developmental reading improvement classes, were randomly assigned to experimental A or B or control sample groups. Students had previously taken forms F and C of the testâ¦ Relationships of Reading, MCAT, and USMLE Step 1 Test Results for Medical Students ERIC Educational Resources Information Center Haught, Patricia; Walls, Richard 2004-01-01 Students (N = 730) took the Nelson-Denny Reading Test (current forms G or H) during orientation to medical school. Stepwise regression analyses showed the Nelson-Denny Reading Vocabulary, Comprehension, and Rate were significant predictors of MCAT (taken prior to admission to medical school) verbal reasoning. Reading Vocabulary was a significantâ¦ Reading Comprehension as a Factor in Communication with Engineers. ERIC Educational Resources Information Center Sacks, George A.; Sacks, Florence A study of the reading rate and comprehension of 10 aerospace engineers and analysis of the readability of sample company communications were undertaken. The Nelson-Denny Reading Test comprehension scores for the engineers, when compared with scores of a norm group provided by the Nelson-Denny Test Manual, were nearly the same in mean and standardâ¦ Adult Learners: Relationships of Reading, MCAT, and USMLE Step 1 Test Results for Medical Students. ERIC Educational Resources Information Center Haught, Patricia A.; Walls, Richard T. This study examined the possible relationship between scores on the Nelson-Denny Reading Test (current forms G and H) and performance on the Medical College Admissions Test (MCAT) and the United States Medical Licensing Examination (USMLE) Step 1 examination scores. Participants were 730 medical students at a mid-Atlantic university, and for 572â¦ Components of Answers to Multiple-Choice Questions on a Published Reading Comprehension Test: An Application of the Hanna-Oaster Approach. ERIC Educational Resources Information Center Entin, Eileen B.; Klare, George B. 1980-01-01 An approach to assessing context dependence was applied to data from the Nelson-Denny Reading Test. The results suggest that scores on the difficult passages are inflated because the examinees can answer the questions without having to comprehend the passage. (MKM) Critical Reading Deficiency: Cause, Scope, Remediation. ERIC Educational Resources Information Center Giordano, Gerald The extent of deficiencies in critical reading skills among 153 entering college students enrolled in basic skills reading courses at New Mexico State University was studied. Forty-nine percent of the sample were Hispanic Americans. The students were administered the Nelson-Denny Reading Test and the scores were converted into grade equivalents.â¦ READING PERFORMANCE OF ELEMENTARY STUDENT TEACHERS IN A DEVELOPING INSTITUTION. ERIC Educational Resources Information Center ADAMS, EFFIE KAYE A STUDY WAS CONDUCTED AT BISHOP COLLEGE, DALLAS, TEXAS, TO EXAMINE THE READING NEEDS OF PROSPECTIVE ELEMENTARY TEACHERS. SCORES ON THE NELSON DENNY READING TESTS, ADVANCED FORM A, ON THE OTIS QUICK SCORING TESTS OF MENTAL ABILITY, GAMMA FORM BM, AND GRADE POINT AVERAGES COVERING 4 YEARS OF COLLEGE WORK WERE ANALYZED FOR 29 NEGRO ELEMENTARY STUDENTâ¦ Reading Skill and Word Skipping: Implications for Visual and Linguistic Accounts of Word Skipping ERIC Educational Resources Information Center Eskenazi, Michael A.; Folk, Jocelyn R. 2015-01-01 We investigated whether high-skill readers skip more words than low-skill readers as a result of parafoveal processing differences based on reading skill. We manipulated foveal load and word length, two variables that strongly influence word skipping, and measured reading skill using the Nelson-Denny Reading Test. We found that reading skill didâ¦ An Exploratory Study of Reading Comprehension in College Students After Acquired Brain Injury. PubMed Sohlberg, McKay Moore; Griffiths, Gina G; Fickas, Stephen 2015-08-01 This exploratory study builds on the small body of existing research investigating reading comprehension deficits in college students with acquired brain injury (ABI). Twenty-four community college students with ABI completed a battery of questionnaires and standardized tests to characterize self-perceptions of academic reading ability, performance on a standardized reading comprehension measure, and a variety of cognitive functions of this population. Half of the participants in the sample reported traumatic brain injury (n = 12) and half reported nontraumatic ABI (n = 12). College students with both traumatic and nontraumatic ABI cite problems with reading comprehension and academic performance postinjury. Mean performance on a standardized reading measure, the Nelson-Denny Reading Test (Brown, Fischo, & Hanna, 1993), was low to below average and was significantly correlated with performance on the Speed and Capacity of Language Processing Test (Baddeley, Emslie, & Nimmo-Smith, 1992). Injury status of traumatic versus nontraumatic ABI did not differentiate results. Regression analysis showed that measures of verbal attention and suppression obtained from the California Verbal Language Test-II (Delis, Kramer, Kaplan, & Ober, 2000) predicted total scores on the Nelson-Denny Reading Test. College students with ABI are vulnerable to reading comprehension problems. Results align with other research suggesting that verbal attention and suppression problems may be contributing factors. Private Room as a Test Accommodation ERIC Educational Resources Information Center Lewandowski, Lawrence; Wood, Whitney; Lambert, Tonya 2015-01-01 The effects of a private vs. group test setting were examined on a reading comprehension test for a sample of typical college students. Participants took Forms G and H of the Nelson Denny Reading Comprehension Test in both private and group (classroom) settings. Contrary to expectations, performance was slightly better in the group setting.â¦ The Appropriateness of the Concept Mastery Test for Graduate Students. ERIC Educational Resources Information Center Goolsby, Thomas M., Jr. A study was conducted to determine the appropriateness of the Concept Mastery Test for graduate students enrolled in an introductory research methodology course. Ss represented a cross-section of students entering a master's program at a large southeastern university. The Concept Mastery Test (CMT), the Nelson-Denny Reading Test (ND), and theâ¦ The Effects of Background Information on Standarized Test Scores. ERIC Educational Resources Information Center Feeley, Joan T.; Wepner, Shelley B. A study was conducted to determine the effects of exposure to the topics included on the comprehension subtest of the Nelson-Denny Reading Test (ND), Form F, on college freshmen's performance on the test. In addition, the study investigated whether those students with background information would indicate their awareness of this knowledge on aâ¦ Predictors of Nursing Students' Performance in a One-Semester Organic and Biochemistry Course NASA Astrophysics Data System (ADS) van Lanen, Robert J.; Lockie, Nancy M.; McGannon, Thomas 2000-06-01 In an effort to empower nursing students to successfully persist in chemistry, predictors of success for undergraduate nursing students enrolled in a one-semester organic and biochemistry course were identified. The sample consisted of 308 undergraduate nursing students enrolled in Chemistry 108 (Principles of Organic and Biochemistry) during a period of seven semesters. In this study, Supplemental Instruction (SI) is a nonremedial academic support program offered for Chemistry 108 students. Placement tests in Mathematics, Reading, and English are required of all entering students. The English Placement Test assesses proficiency in analytical reading and writing; the Nelson Denny Reading Test (Form E) assesses the student's understanding of written vocabulary and the mastery of reading comprehension, and the Mathematics Placement Test measures the student's mastery of arithmetic and algebraic calculations. Both demographic and academic variables were examined. For the entire sample, five predictor variables were identified: Mathematics Placement Test score, Chemistry 107 grade (a prerequisite), total number of SI sessions attended, Nelson Denny Reading Test (Form E) score, and age. Predictors for various subpopulations of the sample were also identified. Predictors for students of traditional age were Mathematics Placement Test score, total number of SI sessions attended, and Chemistry 107 grade. The best predictors for continuing education students were Chemistry 107 grade and Nelson Denny Test score. An Analysis of Teacher Candidate Success as Measured by Admission Requirements ERIC Educational Resources Information Center Texas, Araceli Garza; Mundy, Marie-Anne; Varela, Daniella; Ybarra, Anissa; Yuma, Stephanie 2016-01-01 There has been little to no data indicating that candidate scores on the Nelson Denny Reading Assessment, entrance GPA, and basic skills were effective measures for success in educator preparation programs. This study contributed to the body of knowledge by evaluating whether candidate scores on the Nelson Denny Reading Assessment, entrance GPA,â¦ U.S. Rep. Bill Nelson of Florida during medical tests at JSC's Clinic NASA Technical Reports Server (NTRS) 1985-01-01 U.S. Rep. Bill Nelson of Florida during medical tests at JSC's Clinic. Photos include Rep. Nelson talking to Sharon Briceno (center) and Betty Lord before the tests begin. The congressman's torso bears a number of sensors for the testing (40835); Portrait view of Rep. Nelson with sensors attached to his chest (40836); Rep. Nelson gets some assistance from nurses at the clinic as he prepares to participate in medical tests. Help is provided by Betty Lord, right, and Sharon Briceno (40837); Rep. Nelson is being assisted to don 'halo' device for tests (40838); Rep. Nelson runs in place on a treadmill device (40839). Individual Differences in the Neural Basis of Causal Inferencing ERIC Educational Resources Information Center Prat, Chantel S.; Mason, Robert A.; Just, Marcel Adam 2011-01-01 This study used fMRI to examine individual differences in the neural basis of causal inferencing. Participants with varying language skill levels, as indexed by scores on the vocabulary portion of the Nelson-Denny Reading Test, read four types of two-sentence passages in which causal relatedness (moderate and distant) and presence or absence ofâ¦ The Educational Psychology of Note Taking: Effects of Prior Word/World Knowledge. ERIC Educational Resources Information Center Shaughnessy, Michael F.; Evans, Robert A study was conducted to determine whether extensive vocabularies increase students' notetaking skills. The subjects, 45 volunteer college seniors involved in elementary and secondary student teaching, were given both the Nelson-Denny Reading Test (Form A) and the Peabody Picture Vocabulary Test (revised), as well as the general informationâ¦ Reading skill and word skipping: Implications for visual and linguistic accounts of word skipping. PubMed Eskenazi, Michael A; Folk, Jocelyn R 2015-11-01 We investigated whether high-skill readers skip more words than low-skill readers as a result of parafoveal processing differences based on reading skill. We manipulated foveal load and word length, two variables that strongly influence word skipping, and measured reading skill using the Nelson-Denny Reading Test. We found that reading skill did not influence the probability of skipping five-letter words, but low-skill readers were less likely to skip three-letter words when foveal load was high. Thus, reading skill is likely to influence word skipping when the amount of information in the parafovea falls within the word identification span. We interpret the data in the context of visual-based (extended optimal viewing position model) and linguistic based (E-Z Reader model) accounts of word skipping. The models make different predictions about how and why a word and skipped; however, the data indicate that both models should take into account the fact that different factors influence skipping rates for high- and low-skill readers. (c) 2015 APA, all rights reserved). What component of executive functions contributes to normal and impaired reading comprehension in young adults? PubMed Georgiou, George K; Das, J P 2016-01-01 The purpose of this study was two-fold: (a) to examine what component of executive functions (EF) - planning and working memory - predicts reading comprehension in young adults (Study 1), and (b) to examine if less skilled comprehenders experience deficits in the EF components (Study 2). In Study 1, we assessed 178 university students (120 females; mean age=21.82 years) on planning (Planned Connections, Planned Codes, and Planned Patterns), working memory (Listening Span, Digit Span Backward, and Digit Memory), and reading comprehension (Nelson-Denny Reading Test). The results of structural equation modeling indicated that only planning was a significant predictor of reading comprehension. In Study 2, we assessed 30 university students with a specific reading comprehension deficit (19 females; mean age=23.01 years) and 30 controls (18 females; mean age=22.77 years) on planning (Planned Connections and Crack the Code) and working memory (Listening Span and Digit Span Backward). The results showed that less skilled comprehenders performed significantly poorer than controls only in planning. Taken together, the findings of both studies suggest that planning is the preeminent component of EF that is driving its relationship with reading comprehension in young adults. Copyright Â© 2015 Elsevier Ltd. All rights reserved. Interview with Dennis Pearl ERIC Educational Resources Information Center Rossman, Allan; Pearl, Dennis 2017-01-01 Dennis Pearl is Professor of Statistics at Pennsylvania State University and Director of the Consortium for the Advancement of Undergraduate Statistics Education (CAUSE). He is a Fellow of the American Statistical Association. This interview took place via email on November 18-29, 2016, and provides Dennis Pearl's background story, which describesâ¦ Maniac Talk - Dr. Brian Dennis NASA Image and Video Library 2014-09-24 Brian Dennis Maniac Lecture, September 24, 2014 NASA Solar Physicist Dr. Brian Dennis presented a Maniac Talk entitled "From Picking Potatoes to Measuring the Biggest Bangs in the Solar System -- Always a Farm Boy!" Brian described his formative years in England, then summarized our present understanding of how solar flares work and reviewed possible advances in instrumentation that could lead to major breakthroughs in the future. The Nelson Institute Science.gov Websites EVENTS Nelson Events Earth Day Environmental Events @ UW-Madison Jordahl Public Lands Lecture Submit an for Environmental Studies, UW-Madison Tweets by @NelsonInstitute visit us on youtube NEWS April 27 Skip to main content nelson logo UW Home \| My UW \| Map click to support nelson facebook logo Robert S. Nelson \| NREL Science.gov Websites S. Nelson Photo of Robert S. Nelson Robert Nelson Researcher II-Biological Science Robert.Nelson recombinant proteins. His current work is focused on the biological conversion of lignocellulose to advanced Saqik (Denny). ERIC Educational Resources Information Center Pope, Mary L.; And Others This story about a boy named Denny is a preprimer designed for children in bilingual Inupiat-English programs in the Alaskan villages of Ambler, Kobuk, Kiana, Noorvik and Shungnak. Each page of text is illustrated with a black-and-white drawing. The English equivalent is given at the back and is not included in student copies of the book. (CFM) Dennis Hardesty Information Sheet EPA Pesticide Factsheets Dennis Hardesty (the Company) is located in Rockford, Illinois. The consent decree involves the lease of property constructed prior to 1978, located in Rockford, Loves Park and Machesney Park, Illinois. STS-26 MS Nelson during Crew escape system (CES) testing in JSC WETF Bldg 29 NASA Image and Video Library 1988-07-08 S88-42409 (20 July 1988) --- STS-26 Discovery, Orbiter Vehicle (OV) 103, Mission Specialist (MS) George D. Nelson participates in crew escape system (CES) testing in JSC Weightless Environment Training Facility (WETF) Bldg 29. Nelson, wearing the newly designed (navy blue) launch and entry suit (LES), floats in WETF pool with the aid of an underarm flotation device (modern version of Mas West floats). He awaits the assistance of SCUBA-equipped divers during a simulation of escape and rescue operations utilizing a new CES pole for emergency exit from the Space Shuttle. Re-examining Nelson's syndrome. PubMed Palermo, Nadine E; Ananthakrishnan, Sonia 2015-08-01 Nelson's syndrome is a rare complication that can occur during the course of management of Cushing's disease. This article summarizes the recent literature on the diagnosis, monitoring and treatment of this potentially life-threatening outcome. Nelson's syndrome, with rising adrenocorticotropin hormone levels and corticotroph tumor progression on diagnostic imaging, can develop following treatment of refractory Cushing's disease with total bilateral adrenalectomy with/without radiotherapy. However, data showing that radiotherapy prevents Nelson's syndrome is inconsistent. In addition to the treatment of Nelson's syndrome with neurosurgery with/without adjuvant radiotherapy, selective somatostatin analogs and dopamine agonists, as well as other novel agents, have been used with increasing frequency in treating cases of Nelson's syndrome with limited benefit. The risk-benefit profile of each of these therapies is still not completely understood. Consensus guidelines on the evaluation and management of Nelson's syndrome are lacking. This article highlights areas in the surveillance of Cushing's disease patients, and diagnostic criteria and treatment regimens for Nelson's syndrome that require further research and review by experts in the field. 33 CFR 110.37 - Sesuit Harbor, Dennis, Mass. Code of Federal Regulations, 2011 CFR 2011-07-01 ... 33 Navigation and Navigable Waters 1 2011-07-01 2011-07-01 false Sesuit Harbor, Dennis, Mass. 110.37 Section 110.37 Navigation and Navigable Waters COAST GUARD, DEPARTMENT OF HOMELAND SECURITY ANCHORAGES ANCHORAGE REGULATIONS Special Anchorage Areas Â§ 110.37 Sesuit Harbor, Dennis, Mass. All the waters... 33 CFR 110.37 - Sesuit Harbor, Dennis, Mass. Code of Federal Regulations, 2012 CFR 2012-07-01 ... 33 Navigation and Navigable Waters 1 2012-07-01 2012-07-01 false Sesuit Harbor, Dennis, Mass. 110.37 Section 110.37 Navigation and Navigable Waters COAST GUARD, DEPARTMENT OF HOMELAND SECURITY ANCHORAGES ANCHORAGE REGULATIONS Special Anchorage Areas Â§ 110.37 Sesuit Harbor, Dennis, Mass. All the waters... 33 CFR 110.37 - Sesuit Harbor, Dennis, Mass. Code of Federal Regulations, 2013 CFR 2013-07-01 ... 33 Navigation and Navigable Waters 1 2013-07-01 2013-07-01 false Sesuit Harbor, Dennis, Mass. 110.37 Section 110.37 Navigation and Navigable Waters COAST GUARD, DEPARTMENT OF HOMELAND SECURITY ANCHORAGES ANCHORAGE REGULATIONS Special Anchorage Areas Â§ 110.37 Sesuit Harbor, Dennis, Mass. All the waters... 33 CFR 110.37 - Sesuit Harbor, Dennis, Mass. Code of Federal Regulations, 2014 CFR 2014-07-01 ... 33 Navigation and Navigable Waters 1 2014-07-01 2014-07-01 false Sesuit Harbor, Dennis, Mass. 110.37 Section 110.37 Navigation and Navigable Waters COAST GUARD, DEPARTMENT OF HOMELAND SECURITY ANCHORAGES ANCHORAGE REGULATIONS Special Anchorage Areas Â§ 110.37 Sesuit Harbor, Dennis, Mass. All the waters... 33 CFR 110.37 - Sesuit Harbor, Dennis, Mass. Code of Federal Regulations, 2010 CFR 2010-07-01 ... 33 Navigation and Navigable Waters 1 2010-07-01 2010-07-01 false Sesuit Harbor, Dennis, Mass. 110.37 Section 110.37 Navigation and Navigable Waters COAST GUARD, DEPARTMENT OF HOMELAND SECURITY ANCHORAGES ANCHORAGE REGULATIONS Special Anchorage Areas Â§ 110.37 Sesuit Harbor, Dennis, Mass. All the waters... Evaluation of modified Dennis parasitological technique for diagnosis of bovine fascioliasis. PubMed Correa, Stefanya; MartÃnez, Yudy Liceth; LÃ³pez, Jessika Lissethe; VelÃ¡squez, Luz Elena 2016-02-23 Bovine fascioliasis causes important economic losses, estimated at COP$ 12,483 billion per year; its prevalence is 25% in dairy cattle. Parasitological techniques are required for it diagnosis. The Dennis technique, modified in 2002, is the one used in Colombia, but its sensitivity, specificity and validity are not known.Â To evaluate the validity and performance of the modified Dennis technique for diagnosis of bovine fascioliasis using as reference test the observation of parasites in the liver.Â We conducted a diagnostic evaluation study. We selected a convenience sample of discarded bovines sacrificed between March and June, 2013, in Frigocolanta for the study. We collected 25 g of feces from each animal and their liver and bile ducts were examined for Fasciola hepatica. The sensitivity, specificity, predictive positive value, predictive negative value, and validity index were calculated with 95% confidence intervals. The post-mortem evaluation was used as the gold standard.Â We analyzed 180 bovines. The sensitivity and specificity of the modified Dennis technique were 73.2% (95% CI=58.4% - 87.9%) and 84.2% (95% CI= 77.7% - 90.6%), respectively. The positive predictive value was 57.7% (95% CI= 43.3% - 72.1%) and the negative one 91.4% (95% CI= 86.2% - 96.6%). The prevalence of bovine fascioliasis was 22.8% (95% CI= 16.4% - 29.2%).Â The validity and the performance of the modified Dennis technique were higher than those of the traditional one, which makes it a good screening test for diagnosing fascioliasis for population and prevalence studies and during animal health campaigns. Polish Adult Reading Test (PART) - construction of Polish test for estimating the level of premorbid intelligence in schizophrenia. PubMed KarakuÅa-Juchnowicz, Hanna; Stecka, Mariola 2017-08-29 In view of unavailability in Poland of the standardized methods to measure PIQ, the aim of the work was to develop a Polish test to assess the premorbid level of intelligence - PART(Polish AdultReading Test) and to measureits psychometric properties, such as validity, reliability as well as standardization in the group of schizophrenia patients. The principles of PART construction were based on the idea of popular worldwide National Adult Reading Test by Hazel Nelson. The research comprised a group of 122 subjects (65 schizophrenia patients and 57 healthy people), aged 18-60 years, matched for age and gender. PART appears to be a method with high internal consistency and reliability measured by test-retest, inter-rater reliability, and the method with acceptable diagnostic and prognostic validity. The standardized procedures of PART have been investigated and described. Considering the psychometric values of PART and a short time of its performance, the test may be a useful diagnostic instrument in the assessment of premorbid level of intelligence in a group of schizophrenic patients. Using spatial metrics to predict scenic perception in a changing landscape: Dennis, Massachusetts Treesearch James F. Palmer 2004-01-01 This paper investigates residents' perceptions of scenic quality in the Cape Cod community of Dennis, Massachusetts during a period of significant landscape change. In the mid-1970s, Chandler [Natural and Visual Resources, Dennis, Massachusetts. Dennis Conservation Commission and Planning Board, Dennis, MA, 1976] worked with a community group to evaluate the... Integrating Reading, Writing, and Thinking. ERIC Educational Resources Information Center Anderson, Philip M., Ed. 1983-01-01 The eight articles in this focused journal issue are concerned with integrating reading, writing, and thinking, with varying attention to other language processes such as listening and speaking. The titles and authors of the articles are (1) "Does What You Read Influence How You Write?" by Dennis Adams; (2) "Dictation: Buildingâ¦ The Effect of Critical Reading Strategies on EFL Learners' Recall and Retention of Collocations ERIC Educational Resources Information Center NematTabrizi, Amir Reza; Saber, Mehrnoush Akhavan 2016-01-01 The study was an attempt to measure the effect of critical reading strategies, namely; re-reading, questioning and annotating on recall and retention of collocations by intermediate Iranian EFL learners. To this end, Nelson proficiency test was administered to ninety (n = 90) Iranian EFL learners studying at Zaban Sara language institute inâ¦ GRAHAM NELSON AND ANDREW HANKS WITH BREADBOARD ENGINE PROJECT CO NASA Image and Video Library 2016-09-14 Graham Nelson, right, and Andrew Hanks examine a combustion chamber developed by engineers at NASA's Marshall Space Flight Center in Huntsville, Alabama, for an additively manufactured demonstration breadboard engine project. Nelson is project manager and Hanks is test lead for the project, in which engineers are designing components from scratch to be made entirely by 3-D printing. Nelson Syndrome: Update on Therapeutic Approaches. PubMed Azad, Tej D; Veeravagu, Anand; Kumar, Sunny; Katznelson, Laurence 2015-06-01 To review the pathophysiology and therapeutic modalities availble for Nelson syndrome. We reviewed the current literature including managment for Nelson syndrome. For patients with NS, surgical intervention is often the first-line therapy. With refractory NS or tumors with extrasellar involvement, radiosurgery offers an important alternative or adjuvant option. Pharmacologic interventions have demonstrated limited usefulness, although recent evidence supports the feasibility of a novel somatostatin analog for patients with NS. Modern neuroimaging, improved surgical techniques, and the advent of stereotactic radiotherapy have transformed the management of NS. An up-to-date understanding of the pathophysiology underlying Nelson Syndrome and evidence-based management is imperative. Early detection may allow for more successful therapy in patients with Nelson Syndrome. Improved radiotherapeutic interventions and rapidly evolving pharmacologic therapies offer an opportunity to create targeted, multifocal treatment regiments for patients with Nelson Syndrome. Copyright Â© 2015 Elsevier Inc. All rights reserved. Denny's: Communicating Amidst a Discrimination Case. ERIC Educational Resources Information Center Chin, Teresa; Naidu, Sharmila; Ringel, Jonathan; Snipes, Wayne; DeSilva, Jean; Bienvenu, Sherron Kenton 1998-01-01 Presents a case study for use in business communication classes to help students understand and learn both the context and the strategies for communication with business and management. Looks at communication strategies employed by Denny's during its crisis caused by charges of racial discrimination. Includes actual communications instrumental inâ¦ The Tao of Nelson DTIC Science & Technology 1998-01-01 ARCHIVE COPY . NATIONAL DEFENSE UNIVERSITY NATIONAL WAR COLLEGE The Tao of Nelson Tao rnvarzably takes no actron, and yet there IS nothing left...1998 to 00-00-1998 4. TITLE AND SUBTITLE The Tao of Nelson 5a. CONTRACT NUMBER 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d...MONITORâS ACRONYM(S) 11. SPONSOR/MONITORâS REPORT NUMBER(S) 12 . DISTRIBUTION/AVAILABILITY STATEMENT Approved for public release; distribution Adaptation of the Nelson-Somogyi reducing-sugar assay to a microassay using microtiter plates. PubMed Green, F; Clausen, C A; Highley, T L 1989-11-01 The Nelson-Somogyi assay for reducing sugars was adapted to microtiter plates. The primary advantages of this modified assay are (i) smaller sample and reagent volumes, (ii) elimination of boiling and filtration steps, (iii) automated measurement with a dual-wavelength scanning TLC densitometer, (iv) increased range and reproducibility, and (v) automated colorimetric readings by reflectance rather than absorbance. The National Adult Reading Test: restandardisation against the Wechsler Adult Intelligence Scale-Fourth edition. PubMed Bright, Peter; Hale, Emily; Gooch, Vikki Jayne; Myhill, Thomas; van der Linde, Ian 2018-09-01 Since publication in 1982, the 50-item National Adult Reading Test (NART; Nelson, 1982; NART-R; Nelson & Willison, 1991) has remained a widely adopted method for estimating premorbid intelligence both for clinical and research purposes. However, the NART has not been standardised against the most recent revisions of the Wechsler Adult Intelligence Scale (WAIS-III; Wechsler, 1997, and WAIS-IV; Wechsler, 2008). Our objective, therefore, was to produce reliable standardised estimates of WAIS-IV IQ from the NART. Ninety-two neurologically healthy British adults were assessed and regression equations calculated to produce population estimates of WAIS-IV full-scale IQ (FSIQ) and constituent index scores. Results showed strong NART/WAIS-IV FSIQ correlations with more moderate correlations observed between NART error and constituent index scores. FSIQ estimates were closely similar to the published WAIS and WAIS-R estimates at the high end of the distribution, but at the lower end were approximately equidistant from the highly discrepant WAIS (low) and WAIS-R (high) values. We conclude that the NART is likely to remain an important tool for estimating the impact of neurological damage on general cognitive ability. We advise caution in the use of older published WAIS and/or WAIS-R estimates for estimating premorbid WAIS-IV FSIQ, particularly for those with low NART scores. Nelson syndrome: historical perspectives and current concepts. PubMed Hornyak, Mark; Weiss, Martin H; Nelson, Don H; Couldwell, William T 2007-01-01 The appearance of an adrenocorticotropic hormone (ACTH)-producing tumor after bilateral adrenalectomy for Cushing disease was first described by Nelson in 1958. The syndrome that now bears his name was characterized by hyperpigmentation, a sellar mass, and increased plasma ACTH levels. The treatment of Cushing disease has changed drastically since the 1950s, when the choice was adrenalectomy. Thus, the occurrence, diagnosis, and treatment of Nelson syndrome have changed as well. In the modern era of high-resolution neuroimaging, transsphenoidal microneurosurgery, and stereotactic radiosurgery, Nelson syndrome has become a rare entity. The authors describe the history of the diagnosis and treatment of Nelson syndrome. In light of the changes described, the authors believe this disease must be reevaluated in the contemporary era and a modern paradigm adopted. NASA Dryden technicians (Dave Dennis, Freddy Green and Jeff Doughty) position a support cylinder und NASA Technical Reports Server (NTRS) 2002-01-01 NASA Dryden technicians (Dave Dennis, Freddy Green and Jeff Doughty) position a support cylinder under the right wing of the Active Aeroelastic Wing F/A-18 test aircraft prior to ground vibration tests. The cylinder contains an 'air bag' that allows vibrations induced by an electro-mechanical shaker device to propagate through the airframe as they would if the aircraft were flying. Situated Literacies: Reading and Writing in Context. Literacies Series. ERIC Educational Resources Information Center Barton, David, Ed.; Hamilton, Mary, Ed.; Ivanic, Roz, Ed. This book contains 13 papers on situated literacies and reading and writing in context. The following papers are included: "Foreword" (Denny Taylor); "Introduction: Exploring Situated Literacies"; "Literacy Practices" (David Barton, Mary Hamilton); "Expanding the New Literacy Studies: Using Photographs To Exploreâ¦ Nelson: management is a team effort. PubMed Nelson, S I 2001-11-01 Sally I. Nelson, CPA, is executive vice president, chief financial officer, and chief information officer for Texas Children's Hospital in Houston, the largest freestanding pediatric hospital in the United States. It is a part of Texas Children's Hospital and Integrated Delivery System (TCH IDS). Before joining the organization in 1986, Nelson served as a senior manager in the computer services consulting practice of KPMG Peat Marwick-Houston. Nelson recently was named a finalist in CFO magazine's national 2001 CFO Excellence Awards, the first CFO of a not-for-profit organization to be named a finalist since not-for-profits became eligible for the awards. She was cited for her accomplishments in managing expectations and relationships with the community and its leaders, government officials, Baylor College of Medicine, physicians, patients' families, hospital personnel, trustees of the hospital, and investors. Red Cloud Reading Test: American Indian Form of the Test of Individual Needs in Reading, a Competency Based Test of Reading Skills [and] Instructor's Manual. ERIC Educational Resources Information Center Gilliland, Hap The oral Red Cloud Reading Test provides a complete analysis of reading level and skills for American Indian students in grades 1-7 or for high school and adult students reading at or below high school levels. The test determines the basic and recreational reading levels, identifies reading problems, determines reading speeds, and analyzes theâ¦ 78 FR 75205 - Death of Nelson Mandela Federal Register 2010, 2011, 2012, 2013, 2014 2013-12-10 ... of Nelson Mandela By the President of the United States of America Proclamation Today, the United... of nations or our own personal lives. While we mourn his loss, we will forever honor Nelson Mandela's... Constitution and laws of the United States of America, I hereby order that the flag of the United States shall... Naval Health Research Center/NPRU Command Bibliography 1962 to 1985 DTIC Science & Technology 1986-09-01 Sokoloff, R~ger L. 78 Nelson, Dennis P i5 Spaulding, Raymond C. 78 Nelson, Paul D. 63 Spinweber, Cheryl L. 19 Neuman, Thomas S. 64 Spreng, Lawrence...WC McCallum & JR Knott (uds), Thu Reuponsive Brain. Proceedings, Third International Congress on Event-Related Slow Potean1i-oFh-’Erarn. Bristol: John Meet EPA's Dan Nelson EPA Pesticide Factsheets EPAâs Dan Nelson is the Director of the Human Research Protocol Office at the National Health and Environmental Effect Research Laboratory, Dan works to protect the rights and welfare of EPAâs research participants. 287. Dennis Hill, Photographer July 1998 DETAIL VIEW OF UPPER ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 287. Dennis Hill, Photographer July 1998 DETAIL VIEW OF UPPER CHORD OF THROUGH TRUSS AT PANEL POINT, FACING NORTHWEST. - San Francisco Oakland Bay Bridge, Spanning San Francisco Bay, San Francisco, San Francisco County, CA 322. Dennis Hill, Photographer May 1998 VIEW OF GIRDER SPANS, ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 322. Dennis Hill, Photographer May 1998 VIEW OF GIRDER SPANS, OAKLAND APPROACH AT TRANSITION TO DOUBLE-DECK ROADWAY, FACING WEST. - San Francisco Oakland Bay Bridge, Spanning San Francisco Bay, San Francisco, San Francisco County, CA Detection of lung cancer through low-dose CT screening (NELSON): a prespecified analysis of screening test performance and interval cancers. PubMed Horeweg, Nanda; Scholten, Ernst Th; de Jong, Pim A; van der Aalst, Carlijn M; Weenink, Carla; Lammers, Jan-Willem J; Nackaerts, Kristiaan; Vliegenthart, Rozemarijn; ten Haaf, Kevin; Yousaf-Khan, Uraujh A; Heuvelmans, Marjolein A; Thunnissen, Erik; Oudkerk, Matthijs; Mali, Willem; de Koning, Harry J 2014-11-01 Low-dose CT screening is recommended for individuals at high risk of developing lung cancer. However, CT screening does not detect all lung cancers: some might be missed at screening, and others can develop in the interval between screens. The NELSON trial is a randomised trial to assess the effect of screening with increasing screening intervals on lung cancer mortality. In this prespecified analysis, we aimed to assess screening test performance, and the epidemiological, radiological, and clinical characteristics of interval cancers in NELSON trial participants assigned to the screening group. Eligible participants in the NELSON trial were those aged 50-75 years, who had smoked 15 or more cigarettes per day for more than 25 years or ten or more cigarettes for more than 30 years, and were still smoking or had quit less than 10 years ago. We included all participants assigned to the screening group who had attended at least one round of screening. Screening test results were based on volumetry using a two-step approach. Initially, screening test results were classified as negative, indeterminate, or positive based on nodule presence and volume. Subsequently, participants with an initial indeterminate result underwent follow-up screening to classify their final screening test result as negative or positive, based on nodule volume doubling time. We obtained information about all lung cancer diagnoses made during the first three rounds of screening, plus an additional 2 years of follow-up from the national cancer registry. We determined epidemiological, radiological, participant, and tumour characteristics by reassessing medical files, screening CTs, and clinical CTs. The NELSON trial is registered at www.trialregister.nl, number ISRCTN63545820. 15,822 participants were enrolled in the NELSON trial, of whom 7915 were assigned to low-dose CT screening with increasing interval between screens, and 7907 to no screening. We included 7155 participants in our study, with Denni Algorithm An Enhanced Of SMS (Scan, Move and Sort) Algorithm NASA Astrophysics Data System (ADS) Aprilsyah Lubis, Denni; Salim Sitompul, Opim; Marwan; Tulus; Andri Budiman, M. 2017-12-01 Sorting has been a profound area for the algorithmic researchers, and many resources are invested to suggest a more working sorting algorithm. For this purpose many existing sorting algorithms were observed in terms of the efficiency of the algorithmic complexity. Efficient sorting is important to optimize the use of other algorithms that require sorted lists to work correctly. Sorting has been considered as a fundamental problem in the study of algorithms that due to many reasons namely, the necessary to sort information is inherent in many applications, algorithms often use sorting as a key subroutine, in algorithm design there are many essential techniques represented in the body of sorting algorithms, and many engineering issues come to the fore when implementing sorting algorithms., Many algorithms are very well known for sorting the unordered lists, and one of the well-known algorithms that make the process of sorting to be more economical and efficient is SMS (Scan, Move and Sort) algorithm, an enhancement of Quicksort invented Rami Mansi in 2010. This paper presents a new sorting algorithm called Denni-algorithm. The Denni algorithm is considered as an enhancement on the SMS algorithm in average, and worst cases. The Denni algorithm is compared with the SMS algorithm and the results were promising. High Stakes Testing and Reading Assessment. National Reading Conference Policy Brief ERIC Educational Resources Information Center Afflerbach, Peter 2005-01-01 This National Reading Conference Policy Brief provides information related to high stakes reading tests and reading assessment. High stakes reading tests are those with highly consequential outcomes for students, teachers, and schools. These outcomes may include student promotion or retention, student placement in reading groups, school fundingâ¦ p-hacking by post hoc selection with multiple opportunities: Detectability by skewness test?: Comment on Simonsohn, Nelson, and Simmons (2014). PubMed Ulrich, Rolf; Miller, Jeff 2015-12-01 Simonsohn, Nelson, and Simmons (2014) have suggested a novel test to detect p-hacking in research, that is, when researchers report excessive rates of "significant effects" that are truly false positives. Although this test is very useful for identifying true effects in some cases, it fails to identify false positives in several situations when researchers conduct multiple statistical tests (e.g., reporting the most significant result). In these cases, p-curves are right-skewed, thereby mimicking the existence of real effects even if no effect is actually present. (c) 2015 APA, all rights reserved). 133. Dennis Hill, Photographer January 1998 VIEW OF TRANSBAY TERMINAL ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 133. Dennis Hill, Photographer January 1998 VIEW OF TRANSBAY TERMINAL BUS LOOP FROM HOWARD STREET BETWEEN FIRST AND SECOND STREETS, FACING EAST. - San Francisco Oakland Bay Bridge, Spanning San Francisco Bay, San Francisco, San Francisco County, CA 258. Dennis Hill, Photographer April 1998 VIEW OF CANTILEVER TRUSS ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 258. Dennis Hill, Photographer April 1998 VIEW OF CANTILEVER TRUSS ANCHOR ARM AT PIERS E- AND E-2, SOUTH SIDE, FACING NORTH. - San Francisco Oakland Bay Bridge, Spanning San Francisco Bay, San Francisco, San Francisco County, CA 215. Dennis Hill, Photographer May 1998 DETAIL VIEW OF STRAND ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 215. Dennis Hill, Photographer May 1998 DETAIL VIEW OF STRAND SHOES AND STORM CABLE EYE BARS IN YERBA BUENA ANCHORAGE, FACING EAST. - San Francisco Oakland Bay Bridge, Spanning San Francisco Bay, San Francisco, San Francisco County, CA Measuring adult literacy students' reading skills using the Gray Oral Reading Test. PubMed Greenberg, Daphne; Pae, Hye Kyeong; Morris, Robin D; Calhoon, Mary Beth; Nanda, Alice O 2009-12-01 There are not enough reading tests standardized on adults who have very low literacy skills, and therefore tests standardized on children are frequently administered. This study addressed the complexities and problems of using a test normed on children to measure the reading comprehension skills of 193 adults who read at approximately third through fifth grade reading grade equivalency levels. Findings are reported from an analysis of the administration of Form A of the Gray Oral Reading Tests-Fourth Edition (Wiederholt & Bryant, 2001a, b). Results indicated that educators and researchers should be very cautious when interpreting test results of adults who have difficulty reading when children's norm-referenced tests are administered. A Schema-Based Reading Test. ERIC Educational Resources Information Center Lewin, Beverly A. Schemata based notions need not replace, but should be reflected in, product-centered reading tests. The contributions of schema theory to the psycholinguistic model of reading has been thoroughly reviewed. Schemata-based reading tests provide several advantages: (1) they engage the appropriate conceptual processes for the student which frees theâ¦ What Do Diagnostic Reading Tests Really Diagnose? ERIC Educational Resources Information Center Winkley, Carol K. A study was made of nine reading tests, including both group and individually-administered measures, which are claimed to be chiefly diagnostic. Instruments analyzed were the following: Silent Reading Diagnostic Tests (Bond, Balow, and Hoyt), Botel Reading Inventory, Durrell Analysis of Reading Difficulty, Gates-McKillop Reading Diagnostic Tests,â¦ On the domain of the Nelson Hamiltonian NASA Astrophysics Data System (ADS) Griesemer, M.; WÃ¼nsch, A. 2018-04-01 The Nelson Hamiltonian is unitarily equivalent to a Hamiltonian defined through a closed, semibounded quadratic form, the unitary transformation being explicitly known and due to Gross. In this paper, we study the mapping properties of the Gross-transform in order to characterize the regularity properties of vectors in the form domain of the Nelson Hamiltonian. Since the operator domain is a subset of the form domain, our results apply to vectors in the domain of the Hamiltonian as well. This work is a continuation of our previous work on the FrÃ¶hlich Hamiltonian. Making Literacy Experiences Meaningful: An Interview with Denny Chopin-Napper. ERIC Educational Resources Information Center Milone, Michael 2003-01-01 Interviews Denny Chopin-Napper, a kindergarten and first-grade teacher of students with developmental disabilities. Notes that adaptation is a big part of her teaching approach, which varies instruction to suit students' individual needs. Discusses her classroom, how she teaches literacy skills, and the place of technology in her teaching. (PM) Marilyn Nelson: Poetic Justice ERIC Educational Resources Information Center Pierpont, Katherine 2006-01-01 This article features some of the books written by Marilyn Nelson. Here, the author discusses how she has written a children's book of poetry about lynching, entitled "A Wreath for Emmitt Till." The author discusses how her books for children honor and memorialize history-changing African Americans. Among other things, the author discusses some ofâ¦ An Analysis of Fourth and Sixth Grade Reader Performance Using Cloze Tests, Group Reading Inventories, an Informal Reading Inventory, and a Standardized Reading Test. ERIC Educational Resources Information Center Davidson, Emma Sue A study was conducted to explore the issue of testing to determine reading levels of students. A group of 624 fourth and sixth grade students from 13 schools participated in the study, which compared results from an informal reading inventory (IRI), a standardized achievement test, a group reading inventory (GRI), and a cloze test. Pupilâ¦ Mobile app reading speed test. PubMed Kingsnorth, Alec; Wolffsohn, James S 2015-04-01 To validate the accuracy and repeatability of a mobile app reading speed test compared with the traditional paper version. Twenty-one subjects wearing their full refractive correction glasses read 14 sentences of decreasing print size between 1.0 and -0.1 logMAR, each consisting of 14 words (Radner reading speed test) at 40â cm with a paper-based chart and twice on iPad charts. Time duration was recorded with a stop watch for the paper chart and on the App itself for the mobile chart allowing critical print size (CPS) and optimal reading speed (ORS) to be derived objectively. The ORS was higher for the mobile app charts (194Â±29â wpm; 195Â±25â wpm) compared with the paper chart (166Â±20â wpm; F=57.000, p<0.001). The CPS was lower for the mobile app charts (0.17Â±0.20 logMAR; 0.18Â±0.17 logMAR) compared with the paper chart (0.25Â±0.17 logMAR; F=5.406, p=0.009). The mobile app test had a mean difference repeatability of 0.30Â±22.5 wpm, r=0.917 for ORS, and a CPS of 0.0Â±0.2 logMAR, r=0.769. Repeatability of the app reading speed test is as good (ORS) or better (CPS) than previous studies on the paper test. While the results are not interchangeable with paper-based charts, mobile app tablet-based tests of reading speed are reliable and rapid to perform, with the potential to capture functional visual ability in research studies and clinical practice. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://group.bmj.com/group/rights-licensing/permissions. Measurement properties of continuous text reading performance tests. PubMed Brussee, Tamara; van Nispen, Ruth M A; van Rens, Ger H M B 2014-11-01 Measurement properties of tests to assess reading acuity or reading performance have not been extensively evaluated. This study aims to provide an overview of the literature on available continuous text reading tests and their measurement properties. A literature search was performed in PubMed, Embase and PsycInfo. Subsequently, information on design and content of reading tests, study design and measurement properties were extracted using consensus-based standards for selection of health measurement instruments. Quality of studies, reading tests and measurement properties were systematically assessed using pre-specified criteria. From 2334 identified articles, 20 relevant articles were found on measurement properties of three reading tests in various languages: IReST, MNread Reading Test and Radner Reading Charts. All three reading tests scored high on content validity. Reproducibility studies (repeated measurements between different testing sessions) of the IReST and MNread of commercially available reading tests in different languages were missing. The IReST scored best on inter-language comparison, the MNread scored well in repeatability studies (repeated measurements under the same conditions) and the Radner showed good reproducibility in studies. Although in daily practice there are other continuous text reading tests available meeting the criteria of this review, measurement properties were described in scientific studies for only three of them. Of the few available studies, the quality and content of study design and methodology used varied. For testing existing reading tests and the development of new ones, for example in other languages, we make several recommendations, including careful description of patient characteristics, use of objective and subjective lighting levels, good control of working distance, documentation of the number of raters and their training, careful documentation of scoring rules and the use of Bland-Altman analyses or similar for Navy/Thomas Nelson Community College MLT Training Pilot Evaluation DTIC Science & Technology 2002-06-01 4825 Mark Center Drive â¢ Alexandria, Virginia 22311-1850 CAB D0006007.A2/Final June 2002 Navy/Thomas Nelson Community College MLT Training Pilot...Navy/Thomas Nelson Community College MLT Training Pilot Evaluation 5a. CONTRACT NUMBER 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d...ES) 10. SPONSOR/MONITORâS ACRONYM(S) 11. SPONSOR/MONITORâS REPORT NUMBER(S) 12 . DISTRIBUTION/AVAILABILITY STATEMENT Approved for public release NASA ER-2 flys over Hurricane Dennis during TSCP mission. NASA Image and Video Library 2005-07-06 The NASA ER-2 airplane flew over hurricane Dennis as part of the Tropical Cloud Systems and Processes "TSCP" Mission. This 28-day field mission sponsored by NASA's Science Mission Directorate is studying the bursting conditions for tropical storms, hurricanes and related phenomena. The flight originated from TSCP's base-of-operations in San Juan Santa Maria airport in San Jose, Costa Rica. Photo Credit: "NASA/Bill Ingalls" ASK Talks with Dennis Grounds NASA Technical Reports Server (NTRS) 2003-01-01 Dennis Grounds recently finished a one-year assignment at NASA Headquarters in the Office of Bioastronautics as the Acting Flight Program Manager He has returned to Johnson Space Center (JSC), where he is Director of the International Space Station Bioastronautics Research Program Office with the NASA Life Sciences Projects Division. Under his management, the Human Research Facility (HRF) was developed to support a broad range of scientific investigations pertaining to human adaptation to the spaceflight environment and issues of human space exploration. The HRF rack was developed to international standards in order to be compatible with payloads developed anywhere in the world, thereby streamlining the process of getting payloads on the Space Station. Grounds has worked with NASA for more than 15 years. Prior to joining ISS, he worked with General Electric as a manager of payloads and analysis in support of the NASA Life Science Projects Division at JSC. ASK spoke with Grounds in Washington, D.C., during his Headquarters assignment. The Interaction between Cognitive Test-Taking Strategies, Reading Ability, and Reading Comprehension Test Performance of Iranian EFL Learners ERIC Educational Resources Information Center Ghafournia, Narjes; Afghari, Akbar 2013-01-01 The study scrutinized the probable interaction between using cognitive test-taking strategies, reading proficiency, and reading comprehension test performance of Iranian postgraduate students, who studied English as a foreign language. The study also probed the extent to which the participants' test performance was related to the use of certainâ¦ Test anxiety and a high-stakes standardized reading comprehension test: A behavioral genetics perspective. PubMed Wood, Sarah G; Hart, Sara A; Little, Callie W; Phillips, Beth M 2016-07-01 Past research suggests that reading comprehension test performance does not rely solely on targeted cognitive processes such as word reading, but also on other non-target aspects such as test anxiety. Using a genetically sensitive design, we sought to understand the genetic and environmental etiology of the association between test anxiety and reading comprehension as measured by a high-stakes test. Mirroring the behavioral literature of test anxiety, three different dimensions of test anxiety were examined in relation to reading comprehension, namely intrusive thoughts, autonomic reactions, and off-task behaviors. Participants included 426 sets of twins from the Florida Twin Project on Reading. The results indicated test anxiety was negatively associated with reading comprehension test performance, specifically through common shared environmental influences. The significant contribution of test anxiety to reading comprehension on a high-stakes test supports the notion that non-targeted factors may be interfering with accurately assessing students' reading abilities. Bias in the Wagner-Nelson estimate of the fraction of drug absorbed. PubMed Wang, Yibin; Nedelman, Jerry 2002-04-01 To examine and quantify bias in the Wagner-Nelson estimate of the fraction of drug absorbed resulting from the estimation error of the elimination rate constant (k), measurement error of the drug concentration, and the truncation error in the area under the curve. Bias in the Wagner-Nelson estimate was derived as a function of post-dosing time (t), k, ratio of absorption rate constant to k (r), and the coefficient of variation for estimates of k (CVk), or CV% for the observed concentration, by assuming a one-compartment model and using an independent estimate of k. The derived functions were used for evaluating the bias with r = 0.5, 3, or 6; k = 0.1 or 0.2; CV, = 0.2 or 0.4; and CV, =0.2 or 0.4; for t = 0 to 30 or 60. Estimation error of k resulted in an upward bias in the Wagner-Nelson estimate that could lead to the estimate of the fraction absorbed being greater than unity. The bias resulting from the estimation error of k inflates the fraction of absorption vs. time profiles mainly in the early post-dosing period. The magnitude of the bias in the Wagner-Nelson estimate resulting from estimation error of k was mainly determined by CV,. The bias in the Wagner-Nelson estimate resulting from to estimation error in k can be dramatically reduced by use of the mean of several independent estimates of k, as in studies for development of an in vivo-in vitro correlation. The truncation error in the area under the curve can introduce a negative bias in the Wagner-Nelson estimate. This can partially offset the bias resulting from estimation error of k in the early post-dosing period. Measurement error of concentration does not introduce bias in the Wagner-Nelson estimate. Estimation error of k results in an upward bias in the Wagner-Nelson estimate, mainly in the early drug absorption phase. The truncation error in AUC can result in a downward bias, which may partially offset the upward bias due to estimation error of k in the early absorption phase. Measurement error of STS-26 MS Nelson on fixed based (FB) shuttle mission simulator (SMS) middeck NASA Technical Reports Server (NTRS) 1988-01-01 STS-26 Discovery, Orbiter Vehicle (OV) 103, Mission Specialist (MS) George D. Nelson trains on the middeck of the fixed based (FB) shuttle mission simulator (SMS). Nelson, wearing communications assembly headset, adjusts camera mounting bracket. Reading: Tests and Assessment Techniques. Second Edition. United Kingdom Reading Association Teaching of Reading Monograph Series. ERIC Educational Resources Information Center Pumfrey, Peter D. The second edition of this British publication provides details of recent developments in the assessment of reading attainments and the analysis of reading processes. The book begins with a description of various types of reading tests and assessment techniques with consideration given to the purposes for which normative, criterion-referenced, andâ¦ Gamma knife radiosurgery for Cushing's disease and Nelson's syndrome. PubMed Marek, Josef; JeÅ¾kovÃ¡, Jana; HÃ¡na, VÃ¡clav; KrÅ¡ek, Michal; LiÅ¡ÄÃ¡k, Roman; Vladyka, Vilibald; Pecen, Ladislav 2015-06-01 This paper presents our 18 years of experience in treating ACTH secreting adenomas (Cushing's disease and Nelson's syndrome) using the Leksell gamma knife (LGK) irradiation. Twenty-six patients with Cushing's disease were followed-up after LGK irradiation for 48-216 months (median 78 months). Seventeen patients had undergone previous surgery, in nine patients LGK irradiation was the primary therapy. Furthermore, 14 patients with Nelson's syndrome were followed-up for 30-204 months (median 144 months). LGK treatment resulted in hormonal normalization in 80.7 % of patients with Cushing's disease. Time to normalization was 6-54 months (median 30 months). The volume of the adenoma decreased in 92.3% (in 30.7% disappeared completely). There was no recurrence of the disease. In all 14 patients with Nelson's syndrome ACTH levels decreased (in two patients fully normalized) their ACTH levels. When checked up 5-10 years after irradiation regrowth of the adenoma was only detected in one patient (9.1%), in 27.3% adenoma volume remained unchanged, in 45.4% adenoma volume decreased and in 18.2% adenoma completely disappeared. Hypopituitarism did not develop in any patient where the critical dose to the pituitary and distal infundibulum was respected. LGK radiation represents an effective and well-tolerated option for the treatment of patients with Cushing's disease after unsuccessful surgery and may be valuable even as a primary treatment in patients who are not suitable for, or refuse, surgery. In the case of Nelson's syndrome it is possible to impede tumorous growth and control the size of the adenoma in almost all patients. Observations of emperor geese feeding at Nelson Lagoon, Alaska USGS Publications Warehouse Petersen, Margaret R. 1983-01-01 Estuaries along the north side of the Alaska Peninsula provide essential habitat for most of the American population of Emperor Goose (Chen canagica) during migration (Petersen and Gill 1982). Most of the population passes through Nelson Lagoon in spring and fall, with over 40,000 birds recorded there (Gill et al 1981). Little is known about the feeding activity of Emperor Geese while they are in estuaries, and the importance of estuaries as staging areas during spring and fall migration is poorly understood. Here I report observations on the feeding activity of emperor Geese at one estuary (Nelson Lagoon). BASIC TEST OF READING COMPREHENSION. ERIC Educational Resources Information Center CLOWARD, ROBERT D.; COHEN, S. ALAN THE TEST WAS DESIGNED TO ASSESS SPEED OF READING COMPREHENSION. IT CONSISTED OF NUMBERED PASSAGES, ONE TO THREE SENTENCES IN LENGTH, ARRANGED IN PARAGRAPH FORM TO SIMULATE THE NORMAL READING EXERCISE. TOWARD THE END OF EACH PASSAGE, A WORD WAS INSERTED WHICH SPOILED THE MEANING OF THE PASSAGE. THE PUPILS WERE INSTRUCTED TO FIND THE WORD THATâ¦ Testing Reading Comprehension of Theoretical Discourse with Cloze. ERIC Educational Resources Information Center Greene, Benjamin B., Jr. 2001-01-01 Presents evidence from a large sample of reading test scores for the validity of cloze-based assessments of reading comprehension for the discourse typically encountered in introductory college economics textbooks. Notes that results provide strong evidence that appropriately designed cloze tests permit valid assessments of reading comprehensionâ¦ Are Learning Disabled Students "Test-Wise?": An Inquiry into Reading Comprehension Test Items. ERIC Educational Resources Information Center Scruggs, Thomas E.; Lifson, Steve The ability to correctly answer reading comprehension test items, without having read the accompanying reading passage, was compared for third grade learning disabled students and their peers from a regular classroom. In the first experiment, fourteen multiple choice items were selected from the Stanford Achievement Test. No reading passages wereâ¦ Migratory urge and gll Na+,K+-ATPase activity of hatchery-reared Atlantic salmon smolts from the Dennys and Penobscot River stocks, Maine USGS Publications Warehouse Spencer, Randall C.; Zydlewski, Joseph D.; Zydlewski, Gayle B. 2010-01-01 Hatchery-reared Atlantic salmonÂ Salmo salarÂ smolts produced from captive-reared Dennys River and sea-run Penobscot River broodstock are released into their source rivers in Maine. The adult return rate of Dennys smolts is comparatively low, and disparity in smolt quality between stocks resulting from genetic or broodstock rearing effects is plausible. Smolt behavior and physiology were assessed during sequential 14-d trials conducted in seminatural annular tanks with circular flow. âMigratory urgeâ (downstream movement) was monitored remotely using passive integrated transponder tags, and gill Na+,K+-ATPase activity was measured at the beginning and end of the trials to provide an index of smolt development. The migratory urge of both stocks was low in early April, increased 20-fold through late May, and declined by the end of June. The frequency and seasonal distribution of downstream movement were independent of stock. In March and April, initial gill Na+,K+-ATPase activities of Penobscot River smolts were lower than those of Dennys River smolts. For these trials, however, Penobscot River smolts increased enzyme activity after exposure to the tank, whereas Dennys River smolts did not, resulting in similar activities between stocks at the end of all trials. There was no clear relationship between migratory urge and gill Na+,K+-ATPase activity. Gill Na+,K+-ATPase activity of both stocks increased in advance of migratory urge and then declined while migratory urge was increasing. Maximum movement was observed from 2 h after sunset through 1 h after sunrise but varied seasonally. Dennys River smolts were slightly more nocturnal than Penobscot River smolts. These data suggest that Dennys and Penobscot River stocks are not markedly different in either physiological or behavioral expression of smolting. The Reading Span Test and Its Predictive Power for Reading Comprehension Ability ERIC Educational Resources Information Center Friedman, Naomi P.; Miyake, Akira 2004-01-01 This study had two major goals: to test the effect of administration method on the criterion validity of a commonly used working memory span test, the reading span task, and to examine the relationship between processing and storage in this task. With respect to the first goal, although experimenter- and participant-administered reading span tasksâ¦ A loading study of older highway bridges in Virginia. Pt. 3, Concrete tee-beam bridge in Nelson County. DOT National Transportation Integrated Search 1977-01-01 A 40-foot clear span, standard reinforced tee-beam bridge over the Tye River in Nelson County was tested with a 23-ton, tandem axle test vehicle in July 1976. The test span was one of four identical spans making a total bridge length of 170 feet. Str... Passage Independence within Standardized Reading Comprehension Tests ERIC Educational Resources Information Center Roy-Charland, Annie; Colangelo, Gabrielle; Foglia, Victoria; Reguigui, LeÃ¯la 2017-01-01 In tests used to measure reading comprehension, validity is important in obtaining accurate results. Unfortunately, studies have shown that people can correctly answer some questions of these tests without reading the related passage. These findings bring forth the need to address whether this phenomenon is observed in multiple-choice only testsâ¦ Mercury in Nelson's Sparrow Subspecies at Breeding Sites PubMed Central Winder, Virginia L.; Emslie, Steven D. 2012-01-01 Background Mercury is a persistent, biomagnifying contaminant that can cause negative effects on ecosystems. Marshes are often areas of relatively high mercury methylation and bioaccumulation. Nelson's Sparrows (Ammodramus nelsoni) use marsh habitats year-round and have been documented to exhibit tissue mercury concentrations that exceed negative effects thresholds. We sought to further characterize the potential risk of Nelson's Sparrows to mercury exposure by sampling individuals from sites within the range of each of its subspecies. Methodology/Principal Findings From 2009 to 2011, we captured adult Nelson's Sparrows at sites within the breeding range of each subspecies (A. n. nelsoni: Grand Forks and Upham, North Dakota; A. n. alterus: Moosonee, Ontario; and A. n. subvirgatus: Grand Manan Island, New Brunswick) and sampled breast feathers, the first primary feather (P1), and blood for total mercury analysis. Mean blood mercury in nelsoni individuals captured near Grand Forks ranged from 0.84Â±0.37 to 1.65Â±1.02 SD ppm among years, between 2.0 and 4.9 times as high as concentrations at the other sites (P<0.01). Breast feather mercury did not vary among sites within a given sampling year (site means ranged from 0.98Â±0.69 to 2.71Â±2.93 ppm). Mean P1 mercury in alterus (2.96Â±1.84 ppm fw) was significantly lower than in any other sampled population (5.25Â±2.24â6.77Â±3.51 ppm; Pâ¤0.03). Conclusions/Significance Our study further characterized mercury in Nelson's Sparrows near Grand Forks; we documented localized and potentially harmful mercury concentrations, indicating that this area may represent a biological mercury hotspot. This finding warrants further research to determine if wildlife populations of conservation or recreational interest in this area may be experiencing negative effects due to mercury exposure. We present preliminary conclusions about the risk of each sampled population to mercury exposure. PMID:22384194 Test differences in diagnosing reading comprehension deficits. PubMed Keenan, Janice M; Meenan, Chelsea E 2014-01-01 The authors examined the implications of test differences for defining and diagnosing comprehension deficits using reading comprehension tests. They had 995 children complete the Gray Oral Reading Test-3, the Qualitative Reading Inventory-3, the Woodcock-Johnson Passage Comprehension-3, and the Peabody Individual Achievement Test and compared which children were identified by each test as being in the lowest 10%. Although a child who performs so poorly might be expected to do poorly on all tests, the authors found that the average overlap between tests in diagnosing comprehension difficulties was only 43%. Consistency in diagnosis was greater for younger children, when comprehension deficits are the result of weaker decoding skills, than for older children. Inconsistencies between tests were just as evident when identifying the top performers. The different children identified as having a comprehension deficit by each test were compared on four profile variables-word decoding skill, IQ, ADHD symptoms, and working memory skill-to understand the nature of the different deficits assessed by each test. Theoretical and practical implications of these test differences in defining and diagnosing comprehension deficits are discussed. Test Differences in Diagnosing Reading Comprehension Deficits PubMed Central Keenan, Janice M.; Meenan, Chelsea E. 2012-01-01 We examined the implications of test differences for defining and diagnosing comprehension deficits using reading comprehension tests. We had 995 children complete the Gray Oral Reading Test-3, the Qualitative Reading Inventory-3, the Woodcock-Johnson Passage Comprehension-3, and the Peabody Individual Achievement Test, and compared which children were identified by each test as being in the lowest 10%. Although a child who performs so poorly might be expected to do poorly on all tests, we found that the average overlap between tests in diagnosing comprehension difficulties was only 43%. Consistency in diagnosis was greater for younger children, when comprehension deficits are due to weaker decoding skills, than for older children. Inconsistencies between tests were just as evident when identifying the top performers. The different children identified as having a comprehension deficit by each test were compared on four profile variables - word decoding skill, IQ, ADHD symptoms, and working memory skill â to understand the nature of the different deficits assessed by each test. Theoretical and practical implications of these test differences in defining and diagnosing comprehension deficits are discussed. PMID:22442251 Effects of a Read-Aloud Modification on a Standardized Reading Test ERIC Educational Resources Information Center Crawford, Lindy; Tindal, Gerald 2004-01-01 Researchers investigated the effects of a read-aloud modification on students' performance on a reading comprehension test. A total of 338 students in Grades 4 and 5 participated; 76 of these students (22%) received special education services, the majority of whom were labeled learning disabled. Students completed a standardized readingâ¦ Grantee Spotlight: Bill Nelson, M.D., Ph.D. Cancer.gov Dr. William (Bill) Nelson is playing an integral role in advancing our understanding of cancer health disparities and helping to foster the interests of young students from underrepresented backgrounds in cancer/cancer health disparities research. Dynamic Testing, Working Memory, and Reading Comprehension Growth in Children with Reading Disabilities ERIC Educational Resources Information Center Swanson, H. Lee 2011-01-01 This longitudinal study assessed (a) whether performance changes in working memory (WM) as a function of dynamic testing were related to growth in reading comprehension and (b) whether WM performance among subgroups of children with reading disabilities (RD; children with RD only, children with both reading and arithmetic deficits, and low verbalâ¦ 3 CFR 9067 - Proclamation 9067 of December 5, 2013. Death of Nelson Mandela Code of Federal Regulations, 2014 CFR 2014-01-01 ... 5, 2013 Proc. 9067 Death of Nelson MandelaBy the President of the United States of America A... Nelson Mandela's memory. He left behind a South Africa that is free and at peace with itselfâa close... Constitution and laws of the United States of America, I hereby order that the flag of the United States shall... Development and Evaluation of Job Reading Task Tests. ERIC Educational Resources Information Center Sticht, Thomas G.; Caylor, John S. The use of readability formulae to estimate the difficulty levels of vocational reading materials, the determination of relationships of reading skills to job proficiency, and the relationship of general reading ability to performance on specially constructed job reading task tests (JRTT) are discussed to define the literacy skill demands (i.e.,â¦ A Low Vision Reading Comprehension Test. ERIC Educational Resources Information Center Watson, G. R.; And Others 1996-01-01 Fifty adults (ages 28-86) with macular degeneration were given the Low Vision Reading Comprehension Assessment (LVRCA) to test its reliability and validity in evaluating the reading comprehension of those with vision impairments. The LVRCA was found to take only nine minutes to administer and was a valid and reliable tool. (CR) Philosophical Remarks on Nelson Mandela's Education Legacy ERIC Educational Resources Information Center Waghid, Yusef 2014-01-01 In this article, I reflect on Nelson Mandela's (Madiba, the clan name of Mandela) education legacy. I argue that Madiba's education legacy is constituted by three interrelated aspects: firstly, an education for non-violence guided by deliberation, compassion and reconciliation; secondly, education as responsibility towards the Other; and thirdly,â¦ The CPT Reading Comprehension Test: A Validity Study. ERIC Educational Resources Information Center Napoli, Anthony R.; Raymond, Lanette A.; Coffey, Cheryl A.; Bosco, Diane M. 1998-01-01 Describes a study done at Suffolk County Community College (New York) that assessed the validity of the College Board's Computerized Placement Test in Reading Comprehension (CPT-R) by comparing test results of 1,154 freshmen with the results of the Degree of Power Reading Test. Results confirmed the CPT-R's reliability in identifying basicâ¦ Progressive Achievement Tests in Reading: Comprehension & Vocabulary. Teacher's Handbook. Second Edition. ERIC Educational Resources Information Center Australian Council for Educational Research, Hawthorn. The teacher handbook for Progressive Achievement Tests (PATs) in Reading presents an overall description of these survey tests in reading comprehension and vocabulary knowledge for school years 3 to 9. There are two alternative forms of each test: (1) the Reading Comprehension tests are designed to measure two major aspects of reading skillsâ¦ The Impact of Online Reading Tasks and Reading Strategies on EFL Learners' Reading Test Scores ERIC Educational Resources Information Center Altay, Ismail Firat; Altay, Ayse 2017-01-01 Integration of technology in foreign language classes has long been a matter of interest for researchers. Yet, studies have often yielded indecisive and conflicting results. Besides, there have been few, if any, studies exploring the relationship between learners' use of metacognitive reading strategies and their performance in reading tests. Theâ¦ Simulation of the Quantity, Variability, and Timing of Streamflow in the Dennys River Basin, Maine, by Use of a Precipitation-Runoff Watershed Model USGS Publications Warehouse Dudley, Robert W. 2008-01-01 The U.S. Geological Survey (USGS), in cooperation with the Maine Department of Marine Resources Bureau of Sea Run Fisheries and Habitat, began a study in 2004 to characterize the quantity, variability, and timing of streamflow in the Dennys River. The study included a synoptic summary of historical streamflow data at a long-term streamflow gage, collecting data from an additional four short-term streamflow gages, and the development and evaluation of a distributed-parameter watershed model for the Dennys River Basin. The watershed model used in this investigation was the USGS Precipitation-Runoff Modeling System (PRMS). The Geographic Information System (GIS) Weasel was used to delineate the Dennys River Basin and subbasins and derive parameters for their physical geographic features. Calibration of the models used in this investigation involved a four-step procedure in which model output was evaluated against four calibration data sets using computed objective functions for solar radiation, potential evapotranspiration, annual and seasonal water budgets, and daily streamflows. The calibration procedure involved thousands of model runs and was carried out using the USGS software application Luca (Let us calibrate). Luca uses the Shuffled Complex Evolution (SCE) global search algorithm to calibrate the model parameters. The SCE method reliably produces satisfactory solutions for large, complex optimization problems. The primary calibration effort went into the Dennys main stem watershed model. Calibrated parameter values obtained for the Dennys main stem model were transferred to the Cathance Stream model, and a similar four-step SCE calibration procedure was performed; this effort was undertaken to determine the potential to transfer modeling information to a nearby basin in the same region. The calibrated Dennys main stem watershed model performed with Nash-Sutcliffe efficiency (NSE) statistic values for the calibration period and evaluation period of 0.79 and 0 On Why Wayne Dennis Found Hopi Infants Retarded in Age at Onset of Walking. ERIC Educational Resources Information Center Harriman, Arthur E.; Lukosius, Patricia A. 1982-01-01 In 1940 Dennis found Hopi infants slower in onset of walking, whether or not the cradleboard was used. Present differences in genetic background, health, and nutrition were compared showing that an inadequate diet may have accounted for former walking delays. The present onset of walking may reflect external food program improvements in nutrition.â¦ A Closer Look at Chinese EFL Learners' Test-Wiseness Strategies in Reading Test ERIC Educational Resources Information Center Haiyan, Miao; Rilong, Liu 2016-01-01 This paper reports on an investigation into the relationship of test-takers' use of test-wiseness strategies to Chinese EFL learners' reading test performance. A test-wiseness questionnaire was administered immediately after the final achievement test to probe into how learners thought while completing the reading section of the test. It was foundâ¦ Measuring College Students' Reading Comprehension Ability Using Cloze Tests ERIC Educational Resources Information Center Williams, Rihana Shiri; Ari, Omer; Santamaria, Carmen Nicole 2011-01-01 Recent investigations challenge the construct validity of sustained silent reading tests. Performance of two groups of post-secondary students (e.g. struggling and non-struggling) on a sustained silent reading test and two types of cloze test (i.e. maze and open-ended) was compared in order to identify the test format that contributes greaterâ¦ Chinese College Test Takers' Individual Differences and Reading Test Performance: A Structural Equation Modeling Approach. PubMed Zhang, Limei 2016-06-01 This study reports on the relationships between test takers' individual differences and their performance on a reading comprehension test. A total of 518 Chinese college students (252 women and 256 men; M ageâ=â19.26 year, SDâ=â0.98) answered a questionnaire and sit for a reading comprehension test. The study found that test takers' L2 language proficiency was closely linked to their test performance. Test takers' employment of strategies was significantly and positively associated with their performance on the test. Test takers' motivation was found to be significantly associated with reading test performance. Test anxiety was negatively related to their use of reading strategies and test performance. The results of the study lent support to the threshold hypothesis of language proficiency. The implications for classroom teaching were provided. Â© The Author(s) 2016. Characterization of mercury and its risk in Nelson's, Saltmarsh, and Seaside Sparrows. PubMed Winder, Virginia L 2012-01-01 Nelson's, Saltmarsh, and Seaside Sparrows (Ammodramus nelsoni, A. caudacutus, and A. maritimus, respectively) depend on marsh and wetland habitats--ecosystems in which mercury (Hg) bioavailability is notoriously high. The purpose of the present study was to address the potential impact of Hg on these species using first primary and breast feathers as non-destructive biomonitoring tools. Feathers were sampled from wintering sparrows in North Carolina salt marshes (2006-2010). Feather Hg data were used in three risk analysis components (1) Threshold Component--examined feather Hg with regard to published negative effects thresholds; (2) Hg Dynamics Component--examined Hg in sparrows captured multiple times; and (3) Capture Frequency and Survival Component--tested for links between Hg and return frequency and survival. Threshold Component analyses indicated that Hg concentrations in 42-77% of sampled individuals (breast feather n = 879; first primary feather n = 663) were within the range associated with decreased reproduction in other avian species. Hg Dynamics Component analyses demonstrated that Hg increased between first and second captures for Nelson's (n = 9) and Seaside Sparrows (n = 23). Capture Frequency and Survival Component analyses detected a negative relationship between Hg and capture frequency in Nelson's Sparrows (n = 315). However, MARK models detected no effect of Hg on apparent survival in any species. This study indicates that current Hg exposure places a considerable proportion of each population at risk. In particular, 52% of all sampled Saltmarsh Sparrows exhibited first primary feather Hg concentrations exceeding those associated with a >60% reduction in reproductive success in other species. This study reports evidence for net annual bioaccumulation, indicating an increased risk in older individuals. These data can be used to inform future population assessments and management for these species. Toward Educational Testing Reform: Inside Reading Achievement Tests ERIC Educational Resources Information Center Schutz, Dick 2013-01-01 The commentary (1) uses the U. S. National Assessment of Educational Progress (NAEP) as a prototype for examining standardized reading achievement tests at the item level, and (2) sketches an alternative based on an initiative underway in the United Kingdom. 78 FR 66353 - EAM Nelson Holdings, LLC; Supplemental Notice That Initial Market-Based Rate Filing Includes... Federal Register 2010, 2011, 2012, 2013, 2014 2013-11-05 ... DEPARTMENT OF ENERGY Federal Energy Regulatory Commission [Docket No. ER13-2349-000] EAM Nelson Holdings, LLC; Supplemental Notice That Initial Market-Based Rate Filing Includes Request for Blanket Section 204 Authorization This is a supplemental notice in the above-referenced proceeding, of EAM Nelson... Feeding the pipeline: academic skills training for predental students. PubMed Markel, Geraldine; Woolfolk, Marilyn; Inglehart, Marita Rohr 2008-06-01 This article reports the outcomes of an evaluation conducted to determine if an academic skills training program for undergraduate predental students from underrepresented minority backgrounds increased the students' standardized academic skills test scores for vocabulary, reading comprehension, reading rates, spelling, and math as well as subject-specific test results in biology, chemistry, and physics. Data from standardized academic skill tests and subject-specific tests were collected at the beginning and end of the 1998 to 2006 Pipeline Programs, six-week summer enrichment programs for undergraduate predental students from disadvantaged backgrounds. In total, 179 students (75.4 percent African American, 7.3 percent Hispanic, 5.6 percent Asian American, 5 percent white) attended the programs during these nine summers. Scores on the Nelson-Denny Reading Test showed that the students improved their vocabulary scores (percentile ranks before/after: 46.80 percent/59.56 percent; p<.001), reading comprehension scores (47.21 percent/62.67 percent; p<.001), and reading rates (34.01 percent/78.31 percent; p<.001) from the beginning to the end of the summer programs. Results on the Wide Range Achievement Test III showed increases in spelling (73.58 percent/86.22 percent; p<.001) and math scores (56.98 percent/81.28 percent; p<.001). The students also improved their subject-specific scores in biology (39.07 percent/63.42 percent; p<.001), chemistry (20.54 percent/51.01 percent; p<.001), and physics (35.12 percent/61.14 percent; p<.001). To increase the number of underrepresented minority students in the dental school admissions pool, efforts are needed to prepare students from disadvantaged backgrounds for this process. These data demonstrate that a six-week enrichment program significantly improved the academic skills and basic science knowledge scores of undergraduate predental students. These improvements have the potential to enhance the performance of these students Social Class, Families and the Politics of Educational Advantage: The Work of Dennis Marsden ERIC Educational Resources Information Center Ball, Stephen J. 2011-01-01 This article presents a review of Dennis Marsden's work. Looking at his oeuvre overall it is the family and intimate social relations and social class that are at the centre of his interests and analytical focus. Part of the power and effectiveness of his work was an ability to see families and their everyday lives in relation to social policy andâ¦ Individualizing the Teaching of Reading through Test Management Systems. ERIC Educational Resources Information Center Fry, Edward Test management systems are suggested for individualizing the teaching of reading in the elementary classroom. Test management systems start with a list of objectives or specific goals which cover all or some major areas of the learning to read process. They then develop a large number of criterion referenced tests which match the skill areas atâ¦ Science or Reading: What Is Being Measured by Standardized Tests? ERIC Educational Resources Information Center Visone, Jeremy D. 2010-01-01 This study examined reading issues associated with a standardized science test. Grade 11 students in Connecticut were shown released science test items and asked about the reading issues associated with the items. Findings suggested that students varied in their understanding of the nature of the items and in their ability to read for detail. Theâ¦ Test Anxiety and a High-Stakes Standardized Reading Comprehension Test: A Behavioral Genetics Perspective ERIC Educational Resources Information Center Wood, Sarah G.; Hart, Sara A.; Little, Callie W.; Phillips, Beth M. 2016-01-01 Past research suggests that reading comprehension test performance does not rely solely on targeted cognitive processes such as word reading, but also on other nontarget aspects such as test anxiety. Using a genetically sensitive design, we sought to understand the genetic and environmental etiology of the association between test anxiety andâ¦ One Reading Specialist's Response to High-Stakes Testing Pressures ERIC Educational Resources Information Center Assaf, Lori 2006-01-01 Pressures to help students pass high-stakes tests affect teachers' reading instruction, their responsiveness to students' learning needs, and their professional effectiveness. This article reports on how one reading specialist responded to testing pressures in her urban elementary school. She believed that what was "right" for herâ¦ Test set readings predict clinical performance to a limited extent: preliminary findings NASA Astrophysics Data System (ADS) Soh, BaoLin P.; Lee, Warwick M.; Kench, Peter L.; Reed, Warren M.; McEntee, Mark F.; Brennan, Patrick C. 2013-03-01 Aim: To investigate the level of agreement between test sets and actual clinical reading Background: The performance of screen readers in detecting breast cancer is being assessed in some countries by using mammographic test sets. However, previous studies have provided little evidence that performance assessed by test sets strongly correlate to performance in clinical reading. Methods: Five clinicians from BreastScreen New South Wales participated in this study. Each clinician was asked to read 200 de-identified mammographic examinations gathered from their own case history within the BreastScreen NSW Digital Imaging Library. All test sets were designed with specific proportions of true positive, true negative, false positive and false negative examinations from the previous actual clinical reads of each reader. A prior mammogram examination for comparison (when available) was also provided for each case. Results: Preliminary analyses have shown that there is a moderate level of agreement (Kappa 0.42-0.56, p < 0.001) between laboratory test sets and actual clinical reading. In addition, a mean increase of 38% in sensitivity in the laboratory test sets as compared to their actual clinical readings was demonstrated. Specificity is similar between the laboratory test sets and actual clinical reading. Conclusion: This study demonstrated a moderate level of agreement between actual clinical reading and test set reading, which suggests that test sets have a role in reflecting clinical performance. SOME DIFFERENCES BETWEEN SILENT AND ORAL READING RESPONSES ON A STANDARDIZED READING TEST. ERIC Educational Resources Information Center LEIBERT, ROBERT E. A STUDY DESIGNED TO IDENTIFY SOME OF THE DIFFERENCES BETWEEN THE RESPONSES ON THE GATES ADVANCED PRIMARY READING TEST AND THE KINDS OF RESPONSES OBTAINED FROM AN INFORMAL READING INVENTORY (IRI) IS REPORTED. SUBJECTS WERE 65 THIRD-GRADE PUPILS IN WEST BABYLON, NEW YORK. PUPILS AT THE SAME INSTRUCTIONAL LEVEL SCORED HIGHER IN THE RECOGNITION TESTâ¦ Corner Office Interview: SirsiDynix's Rautenstrauch and Nelson ERIC Educational Resources Information Center Rapp, David; Fialkoff, Francine 2010-01-01 This article presents an interview with SirsiDynix CEO Gary M. Rautenstrauch and newly appointed VP of library relations Berit Nelson about some of the issues that have been roiling the ILS world and the company itself, among them the recent consolidation of SirsiDynix's offices, customer service, the state of library budgets, the rise of ebooksâ¦ Rep. Bill Nelson inside a personal rescue sphere NASA Image and Video Library 1985-09-25 U.S. Representative Bill Nelson (D.,Florida) gives a thumbs up signal from inside a small ball called a personal rescue sphere (PRS). The PRS is not part of STS 61-C hardware, but serves to evaluate a subject's reaction to close quarters. The photo was taken through a visor on the 39-inch diameter fabric rescue sphere. Mid-Latitude Disturbances - Triggered by Hurricane Dennis? NASA Astrophysics Data System (ADS) Earle, G. D.; Bishop, R. L. 2001-05-01 Midlatitude irregularities in F-region electron density have been previously observed in-situ by the Atmosphere Explorer-E satellite [Hanson and Johnson, 1992]. These authors noted the similarity of the irregularities to equatorial spread-F, which is commonly observed at much lower latitudes (within 20 degrees of the magnetic equator). They coined the term midlatitude disturbances (MLDs), and postulated that the irregularities resulted from the Perkins instability in a region where the east-west velocities of the ions differs from that of the neutrals. We present ionosonde observations of range spread-F made over Wallops Island, VA that may show signatures of similar MLD events. The data show evidence of an apparent correlation between the occurrence of the irregularities and the passage of hurricane Dennis over the magnetic meridian of Wallops Island. Based on this evidence, we examine the possibility that the Perkins instability and/or MLD events can be triggered by gravity waves spawned by the hurricane. Reference: Hanson, W.B., and F.S. Johnson, Planet. Space Sci., vol. 40, pp. 1615-1630, 1992. Description and Validation of a Test to Evaluate Sustained Silent Reading PubMed Central Ramulu, Pradeep Y.; Swenor, Bonnielin K.; Jefferys, Joan L.; Rubin, Gary S. 2013-01-01 Purpose. To construct and validate a test of sustained silent reading. Methods. Standardized 7300 and 7600 word passages were written to evaluate sustained silent reading. Two hundred forty subjects validated whether comprehension questions could discriminate subjects who did and did not read the passage. To evaluate testâretest properties, 49 subjects silently read the standardized passages on separate days. Sixty glaucoma suspect controls and 64 glaucoma subjects had their out loud reading evaluated with the MNRead card and an International Reading Speed Texts (IReST) passage, and their silent reading measured using the 7300 word passage. Sustained silent reading parameters included reading speed and reading speed slope over time. Results. Comprehension questions distinguished individuals who had and had not read passage materials. Bland-Altman analyses of intersession sustained reading speed and reading speed slope demonstrated 95% coefficients of repeatability of 57 words per minute (wpm) and 2.76 wpm/minute. Sustained silent reading speed was less correlated with MNRead (r = 0.59) or IReST passage (r = 0.68) reading speeds than the correlation of these two measures of out loud reading speed with each other (r = 0.72). Sustained silent reading speed was more likely to differ from IReST reading speed by more than 50% in rapid silent readers (odds ratio [OR] = 29, 95% confidence interval [CI] = 10â87), and comparisons of sustained and out loud reading speeds demonstrated proportional error in Bland-Altman analyses. Conclusions. Tests of out loud reading do not accurately reflect silent reading speed in individuals with normal vision or glaucoma. The described test offers a standardized way to evaluate the impact of eye disease and/or visual rehabilitation on sustained silent reading. PMID:23258146 The Effect of a Read Aloud Accommodation on Test Scores of Students with and without a Learning Disability in Reading. ERIC Educational Resources Information Center Meloy, Linda L.; Deville, Craig; Frisbie, David A. 2002-01-01 A study examined the effect of a read aloud testing accommodation on 260 middle school students with and without learning disabilities in reading. Students with learning disabilities in reading, as well as those without, exhibited statistically significant gains with the read aloud test administration. Interaction effects were not significant.â¦ Concurrent Validity of the Test of Silent Word Reading Fluency ERIC Educational Resources Information Center Bell, Sherry Mee; McCallum, R. Steve; Burton, Bobbie; Gray, Rebecca; Windingstad, Sunny; Moore, Jessica 2006-01-01 Relationships between the Test of Silent Word Reading Fluency (TOSWRF; Mather, Hammill, Allen, & Roberts, 2004), a recently developed measure of fluency, and other operationalizations of reading, including subtests from the Comprehensive Test of Basic Skills (CTBS; 1996), and the Woodcock-Johnson-III Tests of Achievement, (WJ-III; Woodcock,â¦ Construct Validity of the Nepalese School Leaving English Reading Test ERIC Educational Resources Information Center Dawadi, Saraswati; Shrestha, Prithvi N. 2018-01-01 There has been a steady interest in investigating the validity of language tests in the last decades. Despite numerous studies on construct validity in language testing, there are not many studies examining the construct validity of a reading test. This paper reports on a study that explored the construct validity of the English reading test inâ¦ Do Content Area Passages Affect Student Performance on Reading Comprehension Tests? ERIC Educational Resources Information Center Peretz, Arna S. A study conducted in Israel investigated the relevance of subject-specific reading passages to performance on reading comprehension tests for advanced university students of English as a second language. The research specifically examined (1) whether students performed better when the reading test content was directly related to their field ofâ¦ Do the Effects of Testwiseness Relate More to the Achievement of Remedial, Developmental, or Advanced Readers? ERIC Educational Resources Information Center Montferrante, Esther Reese This study investigated the effects of instruction and practice in test-taking techniques upon the standardized reading scores of 7 remedial, 19 developmental, and 9 advanced reading students in the sixth grade. "The Nelson Reading Test (Revised Edition), Form A" served as a pretest. Both constructed and commercial materials were used to instructâ¦ U.S. SENATOR BILL NELSON AT FRICTION STIR WELD LAB NASA Image and Video Library 2016-02-12 U.S. SENATOR BILL NELSON OF FLORIDA, RIGHT, LISTENS AS ANDY SCHORR, ASSISTANT MANAGER FOR SPACECRAFT/PAYLOAD INTEGRATION AND EVOLUTION, EXPLAINS THE PROGRESS OF NASA'S SPACE LAUNCH SYSTEM DURING A VISIT TO NASA'S MARSHALL SPACE FLIGHT CENTER ON FEB. 12, 2016 4. Historic American Buildings Survey, Nelson E. Baldwin, Photographer, Jan. ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 4. Historic American Buildings Survey, Nelson E. Baldwin, Photographer, Jan. 16, 1937, View - Second to Third Floor Stairs Old Homeopathic Hospital, 123 North Pearl St., Albany, N.Y. - Old Homeopathic Hospital (Interiors), 123 North Pearl Street, Albany, Albany County, NY 1. Historic American Buildings Survey, Nelson E. Baldwin, Photographer, Jan. ... Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey 1. Historic American Buildings Survey, Nelson E. Baldwin, Photographer, Jan. 16, 1937, View - Stairway from First to Second Floor Old Homeopathic Hospital (Office of the HABS), Albany, N.Y. - Old Homeopathic Hospital (Interiors), 123 North Pearl Street, Albany, Albany County, NY 2. Historic American Buildings Survey, Nelson E. Baldwin, Photographer, Jan. ... Library of
1098	dbpedia	2	65	https://bhavana.org.in/to-talk-of-twistors-tilings-and-many-a-thing/	en	… to talk of Twistors, Tilings and many a thing – Bhāvanā	http://bhavana.org.in/wp-content/uploads/2021/07/Roger_Penrose-1024x867.jpg		[ "https://bhavana.org.in/wp-content/uploads/2018/05/Bhavana-Logo.png", "https://bhavana.org.in/wp-content/uploads/2018/05/Bhavana-Logo.png", "http://bhavana.org.in/wp-content/uploads/2021/07/Roger_Penrose-1024x867.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/Sheldonian_Theatre.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/LionelPenrose.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/SirWilliamHodge-811x1024.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/foto-todd.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndSciama-1024x767.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/youngchandra.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseInASeminar-1024x791.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/foto-penrose.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/The_London_University_by_Thomas_Hosmer_Shepherd_1827-28-1.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/Ascending_and_Descending.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/TribarGotschuchenAustria-1024x832.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndBourgignon-725x1024.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/PenroseAndHawkins.jpg", "http://bhavana.org.in/wp-content/uploads/2021/07/teselation-oxford-1024x689.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			https://bhavana.org.in/to-talk-of-twistors-tilings-and-many-a-thing/	… to talk of Twistors, Tilings and many a thing Sir Roger Penrose in Conversation with Oscar García-Prada Roger Penrose was born in Colchester (England) on 8 August 1931. His father, Lionel Penrose, was an expert in human genetics, and had a great interest in mathematics, which he ably communicated to his son. His older brother, Oliver, who would go on to earn a PhD in physics got him interested in physics. His mother was also attracted to mathematics, but her training was in medicine, like that of her own father. The Penrose family was undoubtedly an illustrious family in the British intellectual life of the 20th century. Penrose went to school in his hometown until the family, owing to World War II, moved to London (Ontario, Canada), before finally returning to London (England), where he completed his studies. The first university degree he obtained was at University College London, followed by a PhD at the University of Cambridge—initially under the supervision of Sir William Hodge, and finally, under John Todd. As a doctoral student, Penrose’s time in Cambridge coincided with that of Sir Michael Atiyah who, exactly as opposed to him, was initially supervised by John Todd, but went on to finally earn his doctoral thesis under the supervision of William Hodge. Penrose’s doctoral thesis, completed in 1958, was dedicated to the study of tensor methods in algebraic geometry. Even before finishing his thesis, Penrose was deeply interested in physics. This was greatly facilitated by his interactions with Dennis Sciama at Cambridge – a physicist friend of his brother Oliver, and who many years later would eventually be the PhD thesis supervisor of Stephen Hawking – as well as the courses he attended by Hermann Bondi (PhD thesis supervisor of Sciama), and Paul Dirac. After completing his thesis, Penrose received a NATO research grant that allowed him to spend three years in the United States, first at Princeton, and later at Syracuse University. Upon his return to England in 1962–1963, he was an Associate Researcher at King’s College (London), before returning to the United States as an Associate Visiting Professor during the academic year 1963–1964, this time at the University of Texas in Austin. In 1964, he was appointed Reader at Birkbeck College (London), where two years later he would be promoted to Professor of Applied Mathematics. In 1973, he was appointed to the Rouse Ball Chair at the University of Oxford, where he went on to become Emeritus Rouse Ball Professor in 1998. His move to the University of Oxford once again coincided with the return there of Michael Atiyah, with whom he would initiate a long scientific interaction. In relation to this, Michael Atiyah would say: “When I was at Princeton at that time, before going back to Oxford, I talked with Freeman Dyson and we discussed Roger Penrose, and he said: `Oh! Roger Penrose did some very good things regarding black holes, which I have always admired, but he also did some very funny things with twistors. I didn’t understand them, so maybe, when you go to Oxford, you’ll understand what twistors are.’ And he was right, exactly right. That was the connecting link.” During the period 1983–1987, Penrose juggled his position at Oxford with the Edgar Odell Lovett Professorship at Rice University, in Houston. Other positions occupied by Penrose at various times include being the Gresham Professor of Geometry at Gresham College, London and the Francis and Helen Pentz Distinguished Visiting Professor in Physics and Mathematics at Pennsylvania State University. Roger Penrose has received several prestigious awards and honours, with the most recent one being the coveted 2020 Nobel Prize in Physics that he shared with physicists Reinhard Genzel and Andrea Ghez – a crowing moment in his long and distinguished scientific career. Penrose is married to Vanessa Thomas, Director of Academic Development at Cokethorpe School (near Oxford), and formerly responsible for Mathematics at Abingdon School, and with whom he has a son. He has three other children from a previous marriage to Joan Isabel Wedge. Personal recollections My first encounter with Penrose took place in the academic year 1986–87 at Rice University (Houston), where I had begun my doctoral studies that very year under the supervision of Raymond Wells, working on a possible twistorial correspondence for the vortex equations of superconductivity—equations that are obtained via a dimensional reduction of instantons. As mentioned above, Penrose was connected to Rice University during the period 1983–1987, holding this position jointly with the one at the University of Oxford. Penrose had been invited by Wells, a renowned expert on Complex Geometry with a long interest in Twistor Theory, and who collaborated with Penrose and other experts. Before traveling to Rice, in my last year of university in Spain, I had been preparing myself in Twistor Theory and its relation with Yang-Mills theory. Thus, the possibility of interacting with Penrose in the months he was at Rice, represented a real golden opportunity for me. Furthermore, I was extremely fortunate that Penrose invited me to visit the Mathematical Institute at the University of Oxford during the three summer months of 1987, with funding from a collaboration program between the Royal Society of London, and the Spanish National Research Council (CSIC)—the latter institution of which I have been a member, since 2002. I was not only able to interact with Penrose and his group that summer, but also with other mathematicians present there, such as Michael Atiyah, Nigel Hitchin and Simon Donaldson. This experience was not only very enriching but, in fact, even changed the course of my career, because the very next year, I moved to the University of Oxford to earn my PhD, under the joint supervision of Hitchin and Donaldson. On my regular visits to Oxford over all these years, I have met Penrose on numerous occasions, not only at the Mathematical Institute, but also at the musical concerts held at the Sheldonian Theatre in Oxford (work of the great architect Sir Christopher Wren). Already during my very first stay in Oxford in the summer of 1987, I had bumped into him at several of such concerts organised as a part of the “Handel in Oxford” festival—those that took place for several years in Oxford from the mid to the late ’80s to commemorate George Frederick Handel’s first visit to Oxford in 1733; and also, at the premiere of Athalia, Handel’s third oratorio, again at the Sheldonian Theatre. Penrose’s mathematics, and Handel’s music, have both had a strong and lasting impact on me, from thereon. The last time I met Sir Roger in person was at a concert during the closing ceremony of the conference titled “Science and Beauty”, organised by Sir Michael Atiyah in 2015 at Edinburgh, and one in which I also had the honour of rendering a singing recital, accompanied by my musician friend, the British lutenist Din Ghani. The following interview of him that I did about twenty years ago is, of course, a treasured memory for me. When did you first get interested in mathematics? RP: From quite an early age—I remember making various polyhedra when I was about 10, so I was certainly interested in mathematics then—probably even earlier, but it became more serious around the age of 10. Are there other mathematicians in your family? RP: Yes, my father Lionel Penrose was a scientist—he was a Professor of Human Genetics, but he had broad interests and was interested in mathematics—not on a professional level, but with abilities and genuine interests in mathematics, especially geometrical things. I also have an older brother Oliver who became a mathematician. He was very precocious—he was two years older than me, but four years ahead in school. He knew a lot about mathematics at a young age and took a great interest in both mathematics and physics; he earned a degree in physics later on. My mother also had an interest in geometry; she too was medically trained, just as my father was. Did you have good teachers at school? RP: I did have at least one teacher who was quite inspiring. I found his classes interesting, although maybe not terribly exciting. Where did you go to school? RP: I was at school in Canada between the ages of 8 and 13. I don’t know that I got a great deal of my mathematics interests from there. I was back in England at the age of 14. But you were born in England? RP: Yes. We went over to the US just before the War. My father had a job in a hospital in London (Ontario, Canada), where he later became the Director of Psychiatric Research. He was interested in mental disease and its inheritance, the sort of thing that he became particularly expert at, later on. So, the question of inheritance versus environmental influence were of great interest to him. I was born on 8th August, 1931 in Colchester in Essex—it’s an old Roman town, possibly the oldest town in England. My father took on a project called the Colchester Survey, which had to do with trying to decide whether environmental, or inherited qualities were more important in mental disease. The conclusion he came to was that the problem was much more complicated than anybody had thought before, which is also probably the right answer. This was before going to Canada? RP: Yes. Then we went over first to the US when it started to become clear there was going to be a war. He had this opportunity to work overseas and he took it. And when did you return to England? RP: Just after the War, in 1945. I went to University College School in London, where I became more and more interested in mathematics, but I still hadn’t thought of it as a career. I was always the one who was supposed to become a doctor, but I remember an occasion when we had to decide which subjects to do in the two final years. Each of us would go up to see the headmaster, one after the other, and he said “Well, what subjects do you want to do when you specialise next year?”. I said “I’d like to do biology, chemistry and mathematics” and he said “No, that’s impossible—you can’t do biology and mathematics at the same time, we just don’t have that option”. Since I had no desire to lose my mathematics, I said “Mathematics, physics and chemistry”. My parents were rather annoyed when I got home; my medical career had just disappeared in one stroke. Where did you go to university? RP: I went to University College London for my undergraduate degree. My father was a professor there, and so I could go there without paying any fees. My older brother had also been there as an undergraduate, and he then went on to Cambridge to earn a Ph.D. in physics. I went to Cambridge afterwards to do my Ph.D. in mathematics. I was mainly a pure mathematician in those days. I had specialised in geometry and went to Cambridge to do research in algebraic geometry, where I worked under William Hodge. A contemporary who was also starting at the same time was Michael Atiyah, who later won the Fields Medal, became President of the Royal Society, Master of Trinity College at Cambridge, and was also the very first director of the Isaac Newton Institute. When you first become a research student you’ve no idea who the other people with you are. It took me a while to realise that there was something special about him. So, it was a bit intimidating, I remember, at the beginning. I worked with Hodge for only one year, because he decided that the kind of problems I was interested in were not in his line of interest. I then worked under John Todd for two years, but during that period I also became more and more interested in physics, largely because of my friendship with Dennis Sciama, who rather took me under his wing. He was a good friend of my brother’s, and I think I made something of an impression on him when I visited Cambridge and asked him some questions about the steady-state universe, which I don’t think he’d quite thought about. So, he probably thought it was worth cultivating my interest in physics. So, was he one of the most influential people you came across? RP: He was very influential on me. He taught me a great deal of physics, and the excitement of doing physics came through; he was that kind of a person, one who conveyed the excitement of what was currently going on in physics—it was partly Dennis Sciama, and partly lectures that I attended `on the side’ when I was in my first year. I remember going to three courses, none of which had anything to do with the research I was supposed to be doing. One was a course by Hermann Bondi on general relativity which was fascinating; Bondi had a wonderful lecturing style which made the subject come alive. Another was a course by Paul Dirac on Quantum Mechanics, which was beautiful in a completely different way; it was just such a perfect collection of lectures, and I really found them extremely inspiring. And the third course, which later on became very influential although at the time I didn’t know it was going to, was a course on mathematical logic given by Stourton W.P.\,Steen. I learnt about Turing machines and about Gödel’s Theorem, and I think I formulated during that time the view I still hold—that there is something in mental phenomena, something in our understanding of mathematics in particular, which you cannot encapsulate by any kind of computation. That view has stuck with me since that period. You’ve worked in many areas, but let me start with your 1960s work in cosmology. With Stephen Hawking you discovered the singularity theorems that won you both the prestigious Wolf prize. What are these theorems about, and what do they say about space-time? RP: Well, singularities are regions of space-time where the laws of physics break down. The main singularity one hears about is the Big Bang, which represents the origin of the universe. Now cosmological models were introduced in accordance with the Einstein equations of general relativity, which describe curvature of space-time in terms of the matter content. The equations determine the time-evolution of the universe. You apply these equations to a very uniform universe, which is what people did originally, assuming that the universe is homogeneous and isotropic, in accordance with the standard models that are used to describe cosmology on a large scale. If you extrapolate Einstein’s equations backwards, you find that at the very beginning was this moment where the density became infinite and all matter was concentrated in a single place. The Big Bang represents the explosion of matter away from this—in fact, the whole of space-time originated in this single event. Some people used to worry about this, just as I did, because it represents a limit to what we can understand in terms of known physical laws. The same situation arose later when people started to worry about what happens to a star which is too massive to hold itself apart, and singularities arise. Back in the 1930s, S.~Chandrasekar showed that a white dwarf star, which is a really concentrated body, can have the mass of the sun, or a bit more. We know that such objects exist—the companion of Sirius is the most famous one—but if such a body has more than about one-and-a-half times the mass of the sun, then as Chandrasekar showed, it cannot hold itself apart as a white dwarf, and will continue to collapse; nothing can stop its collapse. A white dwarf is basically held apart by what’s called `electron degeneracy pressure’—this means that the electrons satisfy an exclusion principle which tells you that two electrons cannot be in the same state, and this implies that when they get concentrated, they hold the star apart. So, it’s this exclusion principle in effect that stops a white dwarf star from collapsing. However, what Chandra showed is that gravity will overcome this force if the star is too massive, and then its electron degeneracy pressure cannot hold it apart. This problem occurs again in what’s called neutron degeneracy pressure, which is again the exclusion principle but now applied to neutrons. What happens is that the electrons get pushed into the protons and you have a star made of neutrons. Those neutrons hold themselves apart by not being able to be in the same state. But again, the Chandrasekar argument comes to bear on the neutron stars and you find that they also have a maximum mass which is believed to be not much more than that of a white dwarf. So, anything with, say, twice the mass of the sun would seem to have no resting place and would go on collapsing, unless it could throw off some of its material. But it seems unlikely that it would throw off enough material under all circumstances, especially if it started with a mass of, say, ten times the mass of the sun. So, what happens to it? Round about 1939, Robert Oppenheimer and various students of his—in particular, Hartland Snyder—produced a model of the collapse of a body. As an idealisation, they considered a body made of pressure-less material, which was assumed to be exactly spherically symmetrical—and they showed that it will collapse down, to produce what we now call a black hole. A black hole is basically what happens when a body is concentrated to such a small size for such a large mass that the escape velocity is either the velocity of light, or even exceeds the velocity of light—the escape velocity being the minimum speed at which an object thrown from the surface of the body escapes to infinity, and doesn’t ever fall back again. It’s about 25,000 miles an hour for an object on the surface of the earth. But if you concentrate the density of the earth so much, or take a larger body with a mass of, say, twice the mass of the sun and concentrate it down so that it is now just a few miles across, the escape velocity will then reach the speed of light. And then it becomes a black hole, if the escape velocity exceeds the velocity of light, so that nothing can escape, not even light. This is exactly what happened in the model that Oppenheimer and Snyder put forward in 1939. But it didn’t catch on. Nobody paid any attention to it, least of all Einstein, as far as one knows. I think the view of many people was that if you remove the assumption of spherical symmetry then the exact model that Oppenheimer and Snyder had suggested would not be appropriate, and who knows what would happen? Maybe it would not concentrate into a tiny thing in the centre, but would just swirl around in some very complicated motion and come spewing out again—I think this was the kind of view some people had. And you begin to wonder whether assuming that there’s no pressure was even a fundamentally correct assumption to start with, because matter does experience pressure when it gets concentrated. This was revived in the early 1960s when the first quasars were discovered. These extremely bright shining objects seemed to be so tiny, yet were so massive that one would have to worry about whether an object had actually reached the kind of extreme density limits that I’ve just been talking about, where you wouldn’t see it if it was really inside what’s called the event horizon, and where the escape velocity exceeded the velocity of light; but if you got close to it, then very violent processes could be seen taking place in its vicinity, which could also consequently produce extraordinarily bright objects. When the first quasar was observed, people began to worry again about whether what we now call black holes might not really be there out in the universe. So, I began thinking about this problem and the whole question of whether the assumption of exact spherical symmetry could be circumvented, using techniques of a topological nature which I had started to develop for quite other reasons. What people had done till then was just solve complicated equations, but that’s in itself not very good if you want to introduce irregularities and so on, because you simply can’t solve the equations. So, I looked at this from a completely different point of view, which was to look at general topological issues: Could one obtain a contradiction from the assumption that the collapse takes place without any singularities? Basically, what I proved was a theorem which was published in 1965 in Physical Review Letters, where I showed that if a collapse takes place until a certain condition holds (a qualitative condition which I called the existence of a trapped surface), then you could expect to see some type of a singularity. What it really showed is that space-time could not be continued, and that it must come to an end somewhere—but it doesn’t say what the nature of that end is, it just says that space-time cannot be continued indefinitely. Can you test this theory in our universe? RP: Well, the first question is: do black holes exist? They are almost a theoretical consequence of the kind of discussion I’ve just referred to. Then Stephen Hawking came in as a beginning graduate student working with Dennis Sciama, and he took off from where I’d started, introducing some other results mainly to do with cosmology, rather than black holes. Later, we put our results together and showed that singularities arise in even more general situations than we had individually been able to handle before. Now there is a big assumption here to which we still don’t know the answer. It’s called Cosmic Censorship, a term I introduced to emphasise the nature of this hidden presumption, and one that is often tacitly made. Cosmic censorship asserts that the so-called `naked singularities’ do not occur. We know from the singularity theorems that singularities of some kind do occur, at least under appropriate initial conditions that are not unreasonable—but we don’t know if those singularities are necessarily hidden from external view. Are they clothed by what we call a horizon, so one can’t actually see them? With a black hole you have this horizon which shields that singularity from being viewed from the outside. Now it’s conceivable that you could have these naked singularities, but they’re normally considered to be more outrageous than black holes. The general consensus seems to be that these don’t happen, and this tends to be my view also. If you assume that they don’t occur, then you must get black holes. So, it’s a theoretical conclusion that if you have a collapse of a body which is beyond a certain size, then you get black holes. there is something in mental phenomena, something in our understanding of mathematics, which you cannot encapsulate by any kind of computation. Now one type of system that astronomers have observed is where there is a double star system, only one member of which is visible. The invisible component is taken to be a black hole—Cygnus X-1 was the first convincing example. It’s an X-ray source, and what is seen is a blue supergiant star which is in orbit about something; the `something’ is invisible through a telescope, but seems to be a source of X-rays. Now the X-rays would come about if material is dragged into a tiny region, and gets heated in the process of being dragged in; the material probably forms a disc, which is also the view people have. The material gets dragged off the companion star, the blue supergiant star, and it spirals into the hole, in the standard picture. It gets hotter and hotter until it reaches X-ray temperatures, and eventually becomes a source of X-rays; this is also what’s observed. Now this doesn’t tell you that this object is actually a black hole, but the dynamics of the system are such that the invisible component has to be much too massive to be either a white dwarf or a neutron star, because of the Chandrasekar argument, and so on. So, the evidence is indirect: what one knows is that there is a tiny highly concentrated object which seems to be dragging material into it, and from the neighbourhood of which one sees X-rays emanating. Also, gamma ray sources seem to be black hole systems, and there may now be many other examples, other double star systems, or black holes in galactic centres. Indeed, there is convincing evidence for a very concentrated dark object at the centre of our own galaxy, of the order of something like a million solar masses. It seems to be a standard phenomenon that galaxies may have these highly concentrated objects which we believe to be black holes in their centres. Some galaxies may have large ones, and quasars are now believed to be galaxies which have at their centres objects that are much brighter than the entire galaxy—so all you see is this central region which is extraordinarily bright. It’s bright because it has dragged material into it, and it gets extraordinarily hot and spews things out in certain directions at nearly the speed of light. You see examples of things where jets emerge out of centres of galaxies, and things like that. But all this evidence is still indirect. It’s not that one knows for sure that black holes are really out there, it’s just that the theory tells us that there ought to be black holes there, and the theory fits in very well with the observations. But most observations do not directly say that these objects are indeed black holes, although there’s impressive recent evidence of material being swallowed by one without a trace. There’s also another potential possibility of the direct observation of a black hole: when I say `direct’, it’s more because the theory of black holes is so well developed that one knows very closely what the relevant geometry should be. There’s a geometry known as a Kerr geometry, which seems to be the unique endpoint of a collapsed object forming a black hole, and this geometry has very interesting specific properties. Some of these could be tested to see whether the concentrated objects that we know are out there, really do conform with the Kerr geometry. That would add much more direct evidence for black holes, but it’s something for the future. What would be the most striking physical implications of the singularities here? RP: What the singularities tell us is that the laws of classical general relativity are limited. I’ve always regarded this as a strength in general relativity. It tells you where its own limitations are. Some people thought that it was a weakness of the theory because it has these blemishes, but the fact that it really tells you where you need to bring in additional physics is a powerful ingredient in the theory. Now what we believe is that singularities are regions where quantum theory and general relativity come together, where things are both small and massive at the same time. `Small’ is where quantum effects become important, and `massive’ is where general relativity becomes important. So, when you get these two things happening together, which is what happens in singularities, then the effects of both general relativity and quantum mechanics must be considered together. Now this applies both in the Big Bang, and in the singularities in black holes, and it would also apply if the whole universe were to ever collapse—although that would just be a conglomeration of all the black holes, into one bigger black hole. There’s one thing I find particularly interesting, however, which is the stark contrast between the Big Bang and the singularities in black holes. It’s a bit ironic, because in the earlier stages of the black hole singularity discussions, their reasonableness was that we already know there’s a singularity in the Big Bang. It was argued that the singularities in black holes are just the same as the Big Bang, but time is going the other way—so if you have one, you should have the other. This was quite a plausible kind of argument, but when we look at these things in detail, we see that the structures are completely different: the structure that the Big Bang had was very smooth and uniform, whereas the structure we expect to find in singularities is very complicated and chaotic—at a completely different end of the spectrum. In fact, this is all tied up in a deep way with the second law of thermodynamics. This law tells us that there is a time asymmetry in the way things actually behave. This is normally traced far back in time to some very ordered structure in the very early stages of the universe—and the further you trace it back, the more you find that this ordered structure is indeed the Big Bang. So, what is the nature of that ordered structure in the Big Bang, and what is its cause? Well, in relation to what I was just saying, it is quantum gravity. We believe that this is where quantum theory and gravitational theory come together. And what this tells us—and I’ve been saying this for quite a few years but few people seem to pick up on this completely obvious point—is that the singularity structure, which is where we see general relativity and quantum mechanics coming together most blatantly, is time-asymmetrical. So, it tells me that the laws involved in quantum gravity, combining quantum theory with general relativity, must be time-asymmetrical, whereas the laws we normally see in physics are time-symmetrical. It also tells us, it seems to me, that the laws of quantum gravity are not just concerned with applying quantum mechanics to general relativity—when I say `just’, it’s a gross understatement because nobody knows how to do that, but I think it must be a union between these two theories, giving a new theory of a different character. It’s not just quantum mechanics: quantum mechanics itself will have to change its structure and it will have to involve an asymmetry in time, but I have reason to believe that this is all tied in with the measurement problem—the collapse of the wave function, the curious features that quantum theory has which makes it in many respects a totally unsatisfying theory from the point of view of a physical picture, or as a philosophically satisfying view of the world. Quantum mechanics is very peculiar, because it involves incompatible procedures. My own view is that this is something that we will only understand when we’ve brought Einstein’s general relativity in with quantum mechanics, and combined them both into a single theory. So, my view on quantum gravity is quite different from that of most people. What most people seem to say is “Oh, you’ve got to try and quantise general relativity, and quantise gravitation theory, and quantise space-time”: to `quantise’ means to take the rules of quantum mechanics as they are, and try to apply them to some classical theory, but I prefer not to use that word. I say that the theory we seek also involves a change in the very structure of quantum mechanics. It’s not simply quantising something; it’s bringing in a new theory that has standard quantum theory as one limit. It also has standard general relativity as another limit, but it would be a theory that is different in character from both those theories. Let me come to another aspect of your work. One of your greatest inventions is twistor theory, which you introduced around 1967. What is ‘Twistor Theory’? RP: Well, the main object of twistor theory is to find the appropriate union between general relativity and quantum mechanics. I suppose I had this view for many years (actually, from 1963 on), before I talked about this singularity issue and the asymmetry, and so on. I’d already felt that one needs a radically different way of looking at things, and twistor theory was originally motivated by such considerations. Since we can’t just `quantise’, we need other guiding principles. Let me mention two of them. One was non-locality, because one knows about phenomena in which what happens at one end of a room seems to depend on what happens at the other end. These experiments were performed in the early ’80s by Alain Aspect in Paris—all right, those experiments hadn’t been performed when I introduced twistor theory, but the original ideas were there already—I mean the Einstein-Podolsky-Rosen phenomena, which tell you that quantum mechanics says that you have these `entanglements’—things at one end of the world seem to be entangled with things at the other end. Now that’s only a vague motivation: it’s not really something that twistor theory even now has a great deal to say about, but it does say that somehow non-locality is important in our descriptions, and twistor theory (as it has developed) certainly has features of non-locality, over and above those I was aware of when I started thinking about these ideas. Originally, rather than having points in space-time as the fundamental objects, I thought more in terms of entire light rays as being fundamental. The reason for thinking about light rays actually came from something quite different, which I regard as perhaps the most important motivation underlying twistor theory. In the union between quantum mechanics and general relativity, I feel strongly that complex numbers and complex analytic structures are fundamental to the way that the physical world behaves. I suppose that part of my reason for this goes way back to my own mathematical training. When I first learnt about complex analysis at university in London, I was totally `gob-smacked’—it just seemed to me an incredible subject; some of the simplest ideas in complex analysis, such as, that if a function is smooth then it’s analytic, are properties which I always thought were totally amazing. What are twistors, and how are they more fundamental than a point in space-time? RP: Well, you see, if I follow the complex analysis well enough, I can come back to this. First of all, complex analysis is just mathematics, and it’s beautiful mathematics that’s tremendously useful in many other areas of mathematics. But in quantum theory you see it being present at the root of the subject—for the first time one sees that it’s really there in nature, and that nature operates (at least in the small scale) according to complex numbers. Now the thing that struck me from quite early on—it’s one of the earliest things I did in relativity—is that if you look out at the sky, you see a sphere; but if you consider two observers looking out at the same sky, one of whom is moving with a high speed relative to the other, then they see a slightly transformed sky relative to each other, and the transformation of that sky preserves circles, and takes angles to equal angles. Now those people who know about complex analysis know that this is the way you look at the complex numbers: you have infinity as well, and they make a sphere—the Riemann sphere—and the transformations that send that sphere to itself, the complex analytic transformations, are precisely those that send circles to circles, and preserve angles too. I was completely struck by this phenomenon, as it seems to me that what you’re doing when you look at the sky is that you’re seeing the Riemann sphere—they are these complex numbers just out there in the sky, and it seemed to me that that was a kind of an appealing mathematical connection. It seemed to me to be such a beautiful fact, and in a sense, the transformations of relativity are all contained in that fact. Surely that should mean something. We already know that complex numbers are fundamental to quantum theory, and here we see complex numbers being fundamental to relativity too, when we look at it this way. I’d say that the whole programme of representing Einstein’s theory in terms of twistors is what I’m proudest of. My view was to say “all right, don’t think of the points you see when you look at the sky; what you are doing is seeing light rays. You and a star in the distance are both connected by a light ray, and the family of things that you see, as you look at the sky, is the family of light rays through your eye at this moment.” So, the thing with the complex structure is light ray space, telling you that maybe you can see this link between space-time structure and complex numbers if you concentrate not on points, but on light rays instead. So that was really the origin of twistor theory—well, that’s cheating slightly, but I suppose one cheats when one gets used to a certain idea, because although these phenomena were known to me and I realised their importance, it was something else that really steered me in the direction of twistor theory. It’s a bit technical, but had to do with complex numbers—all right, you see them in the sky, but you also see them in all sorts of other places—in solutions of Einstein’s equations, and so on—they started to come up when people looked at specific solutions of Einstein’s equations. It turned out very often that you could express things very nicely if you used complex numbers, and it suggested to me that somehow—I had this image of an iceberg, you see—what you see is a little bit at the top and there’s the rest of it down underneath, which is invisible. It’s really a huge area where these complex numbers at the tip poke up through the water, while the rest of it is underneath. So, these solutions, where one sees the complex numbers, seemed just the tip of an iceberg, and they were really underneath governing the way that the first-hand structure works. It was a search to try and find what that complex structure was, and it wasn’t until certain things that are not appropriate to describe here were clarified, that things became clear. These things are related to solutions of Maxwell’s equations and Einstein’s equations which show you that the space of light rays, although not quite a complex space because it’s got the wrong number of dimensions, but looking at its structure, can be seen as being part of another structure, a slightly extended one with six dimensions; and this now effectively produces a complex objective space, which is also a complex projective 3-space. Now with hindsight I can describe these things more satisfactorily. Let me put it like this. When you think of a light ray, that is a photon idealised in a specific way, and where you are just thinking of it as a path through space-time. But you have to bear in mind that massless particles (photons, in particular) also have spin (they spin about their direction of motion), and if you introduce the spin, they also have energy. The spin is a discrete parameter. It’s either left-handed or right-handed, but when the particle has spin, introducing the energy (a continuous parameter) imparts one more degree of freedom. So instead of having just five dimensions of light rays, you find a six-dimensional space that is naturally the complex 3-space. So, you’ve got the whole thing, the right-handed ones, the light rays and the left-handed ones, and they all fit together to form a space that’s called projective twistor space. And it seemed to me that once you take this space as being more fundamental than space-time (the main reason being that it’s complex), it ties in with other things that I’ve been interested in for years—the use of spinors and how you treat general relativity, things which I’d learnt in Bondi’s and Dirac’s lectures. This notion of spinors, as a way of treating general relativity, was something I found to be powerful, but it didn’t quite do what I wanted, which was to get rid of the points. That was what twistor theory achieved, and it’s still going on. So how do twistors actually relate to these singularity theorems? Do they have anything to say about those theorems? RP: The short answer to that question is no—or, not yet. The hope is that they will, but the subjects have been going off in two quite different directions. Twistor theory is motivated by trying to bring general relativity and quantum mechanics together. If it’s successful in that direction, then it would have something to say about the singularity problem, but at the moment it has very little direct bearing on the singularity problem. I regard it as a very long roundabout route, but one needs first to understand how Einstein’s general relativity really fits in with twistor theory. Although considerable advances have been made, some dating back to the ’80s, it’s still a question mark. We don’t completely know how to represent Einstein’s theory in relation to twistors; there are some very strong indications that there’s a good connection between the two, but how one does it is still not clear. So, my view is that the major problem in twistor theory is to see how to incorporate Einstein’s theory into the twistor framework, and it’s still not complete. What we seem to see is that in the process of incorporating Einstein’s theory into twistors, we also have to incorporate ideas of quantum mechanics. So, my hope is that in bringing classical general relativity into the scope of twistor theory, one will also see how quantum theory must be made to combine with general relativity, and in that combination, one will see how to deal with singularities, because that is the place where the combination of the two theories comes in. Also, there must be a time asymmetry in the way it comes together, and that will explain the difference between the past and the future singularities. But all these things are hopes—they’re not something I can do now. Twistor theory has been tremendously successful in applications within mathematics, but has it been helpful in understanding the nature of the physical world? RP: Not very much, I would say. It’s rather curious, but I would say that this is not unique to twistor theory. One sees it in other areas—like string theory, for instance—where people start with great ambitions to solve the problems of physics, and instead come up with ideas that have had implications within mathematics; this is certainly the case with twistor theory, its applications and its interest. If you rounded up all the people who claimed they worked on twistor theory, you’d find, I would think, that a vast majority of them were mathematicians with no particular interest in physics—they might be interested in differential geometry, or integrable systems, or representation theory. Very few of them would have physics as their prime interest, so it’s kind of ironic that here’s a theory that’s supposed to be answering the problems of physics, and yet it’s not caught on at all on the physics side. You mentioned string theory. Are there connections between twistor theory and string theory? RP: I think there probably are. It’s not something that has been deeply explored, and the groups of people who work on these subjects are more or less disjoint. There have been some attempts to bring the theories together, but I think that the right vehicle for doing so hasn’t come about yet. I wouldn’t be at all surprised to find that in the future some more significant links between these two areas are found, but I don’t see it right now. These new theories involving p-branes seem to be more suitable, somehow? RP: Well, there is a connection, but I don’t know how significant it is. I was talking to Ed Witten some time ago, and he was telling me about the 5-branes they’re interested in. But that’s curious, because in work that Michael Singer did some years ago with Andrew Hodges and me, the suggestion was made that what one should really be looking at is generalisations of strings. Whenever you see an ordinary string, you should really think of it as a surface, because it’s a string in time. It’s one-dimensional in time, so that gives you two dimensions. These things are studied very much in connection with complex one-dimensional spaces (Riemann surfaces), so they are in some natural way associated with these Riemann surfaces. Now what we had in mind, which was much more in line with twistor theory, is to look at a complex three-dimensional version of this, which we called pretzel twistor spaces; they’re complex three-dimensional spaces, so they are six real-dimensional, and if you can think of them as branes in some sense, then they are 5-branes. Now is there a connection between those 5-branes and the 5-branes of string theory? I just don’t know, and I haven’t explored it. I didn’t mention it to Witten when I talked to him, but there might be something to explore here. That’s just off the top of my head, I don’t know, but yes, it might be that there’s a connection there. In the early 1970s you discovered two chickens that can tile the plane in a way that must be non-periodic. How did you find these non-periodic—or perhaps, I should say aperiodic—tilings? RP: Yes, aperiodic tile sets, I suppose, but the tilings are non-periodic. Tiling problems have always been a doodling side interest of mine, just for fun; if I got bored with what I was doing I’d try and fit shapes together, for no particular scientific reason—although I supposed that there was some connection with my interest in cosmology, in that there seem to be large structures in the universe that are very complicated on a large scale, whereas one believes that they should be governed by simple laws at their roots. So, I tried to find a model where we have simple local structures that produce great complications when scaled to much larger areas; I had an interest in certain types of hierarchical design. So, I played around with such hierarchical tilings, where you form bigger shapes out of smaller ones; the bigger ones you produce have the same character but are on a larger scale than what you just did. I also had an interest in Maurits Escher, and his work and met him on one occasion: I had produced single tile shapes that would tile only in rather complicated ways, and Escher himself used one of these in his last picture. What was the name of these tiles? The magic something? RP: That’s different: those are impossible objects. The staircase and the tribars that people now call the `impossible triangle’ were things my father and I played around with. Later, Escher incorporated them in some of his pictures: `Ascending and Descending’ used the staircase, and the `Waterfall’ used the triangle. And he actually used ours, because we sent him a copy of our paper. I met Escher once, and left him a copy of a puzzle I’d made which consisted of wooden pieces which he had to try and assemble. Well, he managed to do this all right, and somewhat later when I explained the basis on which it was constructed, he produced a picture called Ghosts—as far as I’m aware it was his last picture, when he was quite ill—and it’s based on this tile I’d shown him—twelve different orientations of this shape. But that was just a sideline, an amusement really, and the way the tilings came about was in two stages. I’m sure I owe a debt to Johannes Kepler, although I didn’t realise it at the time, because my father owned a book showing the picture that Kepler designed which had a number of different tilings that he played with. Some of these were of pentagons, and these tilings with pentagons are very close to the tiling shapes I produced later. Now I was aware of these things because I’d seen them, but they were not what I thought of when I was producing my own. They just coloured my way of thinking, which must be rather similar to what happened to Dan Shechtman when he discovered quasicrystals. He hadn’t thought about my tilings, but when I spoke to him later, he said he was aware of them. I suspect that it’s the sort of thing that puts you in a `kind of’ frame of mind, so that when you see something, you’re more receptive to it than you would have been otherwise. So yes, I’m sure it’s true of me with Kepler that I was more receptive to his kind of design. These three-dimensional forms of your tiles have appeared in recent years, as Quasicrystals. Did you ever anticipate such applications of your non-periodic tilings? RP: Well, I did, but I was overcautious I suppose, because I certainly knew this was a theoretical possibility. But what worried me was that if you ever tried to assemble them, you’d find it very hard, and without a kind of foresight, it’s difficult not to make mistakes. I sometimes gave lectures on these tilings, and people asked me `does this mean that there’s a whole new area of crystallography’—and my response would be `yes, that’s true—however, how would nature produce things like this, because they would require this non-local assembly?’. And it seemed to me that maybe you could synthesise such objects with great difficulty in the laboratory, but I didn’t see how nature would produce them spontaneously. Now I think, although people now understand them better, the situation is much the same. I still don’t think we know how they’re produced spontaneously, and there are different theories about how they might come about—maybe there was something a little bit non-local, something basically quantum-mechanical, about those assemblies which I came to think is probably true, but it’s not an area that people are agreed about—in fact, it’s not totally agreed that quasicrystals are this kind of pattern, although I think it’s getting pretty well accepted now. There was no line – you couldn’t say what was recreational and what was professional work. I was first shown the physical objects, the diffraction patterns, by Paul Steinhardt at a conference in Jerusalem to do with cosmology. I was talking about general relativity and energy and he was talking about inflationary cosmology, and he came up to me and said, “Look, I want to talk to you about something that has nothing to do with this conference”. He showed me these diffraction pictures that he’d produced, and it was quite startling but very gratifying—in fact, curiously enough, I wasn’t completely surprised. I suppose I felt that it must be right and nature is doing it somehow. Nature seems to have a way of achieving things in ways which may seem miraculous; this was just another example of that. Have any other examples of your work in recreational mathematics found reflections in natural phenomena, or in physics? RP: One thing I got from my father is that you never draw a line between the two. He was like that—he did things for fun, which might be making children’s toys out of wood—puzzles, or gadgets connected with his work. He’d make things like complicated slide rules that were supposed to test some statistical results. He made a bust of one of his patients, I seem to remember, and then he spent his later years producing wooden models that reproduce themselves. There was no line—you couldn’t say what was recreational and what was professional work. In 1989 you published a best-selling book, The Emperor’s New Mind, where you’re concerned with computers and artificial intelligence, the mind, the laws of physics, and many other things. What is the central question you address in this book? RP: I think I mentioned earlier that I had formulated a certain view while I was a graduate student. Before that, I’d been quite sympathetic to the idea that we were all computers, but it seemed to me that Gödel’s theorem tells us that there are aspects of our understanding which you cannot encompass in a computational picture. Nevertheless, I still maintain a scientific viewpoint that something in the laws of physics allows us to behave the way we do, but that the laws of physics are much deeper. My view is that we know much less about them than many people would maintain. So, I was quite prepared to believe that there was something outside computation. I’ve been interested in mathematical logic for a long time, and I’d known for a long time that there are things of a mathematical nature that are outside computation; that didn’t frighten me—it just seemed to me `all right, why not?’ Then I saw a television programme where Marvin Minsky, Edward Fredkin and others were making outrageous statements about how computers were going to exceed everything we could do. What they were saying was logical if we were indeed computers—but since I didn’t believe that, it seemed to me that this was something they’d completely missed—and not only had they missed it, I’d myself never seen it anywhere else. So, as I’d previously considered writing a popular or semi-popular book on physics—something I thought I’d do at some stage in life, but perhaps not until I had retired—this provided an opportunity: `All right, let’s explain things about physics and what the world is like, as far as we know, but with a different focus—let’s explore the laws of physics to see whether there’s scope for something of a non-computational character’. I’d never seen anybody put this forward as a serious viewpoint. Since it seemed to me that it needed to be put forward, that’s what I did. So, this was an attack on artificial intelligence; but you also proposed that since quantum mechanics was incomplete, the understanding of physical laws had to precede any understanding of the functioning of the mind. RP: Yes, I’d felt that if there was something non-computational, it needed to be outside the laws that we presently understand in physics, because they seem to have this computational character. And it also seemed to me that the biggest gap in our understanding is when quantum theory relates to large-scale objects, where the rules of quantum mechanics give us nonsense—they tell us that cats can be alive and dead at the same time, and so on, which is nonsense; we don’t see our world like that. Yet quantum theory was supposed to be so absolutely accurate, so why are we not aware of the manifestations of that theory on a large scale? It seemed to me that the theory can’t be quite accurate and that there must be some changes that take place when it gets involved with large-scale objects. I think I’d already thought that this had to do when gravitational phenomena started to become entangled with quantum effects—that’s when the changes start to appear, and there are good reasons for believing that. So that is what I believed in at the time, and still believe; but when writing The Emperor’s New Mind, I didn’t really have any clear idea on where in brain function, quantum effects could start to become important and have an influence on large-scale effects, and where these new physical processes that should be non-computable, could come in. So, I started writing the book, expecting that by the time I’d finished I’d have some clearer ideas on these. This happened to some degree—I was very ignorant about lots of things that had to do with the brain when I started, and I had to study hard to write the chapters specifically on them, and in particular the idea of `brain plasticity’—that the connections between neurons can change, and that these changes can take place quickly—it seemed to me that this was very important, and that the new physics comes in to regulate these changes. So, has this given you any clue as to what changes are needed in quantum mechanics? RP: A little, but the physical motivations are largely independent. I did, however, think about the needed changes in quantum mechanics a little more seriously than before, and I changed my views between writing the two books. You’re now referring to your second book Shadows of the Mind. Did you pursue the same problems in this book? RP: Yes, but Shadows of the Mind had slightly ambivalent purposes. Originally, I started to write it to address some of the points that arose out of people’s criticisms and misunderstandings of The Emperor’s New Mind, and in particular my treatment of Gödel’s theorem. I just didn’t expect the kind of vehement responses that I got. I was very naive, perhaps. I didn’t realise that people would feel attacked in the manner they did, and would therefore respond by attacking me, even while misunderstanding a lot of what I was trying to say. The main point that I was making about Gödel’s theorem was that if you have a system which you believe in, and which you also believe might be usable as mathematical proof, then you can produce a statement which lies beyond the scope of the system, but which now you must also necessarily believe in. Now there is an assumption here that the system is consistent, something which I didn’t bother to stress particularly, because it seemed to me quite obvious that there’s no point in using the system if you don’t think it’s consistent: the proof is no proof if it’s in a system you don’t thoroughly believe in and therefore don’t trust its consistency. That seemed to me to be obvious, but I didn’t make those points strongly and so there are loopholes that people could point to, which of course they did. So, I felt it necessary to address these issues with a great deal more care in Shadows. It was not meant to be a particularly long or popular book; it was just addressing these points and was quite technical and complicated in places, but in the process of writing this book, two things happened. One of them was that I received a letter from Stuart Hameroff telling me about the cytoskeleton whose structures inside cells I was totally ignorant of. But most people who work in artificial intelligence didn’t seem to know about them either; Marvin Minsky didn’t, as he told me afterwards. But it seemed to me that here was a completely new area for which it was much more plausible that quantum effects could be important. They are much smaller structures than neurons and are much more tightly organised structures. The most relevant of these were microtubules, where one has a much more credible arena for coherent quantum phenomena to take place. It is still hard to see how this takes place, because it is difficult to maintain quantum coherence on the large scale that one needs in order for these ideas to work. One needs to go beyond what can be done in any physics lab today, and there is no physical experiment performed today that can achieve the kind of quantum coherence at the level that I would need in order for the kind of phenomena to take place, and that I suspect are taking place all the time in our brains. So, nature has been a lot cleverer than physics has been able to get so far, but why not? It seems to me quite plausible that this is the case. The cytoskeleton, and in particular microtubules, seem to me to be structures where quantum coherence is much more plausible. So, I changed the nature of this book. I wanted to put in microtubules and the cytoskeleton, and so I needed to learn a little bit more about it and to express why I think that’s important in brain action. The other thing which happened was that I somewhat shifted my viewpoint on quantum state-reduction, in relation to gravity. The viewpoint I’d held for quite a long time, and which is expressed in The Emperor’s New Mind, is more or less that, if you have too big a discrepancy between two states, then they don’t superpose and the state reduces. This discrepancy is to be measured in terms of space-time geometry; I called it the one graviton criterion. It is to do with how many gravitons come into this difference between the two states. Now in work that I did subsequently, and also in work that had been done by others (particularly Lajos Diósi, a Hungarian, and Giancarlo Ghirardi in Italy) who had developed different ideas in connection with quantum state-reduction, it seemed to me that I needed to modify the view that I had before. I think it’s quite a significant modification. Basically, when you have two states that are significantly different from each other, then their superposition becomes unstable, and there is a calculable time scale involved in how long it takes for the superposition to `decay’ to one state or the other. The details are probably a bit too technical for here, but there indeed is a finite time scale, rather than an instantaneous reduction, and this time scale produces figures that are much more plausible—also, it is easier to use and it may be much more relevant to brain action. Consciousness seems to be such a different phenomenon from the other things we see in the physical world… One can see how to use it, and these ideas were developed in collaboration with Stuart Hameroff. We produced a number of suggestions about how this idea could be carried forward, but again we found a great deal of opposition. A lot of these ideas are clearly speculative, but I don’t think it is that speculative that something like this is going on. It seems to me it has got to be. Consciousness seems to be such a different phenomenon from the other things we see in the physical world that it’s got to be something very special, in physical organisation. I can’t see that it’s really just the same old physics put together in more complicated systems. It’s got to be something of quite a different character from other things that are important in the way the world operates. This new physics would be only occasionally employed in a useful way, and you have to have a very careful organisation that takes advantage of whatever is going on in state-reduction, and channelise it in a direction which makes us operate. But it is very rarely actually taken advantage of in physical systems, where most things don’t use this phenomenon in any useful way at all. In these books you reveal yourself to be a philosopher. How have you come to terms with the Great Mystery? RP: Well, there are lots of hugely unanswered questions—there’s no doubt about that. I’d certainly want to emphasise that even if everything that Stuart Hameroff and I say turns out to be absolutely correct, it would still not answer these questions. I hope we are moving a little in the right direction towards answering those questions. However, I think there’s very little progress towards answering the deep questions of what is going on in mentality, who we are, what is consciousness, why are we here, and why does the universe allow beings who can be self-aware, or if there is life after death? Any questions of that nature seem to me to require us to know more about what the world is like—we really know very little. People say, and physicists often say: we nearly have the solution to the grand theory of the universe which is just around the corner, the theory of everything. I simply just don’t believe that. I think there are major areas of which we have almost no understanding at all, and it’s quite curious that one can have a view which seems to encompass (at least in principle) most of the things that you see around you, and of why they behave this way or that way. One of the major things that isn’t explained is simply ignored and just swept under the carpet by physicists generally, which is quantum state-reduction. They say: quantum theory is a beautiful theory; it works perfectly well and describes how tiny particles behave. But, to put it bluntly, it gives you the wrong answer. What the theory tells us is that, for example, if you had Schrödinger’s famous cat, the cat could very easily be put into a state of being alive and dead simultaneously. That’s simply wrong; it doesn’t do that. So, what is it? I mean, there is something big missing from our view of the world, it’s huge and it’s not just a tiny phenomenon which we haven’t quite got hold of, because we’ve got to get even that last decimal place right, and the coupling constant or something: it’s a huge aspect of the way the world behaves which we simply do not understand, and understanding it is, in my view, one small step towards understanding what mentality is. I think it must be a part of it, but it is still not going to answer the question of mentality. We may well know what state-reduction is (and I expect that we will eventually know, if only we don’t destroy ourselves first); then that theory will have as part of its nature some completely different way of looking at the world from the way we have now. We’ve already seen that happen in Einstein’s general relativity, because before that we had Newton’s theory which told us how bodies attracted each other with forces and moved around and so on. It’s beautifully accurate: Newton’s theory is incredibly precise. It tells you how the planets move around in their orbits to almost complete precision—not quite, but almost. You might think it only requires a little tiny modification to make it completely right, but that’s not what happened. Einstein produced a theory that is so completely different. Its structure is utterly different from that of Newton’s theory, but it gives almost exactly the same answers. The philosophical framework of that theory is quite different. The very nature of space is warped, and that changes our whole outlook. Now what I am saying is that when we see how quantum theory is to be changed to accommodate state-reduction as a phenomenon, with the measurement process as a phenomenon, we shall have to come to terms with a completely different way of looking at what matter is, and what the world is like. Are you saying that this is a step that will help us to address questions that are typically addressed, by some people at least, by religion? RP: Well, it will, I think so. But you see, that I’m more `tolerant’ is not quite the right word. I think I’m a little bit more supportive of religious viewpoints than many totally scientific people would be. It’s not that I believe in the dogma that is attached to any of the established religions, because I don’t. On the other hand, religions are trying to address questions which are not addressed by science, particularly moral issues. I regard morality as something with an absolute `platonic’ component which is outside us. Is there really a platonic absolute notion of `the good’? I have to say, I’m inclined somewhat in that direction. I think morality is not just man made, but there are things outside us which we have nothing in the way of scientific understanding of at the moment, but which nevertheless are part of a big overall picture, and which maybe someday will all come together. So, I mean these questions are nowadays considered not to be part of science, but they’re part of religion, you see. Well, as I say, I don’t believe in the dogma of religion, but I do think that religion is groping for something which we don’t know the answers to yet, and which is outside traditional science. So, I suppose what I think is that the whole scientific enterprise must broaden its scope, and eventually perhaps even change its character. We have touched on only a fraction of your work but what is the result, theorem or theory that you are most happy with? RP: Well, I’d have to say twistor theory. The non-periodic tilings are nice, and they’re something to show to somebody. But this is not something which is as deep, and it’s not something I’ve devoted so much of my life to. Even when I call it `twistor’, this is slightly inappropriate, because we don’t know what the theory is yet, the real theory. But if I can answer your question in that way, I think I’d say that the whole programme of representing Einstein’s theory in terms of twistors is what I’m proudest of. I don’t know if you’d call that an answer to your question, because it’s not a theorem, it’s not one result, it’s a body of ideas. I suppose in amongst those, I would think the `non-linear graviton construction’ is probably the one thing which I feel most pleased about so far, but it is yet part of a bigger programme, and I don’t regard that as an endpoint; it’s something on the way. I hope that when one really understands how the Einstein equations can be incorporated into twistor theory, we’ll see something, a much broader picture of which that is just a part. But we don’t quite have that fully yet. How do you actually work? How do you select a problem? I’ve seen you many times in your lectures and seminars making pictures—do you visualise things that way? RP: A lot is very visual, but not entirely visual. Certainly, some things I’ve done are not entirely visual; for example, algebraic things aren’t. But I do find visual imagery absolutely essential in my work, and that’s the way I usually do it. I often start to write something down, but it doesn’t help very much. I may see a picture sometimes, but even drawing it on a piece of paper doesn’t help, because it’s not something you can still express very well that way. It’s an image which is hard to put down, but I do find expressing things by drawing pictures reasonably accurately helps sometimes, but sometimes it’s an accuracy that’s also very misleading. You’ve got to know what it means. I mean, the pictures are not really accurate because I might draw a picture of something which has got the wrong number of dimensions, and it’s really in a complex space rather than a real space, but you get a feeling for knowing what’s reliable and what isn’t in a picture. In some ways it’s a relief when one can do a calculation. If you can reduce something to a calculation, then you can deal with it; but so few of the things I do actually find their way into calculations, because that’s not the problem. The problem is a conceptual or a geometrical problem—often conceptual: you have to look at things in the right way. And that can be quite hard sometimes. But I suppose what I am probably best at, when it comes to mathematics, is the geometrical, where I can visualise things well. I don’t find it very easy to work with complicated formulae or analytic notions. It’s an uphill job sometimes. To a certain extent, things in analysis can be looked at geometrically. Nature seems to have a way of achieving things in ways which may seem miraculous. What are you working on right now? RP: Well, what I think about most of the time when I’m not doing something else, like trying to write up endless things one after the other, is this problem about the Einstein equations and twistors, which I think is almost there, or is very close to being resolved; but it’s not completely clear. I regard that as the major problem. I also try to make progress with the quantum state-reduction problem—even with some possible experiments. You’ve mentioned a number of mathematicians and physicists, but who is your most admired mathematician or physicist? RP: That’s a tough one—there are a lot of them. I’m not sure there’s a single one as a mathematician. I always had a tremendous admiration for Bernhard Riemann because he was a miracle man. As a mathematician, I think it probably would be him, I guess, but it’s not quite clear because on the physics side I’ve always thought of Galileo Galilei, Isaac Newton, J.C.~Maxwell and Albert Einstein as being the four most major figures. Of those, I suppose one would have to say that Newton was a more impressive figure than Einstein, no matter how impressive Einstein is. I mean, he’s had absolutely wonderful ideas. General relativity is a fantastic theory—of any physical theory that I’ve seen, I’d put general relativity at the top because it’s amazing. But Newton was such a powerful mathematician, and Einstein was less so. Einstein had these tremendous physical insights, but Newton had this great power as a mathematician, as well as deep physical insights. And I’ve always had a soft spot for Maxwell, and also for Galileo—I think I’ve always admired him from a long time back. I don’t know—I’m not trying to single out any one in particular. Riemann as a mathematician I suppose, possibly more than Carl Friedrich Gauss, I would say. Archimedes also, I suppose, was a very impressive character; as also Leonhard Euler. What is your opinion about the direction in which research in mathematics and physics is going nowadays? RP: Something I’ve found slightly discouraging about the way things go these days, which is not the fault of the mathematicians or the physicists, is the problem of technology. Although technology is a wonderful thing, it has the effect of magnifying fashions. It’s so easy to communicate ideas from one end of the world to the other instantaneously, and this means that the fashions have global control over what goes on. It means that a lot of progress can be made in fashionable areas, but there’s something which is lost in there, I feel. It’s a bit silly to hark back or think about things in this way, but when communications were much more difficult there were these little pockets of people working on different things. Maybe I have this starry-eyed view of what it was like; it probably wasn’t like that. Fashions were still important in the old days too, but somehow there’s something about the global nature of the fashions these days which I find a bit disturbing. But it’s worse in physics than it is in mathematics, I think. I always used to think that mathematics was immune from this kind of thing. You would have these people working away and developing their wonderful ideas in relative isolation, and occasionally getting together, and some things would spring from the coming together of different viewpoints. But now it’s much more as if you can go anywhere and they’re all working on the same thing, which is rather discouraging. In physics, it is particularly like that. This applies to highly theoretical work where there is no stabilising input from experiment. Communication is obviously beneficial, but the aspect you’re remarking on is actually a negative one. RP: It is a negative one, I think. And there’s another thing that goes along with this. It’s not relevant in mathematics, but in physics it’s to do with the expense of big experiments, which means that you have to build bigger and bigger machines to look at higher energies, and so on. I can see why they do that, but since the experiments are so expensive, they require a lot of money and government backing and huge organisations, and therefore you must have committees to decide which to support, and so on. Committees have to decide where the money’s going, so they consult people who are considered to be the experts in the relevant areas, and therefore the things tend to get locked in certain directions because the experts have already got there, as they were the ones who were important in the development of the current theories. It’s hard to break away from this. It becomes a political thing as well. RP: It does become political as well, because money is involved. One doesn’t have the free-ranging way of thinking about things that was there before. So, I’m only expressing the negative points, because maybe the positive ones are more obvious. Obviously, there’s huge activity—all over the world you find people who work in areas and who have never before had a chance to think seriously about science. Now the internet allows them to get involved. That’s all positive and I agree with that, but I’m just pointing out that there’s a downside also, which I find disturbing. Are you questioning the way in which what’s important and what’s not are decided? RP: It is hard to advise them, you see, because they’re caught up in the system, and if young researchers want to get jobs after doing research, they must work in an area which is going to be recognised by the people who employ them. If I were talking from the point of view of science, I’d say that in quantum state-reduction there are some important problems: you see why quantum mechanics needs modification. But if they’re working on that, it’s regarded as marginal at best, and crackpot at worst. I could even say that with twistor theory: in mathematics it seems to have caught on, but as a physical theory—if you work in twistor theory you’ll find it hard to get a job. There are very few people in physics departments who know about this subject and consider it important. I remember reading in one of your papers that twistor theory was an esoteric subject from that point of view. Do you still maintain this view? RP: Yes, it’s not much studied as a physical theory. I’m not unhappy from my own personal point of view, because when it gets studied by lots of people it becomes too complicated to find out what they’re doing. I’d have to learn and understand their notation, which would probably be different from mine—and that’s hard work. But if I know that nobody’s working on it, then that’s fine—I’m not rushed, and I don’t have to think I’ve got to get in there before someone else does! Tiling problems have always been a doodling side interest of mine That’s right. But what recent development in science at large has made the greatest impact on you? RP: Gosh, I’d say cosmology is one of the areas. Gravitational lensing—I worked on it for a little bit at one point; it’s an amazing thing. I’d say that astrophysics and cosmology are exciting areas. What aspects do you find most interesting? RP: What I was talking about, gravitational lensing. I find it interesting because it’s an effect of Einstein’s general relativity, which I think people thought was very hard to measure. It was the first thing that convincingly suggested that Einstein’s theory might be right. The Eddington experiment showed the deflection of light of the stars by the sun, but to see this effect on a cosmological scale, to see a galaxy focused by another galaxy, would have seemed absolutely ridiculous. Nowadays it’s an observational tool, people use it all the time—it’s a way by which you can tell the mass of an object just by saying how much focusing it exerts on the image behind it, and it’s wonderful. It’s not just that it’s a powerful tool in cosmology, but also perhaps because it uses something which is close to my heart I suppose; that’s why I like that one so much. But that’s just one area; there are lots of other things. I suppose the experiments on quantum entanglements (non-locality): you can get two ends of the room, 12 metres apart—well, nowadays it’s longer than that —by quantum entanglement effects, the two are now connected through quantum mechanics, and it’s amazing. One knew it had to be there in quantum theory, but it’s very impressive to see that it’s real. Quasicrystals are remarkable. High temperature superconductors are amazing, and so are developments in molecular biology. Some of the things that people are now learning about cells and about cytoskeletons and microtubules—I find them fantastic. Partly this is because I didn’t know what was going on in biology, and having got slightly involved in this subject, I see some remarkable things. I came across Erwin Schrödinger’s book What is life, for which you wrote a preface. RP: That’s right, and it mentions ideas related to aperiodic crystals that he believed were at the heart of life. Can you tell us something about this? RP: My father was very taken with the idea, I recall, and we had these mechanical devices I mentioned earlier which reproduce themselves, and he then developed much more elaborate devices which he made of wood, little things with levers which copied themselves. He sometimes referred to these things in Schrödinger’s terminology as `aperiodic crystals’—a crystal that went on for a while and then stopped growing, because that was how it came to an end. Life was to be thought of in that way. So, it had some influence on him, and indirectly on me. But I don’t know about the quasi-periodic tilings, or whether it has any such connection, historically. I eventually realised that Bach is really my favourite by quite a long way What books are you reading at the moment? RP: Gosh, I never get a chance, though sometimes I have to review a book. I’m not reading one right now. It’s one of my regrets that I find myself so busy that I have hardly any time to read anything for fun, which I like to do. If the day had 36 hours, what would you like to do? RP: If it had 36 hours, there should be a rule that the extra twelve were only allowed to be used for things that were not directly to do with one’s work. I enjoy reading when I get the chance, and also going to the theatre, to films, and listening to concerts—all the things I’d love to do more of. But there are films that I never get the chance to see, including some wonderful ones that are going around now. I used to read quite a bit of science fiction, but I hardly have a chance to now. I sometimes read Michael Frayn; I find him tremendously funny. What about music? Do you have a favourite composer? RP: On the whole I prefer classical music, but I enjoy jazz too—my wife’s influence! My parents each had a favourite composer: for my father it was Wolfgang Amadeus Mozart, who was his God, and for my mother it was Johann Sebastian Bach. I eventually realised that Bach is really my favourite by quite a long way; I’ve always regarded those two as a cut above the other composers. Bach—I think I see much more in his work, there’s something you can always go back to, and there’s yet more and more of it. But I think it’s the perfection in Mozart that I find somewhat magical. I’ve always rated him above Ludwig van Beethoven, who never had quite the same magic for me. I can see he had the power and originality, but somehow there’s not quite the magic there. Maybe even with Franz Schubert there’s a bit of magic that I don’t quite see in Beethoven. To go back further, I like Antonio Vivaldi, Henry Purcell and others. But I also quite like some modern composers, such as Igor Stravinsky, Sergei Prokofiev and Dmitri Shostakovitch. What do you consider the most profound scientific development of the last century? RP: Einstein’s general theory of relativity. I might have also said quantum mechanics, but I think that that theory isn’t finished yet, because of the measurement paradox. I discuss these things in my new book, The Road to Reality, which should be published soon. It’s almost completed, but still there’s work to be done on it. It’s about mathematics and physics and the profound relation between the two. In it I try to give my views of some of the popular developments in modern theoretical physics—I may get myself into more trouble! It’s the perfection in Mozart that I find somewhat magical Finally, what will keep you busy in the future? RP: I have many more books in mind, so I’ll keep writing. Also, I’ll keep working on twistor theory, as there’s a great deal to do in that subject. I have new ideas to do with quantum state-reduction—even an experiment (FELIX) which I hope will be performed in space while I’m still alive! In addition to all this, I recently had a baby boy (Maxwell Sebastian—Max, for short) who was born on 26 May 2000, and which will keep me even busier! \blacksquare Footnotes Oscar García-Prada, is a renowned mathematician working as a CSIC Research Professor at ICMAT in Madrid, Spain. His research combines ideas from differential & algebraic geometry with theoretical physics, while studying moduli spaces and geometric structures. He earned a DPhil from Oxford in 1991, under the guidance of Simon Donaldson and Nigel Hitchin. He is equally passionate about mathematics outreach, in addition to being a trained vocalist, with musical performances in many European venues. This interview was first published in two parts in the December 2000 and March 2001 editions of the Newsletter of the European Mathematical Society. It is republished here, with minor edits, and with permission.
1098	dbpedia	1	67	https://www.wanabqa.com/9-world-renowned-syrian-scientists-you-should-know-about/	en	Renowned Syrian Scientists You Should Know About	https://www.wanabqa.com/…a-logo-final.png	https://www.wanabqa.com/…a-logo-final.png	[ "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/uploads/2023/11/Wa-Nabqa-logo-final.png", "https://www.wanabqa.com/wp-content/themes/shock/assets/svg/send-outline.svg", "https://www.wanabqa.com/wp-content/themes/shock/assets/svg/send-outline.svg", "https://www.wanabqa.com/wp-content/themes/shock/assets/svg/send-outline.svg", "https://www.wanabqa.com/wp-content/themes/shock/assets/svg/send-outline.svg", "https://www.wanabqa.com/wp-content/uploads/2024/04/photo1712828378-768x960.jpeg", "https://www.wanabqa.com/wp-content/uploads/2024/04/photo1712828378-768x960.jpeg", "https://www.wanabqa.com/wp-content/uploads/2024/08/60188-819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2024/08/60188-819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2024/07/Julia-Domna-1--819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2024/07/Julia-Domna-1--819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2024/07/Layal-Watfeh-819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2024/07/Layal-Watfeh-819x1024.jpg", "https://www.wanabqa.com/wp-content/uploads/2022/09/ezgif-3-aefcb69510.gif", "https://www.wanabqa.com/wp-content/uploads/2022/09/ezgif-3-aefcb69510.gif", "https://www.wanabqa.com/wp-content/uploads/2022/09/ezgif-3-2f3358edc8.gif", "https://www.wanabqa.com/wp-content/uploads/2022/09/ezgif-3-2f3358edc8.gif" ]	[]	[]	[ "" ]	null	[ "admin", "Tariq Machhad" ]	2024-04-12T09:59:46+00:00	From groundbreaking discoveries to revolutionary innovations, these Syrians became pioneers in their respective fields and left a lasting impact on the scientific community and beyond. In this post, we are going to briefly explore each person’s story.	en	https://www.wanabqa.com/…icon-150x150.png	Wanabqa -	https://www.wanabqa.com/9-world-renowned-syrian-scientists-you-should-know-about/	Dennis Sciama (1926-1999) One of the Fathers of Modern Cosmology Born in England to Syrian Jewish parents who traced their roots to Aleppo, Dennis was one of the world’s leading physicists. He is known for the huge role he played in the renaissance of British physics in the post-WWII era, both through his own work and that of his extremely influential school of students which he created. He mentored and supervised over 70 PhD students, of whom were: Stephen Hawking; George F. R. Ellis; Brandon Carter (formulator of the Anthropic Principle in cosmology); and David Deutch (the founding father of quantum computing). Jerrier A. Haddad (1922-2017) Co-developer of IBM’s First Commercial Scientific Computer The son of the prominent Syrian writer Abd al-Masih Haddad, Jerrier was a US-born pioneer computer engineer at the multinational technology company of IBM, he co-developed and designed IBM’s first commercial scientific computer, the IBM 701 Electronic Data Processing Machine, which was also its first mass-produced mainframe computer. He was also the co-developer of IBM 604, the world’s first mass-produced programmable electronic calculator. During his journey, he secured 19 patents in the computer and electronics fields. Frank Harary (1921-2005) The Father of Modern Graph Theory Born in the US to a Jewish family originally from Syria, Frank was widely recognized as the father of Modern Graph Theory, a theory he helped found and popularize through the 700 academic papers he wrote and/or contributed to, in addition to 8 books he wrote or co-authored. Among other things, Harary is credited with the invention of the signed graph, a type of mathematical structure in which each edge is assigned a positive or negative sign. This concept has proved to be a useful tool for sociological and psychological research, in addition to being useful for the fields of physics and chemistry. Jorge Sahade (1915–2012) First Latin American to Become President of the IAU An Argentine-born internationally recognized astronomer who was the first Latin American to become the president of the International Astronomical Union (IAU) from 1985 to 1988, a union in which he had held many other prestigious positions. In the Argentinian Capital, he established the Institute of Astronomy and Physics of Space within the University of Buenos Aires and was its first director. Sahade was extremely dedicated to the promotion and development of astronomy in Argentina and Latin America, his efforts eventually led to the establishment of the Latin American League of Astronomy. Ayah Bdeir (born in 1982) One of the World’s Leaders of the Open Source Hardware Movement Born in Lebanon to a Syrian family, Ayah is an entrepreneur, inventor, and interactive artist. She is the founder and CEO of LittleBits, an open-source library of electronic modules that enables users to explore and learn about electronics through prototypes. Ayah’s LittleBits has had a huge impact on millions around the world. Having written curricula that are used in more than 20,000 schools worldwide, LittleBits is an industry leader with over 20 million users. Ayah received numerous recognitions & awards, in addition to her inventions being included in the permanent collection of the Museum of Modern Art (MoMA). Dina Katabi (born 1970) One of the World’s Most Influential Women Engineers A Damascus-born professor of electrical engineering and computer science at Massachusetts Institute of Technology, recognized as one the world’s most innovative researchers in the field of wireless networks. Among many other achievements, she co-developed a faster technique for carrying out the Fourier transformation, a mathematical technique for handling continuous data flow that is fundamental to the functioning of various technologies such as digital medical imaging, Wi-Fi routers, and 4G cellular networks. Rolando Chuaqui (1935-1994) A Mathematician Who Shaped Chile’s Scientific Legacy A Chilean mathematician whose family emigrated from Homs, Syria, who became one of the most influential figures in the advancement of formal sciences in Chile in the twentieth century through his development efforts. He played a pivotal role in establishing and developing mathematics departments at multiple universities throughout Chile. Fawwaz Ulaby (born 1943) Designer of the World’s First Radar to Fly in Space Damascus-born professor of electrical engineering who is known for his abundant and groundbreaking contributions to the fields of Terahertz technology and Microwave remote sensing. In the 1970s, he designed the world’s first radar to fly on satellite for Skylab, the first US space station. In addition to serving as the founding director of a NASA-funded Center for Space Terahertz Technology at the University of Michigan, he has also led many large interdisciplinary NASA projects aimed at the development of high-resolution satellite radar sensors.
1098	dbpedia	2	32	https://www.edge.org/conversation/roger_penrose-chapter-14-consciousness-involves-noncomputable-ingredients	en	Chapter 14 "CONSCIOUSNESS INVOLVES NONCOMPUTABLE INGREDIENTS"			[ "https://www.edge.org/sites/default/files/edge_logo.jpg", "https://www.edge.org/sites/all/modules/print/icons/print_icon.png", "https://www.edge.org/sites/all/modules/print/print_mail/icons/mail_icon.png", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_353_francisco_varela.jpg?itok=tAozyHXZ", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_760_steven_pinker.jpeg?itok=aJsGytnX", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_339_steve_jones.jpg?itok=UvvIHvXL", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_144_roger_schank.jpg?itok=X0_iyv9a", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_210_nicholas_humphrey.jpg?itok=Hpz5VCSD", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_340_marvin_minsky.jpg?itok=GfMHof8r", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-352-1559064261.jpg?itok=IAjYbYy_", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-153-1372370496.jpg?itok=BKk5dW54", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_365_alan_guth.jpg?itok=x5WTi7XQ", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-48-1360100722.jpg?itok=32hlN8vl", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_45_richard_dawkins.jpg?itok=S99nq3O6", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-88-1440448631.png?itok=PaBeUBzt", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_484_roger_penrose.jpg?itok=ObbKjOcO", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-88-1440448631.png?itok=PaBeUBzt", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_340_marvin_minsky.jpg?itok=GfMHof8r", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_45_richard_dawkins.jpg?itok=S99nq3O6", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_210_nicholas_humphrey.jpg?itok=Hpz5VCSD", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_144_roger_schank.jpg?itok=X0_iyv9a", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-48-1360100722.jpg?itok=32hlN8vl", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_339_steve_jones.jpg?itok=UvvIHvXL", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_365_alan_guth.jpg?itok=x5WTi7XQ", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_760_steven_pinker.jpeg?itok=aJsGytnX", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-153-1372370496.jpg?itok=BKk5dW54", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/bk_353_francisco_varela.jpg?itok=tAozyHXZ", "https://www.edge.org/sites/default/files/styles/mini-thumbnail/public/member-pictures/picture-352-1559064261.jpg?itok=IAjYbYy_", "https://m.media-amazon.com/images/I/41a32wGqGwL._SL160_.jpg", "https://m.media-amazon.com/images/I/41BFynAJqRL._SL160_.jpg" ]	[]	[]	[ "" ]	null	[]	null			https://www.edge.org/favicon.ico		https://www.edge.org/conversation/roger_penrose-chapter-14-consciousness-involves-noncomputable-ingredients	[Roger Penrose:] My main technical interest is in twistor theory — a radical approach to space and time — and, in particular, how to fit it in with Einstein's general relativity. There's a major problem there, in which some progress was made a few years ago, and I feel fairly excited about it. It's ultimately aimed at finding the appropriate union between general relativity and quantum theory. When I was first seriously thinking of getting into physics, I was thinking more in terms of quantum theory and quantum electrodynamics than of relativity. I never got very far with quantum theory at that stage, but that was what I started off trying to do in physics. My Ph.D. work had been in pure mathematics. I suppose my most quoted paper from that period was on generalized inverses of matrices, which is a mathematical thing that physicists hardly ever mention. Then there were the nonperiodic tilings, which relate to quasi crystals, and therefore to solid-state physics to some degree. Then there's general relativity. What I suppose I'm best known for in that area are the singularity theorems that I worked on along with Stephen Hawking. I knew him when he was Dennis Sciama's graduate student; I've known him for a long time now. But the main things I've done in relativity apart from that have to do with spinors and with asymptotic structure of spacetimes, relating to gravitational radiation. I believe that general relativity will modify the structure of quantum mechanics. Whereas people usually think that in order to unite quantum theory with gravity theory you should apply quantum mechanics, unmodified, to general relativity, I believe that the rules of quantum theory must themselves be modified in order for this union to be successful. There's a connection between this area of physics and consciousness, in my opinion, but it's a bit roundabout; the arguments are negative. I argue that we shall need to find some noncomputational physical process if we're ever to explain the effects of consciousness. But I don't see it in any existing theory. It seems to me that the only place where noncomputability can possibly enter is in what is called "quantum measurement." But we need a new theory of quantum measurement. It must be a noncomputable new theory. There is scope for this, if the new theory involves changes in the very structure of quantum theory, of the kind that could arise when it's appropriately united with general relativity. But this is something for the distant future. Why do I believe that consciousness involves noncomputable ingredients? The reason is Gödel's theorem. I sat in on a course when I was a research student at Cambridge, given by a logician who made the point about Gödel's theorem that the very way in which you show the formal unprovability of a certain proposition also exhibits the fact that it's true. I'd vaguely heard about Gödel's theorem — that you can produce statements that you can't prove using any system of rules you've laid down ahead of time. But what was now being made clear to me was that as long as you believe in the rules you're using in the first place, then you must also believe in the truth of this proposition whose truth lies beyond those rules. This makes it clear that mathematical understanding is something you can't formulate in terms of rules. That's the view which, much later, I strongly put forward in my book The Emperor's New Mind. There are possible loopholes to this use of Gödel's theorem, which people can pick on, and they often do. Most of these counterarguments are misunderstandings. Dan Dennett makes genuine points, though, and these need a little more work to see why they still don't get around the Gödel argument. Dennett's case rests on the conten-tion that we use what are called "bottom-up" rather than "top-down" algorithms in our thinking — here, mathematical thinking. A top-down algorithm is specific to the solution of some particular problem, and it provides a definite procedure that is known to solve that problem. A bottom-up algorithm is one that is not specific to any particular problem but is more loosely organized, so that it learns by experience and gradually improves, eventually giving a good solution to the problem at hand. Many people have the idea that bottom-up systems rather than top-down, programmed algorithmic systems are the way the brain works. I apply the Gödel argument to bottom-up systems too, in my most recent book, Shadows of the Mind. I make a strong case that bottom-up systems also won't get around the Gödel argument. Thus, I'm claiming, there's something in our conscious understanding that simply isn't computational; it's something different. A lot of what the brain does you could do on a computer. I'm not saying that all the brain's action is completely different from what you do on a computer. I am claiming that the actions of consciousness are something different. I'm not saying that consciousness is beyond physics, either — although I'm saying that it's beyond the physics we know now. The argument in my latest book is basically in two parts. The first part shows that conscious thinking, or conscious understanding, is something different from computation. I'm being as rigorous as I can about that. The second part is more exploratory and tries to find out what on earth is going on. That has two ingredients to it, basically. My claim is that there has to be something in physics that we don't yet understand, which is very important, and which is of a noncomputational character. It's not specific to our brains; it's out there, in the physical world. But it usually plays a totally insignifi-cant role. It would have to be in the bridge between quantum and classical levels of behavior — that is, where quantum measurement comes in. Modern physical theory is a bit strange, because one has two levels of activity. One is the quantum level, which refers to small-scale phenomena; small energy differences are what's relevant. The other level is the classical level, where you have large-scale phenomena, where the roles of classical physics — Newton, Maxwell, Einstein — operate. People tend to think that because quantum mechanics is a more modern theory than classical physics, it must be more accurate, and therefore it must explain classical physics if only you could see how. That doesn't seem to be true. You have two scales of phenomena, and you can't deduce the classical behavior from the quantum behavior any more than the other way around. We don't have a final quantum theory. We're a long way from that. What we have is a stopgap theory. And it's incomplete in ways that affect large-scale phenomena, not just things on the tiny scale of particles. Current physics ideas will survive as limiting behavior, in the same sense that Newtonian mechanics survives relativity. Relativity modifies Newtonian mechanics, but it doesn't really supplant it. Newtonian mechanics is still there as a limit. In the same sense, quantum theory, as we now use it, and classical physics, which includes Einstein's general theory, are limits of some theory we don't yet have. My claim is that the theory we don't yet have will contain noncomputational ingredients. It must play its role when you magnify something from a quantum level to a classical level, which is what's involved in "measurement." The way you treat this nowadays, in standard quantum theory, is to introduce randomness. Since randomness comes in, quantum theory is called a probabilistic theory. But randomness only comes in when you go from the quantum to the classical level. If you stay down at the quantum level, there's no randomness. It's only when you magnify something up, and you do what people call "make a measurement." This consists of taking a small-scale quantum effect and magnifying it out to a level where you can see it. It's only in that process of magnification that probabilities come in. What I'm claiming is that whatever it is that's really happening in that process of magnification is different from our present understanding of physics, and it is not just random. It is noncomputational; it's something essentially different. This idea grew from the time when I was a graduate student, and I felt that there must be something noncomputational going on in our thought processes. I've always had a scientific attitude, so I believed that you have to understand our thinking processes in terms of science in some way. It doesn't have to be a science that we understand now. There doesn't seem to be any place for conscious phenomena in the science that we understand today. On the other hand, people nowadays often seem to believe that if you can't put something on a computer, it's not science. I suppose this is because so much of science is done that way these days; you simulate physical activity computationally. People don't realize that something can be noncomputational and yet perfectly scientific, perfectly mathematically describable. The fact that I'm coming into all this from a mathematical background makes it easier for me to appreciate that there are things that aren't computational but are perfectly good mathematics. When I say "noncomputational" I don't mean random. Nor do I mean incomprehensible. There are very clear-cut things that are noncomputational and are known in mathematics. The most famous example is Hilbert's tenth problem, which has to do with solving algebraic equations in integers. You're given a family of algebraic equations and you're asked, "Can you solve them in whole numbers? That is, do the equations have integer solutions?" That question — yes or no, for any particular example — is not one a computer could answer in any finite amount of time. There's a famous theorem, due to Yuri Matiyasevich, which proves that there's no computational way of answering this question in general. In particular cases, you might be able to give an answer by means of some algorithmic procedure. However, given any such algorithmic procedure, which you know doesn't give you wrong answers, you can always come up with an algebraic equation that will defeat that procedure but where you know that the equation actually has no integer solutions. Whatever understandings are available to human beings, there are — in relation particularly to Hilbert's tenth problem — things that can't be encapsulated in computational form. You could imagine a toy universe that evolved in some way according to Hilbert's tenth problem. This evolution could be completely deterministic yet not computable. In this toy model, the future would be mathematically fixed; however, a computer could not tell you what this future is. I'm not saying that this is the way the laws of physics work at some level. But the example shows you that there's an issue. I'm sure the real universe is much more subtle than that. The Emperor's New Mind served more than one purpose. Partly I was trying to get a scientific idea across, which was that noncomputability is a feature of our conscious thinking, and that this is a perfectly reasonable scientific point of view. But the other part of it was educational, in a sense. I was trying to explain what modern physics and modern mathematics is like. Thus, I had two quite different motivations in writing the book. One was to put a philosophical point of view across, and the other was that I felt I wanted to explain scientific things. For quite a long time, I'd felt that I did want to write a book at a semipopular level to explain certain ideas that excited me — ideas that weren't particularly unconventional — about what science is like. I had it in the back of my mind that someday I would do such a thing. It wasn't until I saw a BBC "Horizon" program, in which Marvin Minsky and various people were making some rather extreme and outrageous statements, that I was finally moved to write the book. I felt that there was a point of view which was essentially the one I believe in, but which I had never seen expressed anywhere and which needed to be put forward. I knew that this was what I should do. I would write this book explaining a lot of things in science, but this viewpoint would give it a focus. Also it had to be a book, because it's cross-disciplinary and not something you could express very well in any particular journal. I suppose what I was doing in that book was philosophy, but somebody complained that I hardly referred to a single philosopher — which I think is true. That's because the questions that interest philosophers tend to be rather different from those that interest scientists; philosophers tend to get involved in their own internal arguments. When I argue that the action of the conscious brain is noncomputational, I'm not talking about quantum computers. Quantum computers are perfectly well-defined concepts, which don't involve any change in physics; they don't even perform noncomputational actions. Just by themselves, they don't explain what's going on in the conscious actions of the brain. Dan Dennett thinks of a quantum computer as a skyhook, his term for a miracle. However, it's a perfectly sensible thing. Nevertheless, I don't think it can explain the way the brain works. That's another misunderstanding of my views. But there could be some element of quantum computation in brain action. Perhaps I could say something about that. One of the essential features of the quantum level of activity is that you have to consider the coexistence of various different alternative events. This is fundamental to quantum mechanics. If X can happen, and if Y can happen, then any combination of X and Y, weighted with complex coefficients, can also occur. According to quantum mechanics, a particle can have states in which it occupies several positions at once. When you treat a system according to quantum mechanics, you have to allow for these so-called superpositions of alternatives. The idea of a quantum computer, as it's been put forward by David Deutsch, Richard Feynman, and various other people, is that the computations are the things that are superposed. Rather than your computer doing one computation, it does a lot of them all at once. This may be, under certain circumstances, very efficient. The problem comes at the end, when you have to get one piece of information out of the superposition of all those different computations. It's extremely difficult to have a system that does this usefully. It's pretty radical to say that the brain works this way. My present view is that the brain isn't exactly a quantum computer. Quantum actions are important in the way the brain works, but the brain's noncomputational actions occur at the bridge from the quantum to the classical level, and that bridge is beyond our present understanding of quantum mechanics. The most promising place by far to look for this quantum- classical borderline action is in recent work on microtubules by Stuart Hameroff and his colleagues at the University of Arizona. Eukaryotic cells have something called a cytoskeleton, and parts of the cytoskeleton consist of these microtubules. In particular, microtubules inhabit neurons in the brain. They also control one celled animals, such as parameciums and amoebas, which don't have any neurons. These animals can swim around and do very complicated things. They apparently learn by experience, but they're not controlled by nervous systems; they're controlled by another kind of structure, which is probably the cytoskeleton and its system of microtubules. Microtubules are long little tubes, a few nanometers in diameter. In the case of the microtubules lying within neurons, they very likely extend a good deal of the length of the axons and the dendrites. You find them from one end of the axons and dendrites to the other. They seem to be responsible for controlling the strengths of the connections between different neurons. Although at any one moment the activity of neurons could resemble that of a computer, this computer would be subject to continual change in the way it's "wired up," under the control of a deeper level of structure. This deeper level is very probably the system of microtubules within neurons. Their action has a lot to do with the transport of neurotransmitter chemicals along axons, and the growth of dendrites. The neurotransmitter molecules are transported along the microtubules, and these molecules are critical for the behavior of the synapses. The strength of the synapse can be changed by the action of the microtubules. What interests me about the microtubules is that they're tubes, and according to Hameroff and his colleagues there's a computational action going along on the tubes themselves, on the outside. A protein substance called tubulin forms interpenetrating spiral arrangements constituting the tubes. Each tubulin molecule can have two states of electric polarization. As with an electronic computer, we can label these states with a 1 and a 0. These produce various patterns along the microtubules, and they can go along the tubes in some form of computational action. I find this idea very intriguing. By itself, a microtubule would just be a computer, but at a deeper level than neurons. You still have computational action, but it's far beyond what people are considering now. There are enormously more of these tubulins than there are neurons. What also interests me is that within the microtubules you have a plausible place for a quantum-oscillation activity that's isolated from the outside. The problem with trying to use quantum mechanics in the action of the brain is that if it were a matter of quantum nerve signals, these nerve signals would disturb the rest of the material in the brain, to the extent that the quantum coherence would get lost very quickly. You couldn't even attempt to build a quantum computer out of ordinary nerve signals, because they're just too big and in an environment that's too disorganized. Ordinary nerve signals have to be treated classically. But if you go down to the level of the microtubules, then there's an extremely good chance that you can get quantum- level activity inside them. For my picture, I need this quantum-level activity in the microtubules; the activity has to be a large scale thing that goes not just from one microtubule to the next but from one nerve cell to the next, across large areas of the brain. We need some kind of coherent activity of a quantum nature which is weakly coupled to the computational activity that Hameroff argues is taking place along the microtubules. There are various avenues of attack. One is directly on the physics, on quantum theory, and there are certain experiments that people are beginning to perform, and various schemes for a modification of quantum mechanics. I don't think the experiments are sensitive enough yet to test many of these specific ideas. One could imagine experiments that might test these things, but they'd be very hard to perform. On the biological side, one would have to think of good experiments to perform on microtubules, to see whether there's any chance that they do support any of these large-scale quantum coherent effects. When I say "quantum coherent effects," I mean things a bit like superconductivity or superfluidity, where you have quantum systems on a large scale. Back to Contents
1098	dbpedia	1	71	https://www.newscientist.com/article/2053929-a-brief-history-of-stephen-hawking-a-legacy-of-paradox/	en	A brief history of Stephen Hawking: A legacy of paradox	https://images.newscient…/08/73149807.jpg	https://images.newscient…/08/73149807.jpg	[ "https://images.newscientist.com/wp-content/uploads/2015/08/73149807.jpg", "https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=300 300w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=400 400w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=700 700w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=800 800w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=837 837w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=900 900w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1003 1003w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1100 1100w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1200 1200w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1300 1300w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1400 1400w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1500 1500w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1600 1600w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1674 1674w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1700 1700w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1800 1800w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=1900 1900w, https://images.newscientist.com/wp-content/uploads/2015/08/h_02681055.jpg?width=2006 2006w", "https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=284 284w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=400 400w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=568 568w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=717 717w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=800 800w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=900 900w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=1000 1000w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=1100 1100w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=1200 1200w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=1300 1300w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=1434 1434w", "https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=284 284w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=400 400w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=568 568w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=717 717w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=800 800w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=900 900w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=1000 1000w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=1100 1100w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=1200 1200w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=1300 1300w, https://images.newscientist.com/wp-content/uploads/2022/03/21131926/SEI_94721274.jpg?width=1434 1434w", "https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=300 300w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=400 400w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=700 700w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=800 800w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=837 837w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=900 900w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1003 1003w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1100 1100w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1200 1200w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1300 1300w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1400 1400w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1500 1500w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1600 1600w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1674 1674w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1700 1700w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1800 1800w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=1900 1900w, https://images.newscientist.com/wp-content/uploads/2015/08/physicist_stephen_hawking_in_zero_gravity_nasa.jpg?width=2006 2006w", "https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=273 273w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=321 321w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=369 369w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=394 394w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=546 546w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=642 642w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=738 738w, https://images.newscientist.com/wp-content/uploads/2024/04/05141620/SEI_198589457.jpg?width=788 788w", "https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=273 273w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=321 321w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=369 369w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=394 394w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=546 546w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=642 642w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=738 738w, https://images.newscientist.com/wp-content/uploads/2024/01/11131308/SEI_184538298.jpg?width=788 788w", "https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=273 273w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=321 321w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=369 369w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=394 394w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=546 546w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=642 642w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=738 738w, https://images.newscientist.com/wp-content/uploads/2023/03/22130732/SEI_149170296.jpg?width=788 788w", "https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=273 273w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=321 321w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=369 369w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=394 394w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=500 500w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=546 546w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=600 600w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=642 642w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=738 738w, https://images.newscientist.com/wp-content/uploads/2023/03/17122440/SEI_148399225.jpg?width=788 788w", "https://www.newscientist.com/build/images/footer/apple.691391b5.svg", "https://www.newscientist.com/build/images/footer/google.f217b9d7.svg", "https://www.newscientist.com/build/images/footer/instagram.49e1fa34.svg", "https://www.newscientist.com/build/images/footer/meta.f61ba35f.svg", "https://www.newscientist.com/build/images/footer/twitter.86154302.svg", "https://www.newscientist.com/build/images/footer/tiktok.020a2952.svg", "https://www.newscientist.com/build/images/footer/linkedin.aff7042c.svg", "https://www.newscientist.com/build/images/footer/whatsapp.a05d81f2.svg" ]	[]	[]	[ "Stephen Hawking", "physics", "obituary", "stephen hawking" ]	null	[ "Stuart Clark", "#author.fullName}" ]	2018-03-14T05:57:52+00:00	He was an icon for many reasons, but as we remember Stephen Hawking, his remarkable contribution to science is undoubtedly his greatest legacy	en	/build/images/layup/new-sci-favicon.d65b52af.ico	New Scientist	https://www.newscientist.com/article/2053929-a-brief-history-of-stephen-hawking-a-legacy-of-paradox/	Stephen Hawking, the world-famous theoretical physicist, has died at the age of 76. Hawking’s children, Lucy, Robert and Tim said in a statement: “We are deeply saddened that our beloved father passed away today. “He was a great scientist and an extraordinary man whose work and legacy will live on for many years. His courage and persistence with his brilliance and humour inspired people across the world. “He once said: ‘It would not be much of a universe if it wasn’t home to the people you love.’ We will miss him for ever.” The most recognisable scientist of our age, Hawking holds an iconic status. His genre-defining book, A Brief History of Time, has sold more than 10 million copies since its publication in 1988, and has been translated into more than 35 languages. He appeared on Star Trek: The Next Generation, The Simpsons and The Big Bang Theory. His early life was the subject of an Oscar-winning performance by Eddie Redmayne in the 2014 film The Theory of Everything. He was routinely consulted for oracular pronouncements on everything from time travel and alien life to Middle Eastern politics and nefarious robots. He had an endearing sense of humour and a daredevil attitude – relatable human traits that, combined with his seemingly superhuman mind, made Hawking eminently marketable. But his cultural status – amplified by his disability and the media storm it invoked – often overshadowed his scientific legacy. That’s a shame for the man who discovered what might prove to be the key clue to the theory of everything, advanced our understanding of space and time, helped shape the course of physics for the last four decades and whose insight continues to drive progress in fundamental physics today. Beginning with the big bang Hawking’s research career began with disappointment. Arriving at the University of Cambridge in 1962 to begin his PhD, he was told that Fred Hoyle, his chosen supervisor, already had a full complement of students. The most famous British astrophysicist at the time, Hoyle was a magnet for the more ambitious students. Hawking didn’t make the cut. Instead, he was to work with Dennis Sciama, a physicist Hawking knew nothing about. In the same year, Hawking was diagnosed with amyotrophic lateral sclerosis, a degenerative motor neurone disease that quickly robs people of the ability to voluntarily move their muscles. He was told he had two years to live. Although Hawking’s body may have weakened, his intellect stayed sharp. Two years into his PhD, he was having trouble walking and talking, but it was clear that the disease was progressing more slowly than the doctors had initially feared. Meanwhile, his engagement to Jane Wilde – with whom he later had three children, Robert, Lucy and Tim – renewed his drive to make real progress in physics. Working with Sciama had its advantages. Hoyle’s fame meant that he was seldom in the department, whereas Sciama was around and eager to talk. Those discussions stimulated the young Hawking to pursue his own scientific vision. Hoyle was vehemently opposed to the big bang theory (in fact, he had coined the name “big bang” in mockery). Sciama, on the other hand, was happy for Hawking to investigate the beginning of time. Time’s arrow Hawking was studying the work of Roger Penrose, which proved that if Einstein’s general theory of relativity is correct, at the heart of every black hole must be a point where space and time themselves break down – a singularity. Hawking realised that if time’s arrow were reversed, the same reasoning would hold true for the universe as a whole. Under Sciama’s encouragement, he worked out the maths and was able to prove it: the universe according to general relativity began in a singularity. Hawking was well aware, however, that Einstein didn’t have the last word. General relativity, which describes space and time on a large scale, doesn’t take into account quantum mechanics, which describes matter’s strange behaviour at much smaller scales. Some unknown “theory of everything” was needed to unite the two. For Hawking, the singularity at the universe’s origin did not signal the breakdown of space and time; it signalled the need for quantum gravity. Luckily, the link that he forged between Penrose’s singularity and the singularity at the big bang provided a key clue for finding such a theory. If physicists wanted to understand the origin of the universe, Hawking had just shown them exactly where to look: a black hole. Black holes were a subject ripe for investigation in the early 1970s. Although Karl Schwarzschild had found such objects lurking in the equations of general relativity back in 1915, theoreticians viewed them as mere mathematical anomalies and were reluctant to believe they could actually exist. Albeit frightening, their action is reasonably straightforward: black holes have such strong gravitational fields that nothing, not even light, can escape their grip. Any matter that falls into one is forever lost to the outside world. This, however, is a dagger in the heart of thermodynamics. Thermodynamic threat The second law of thermodynamics is one of the most well-established laws of nature. It states that the entropy, or level of disorder in a system, always increases. The second law gives form to the observation that ice cubes will melt into a puddle, but a puddle of water will never spontaneously turn into a block of ice. All matter contains entropy, so what happens when it is dropped into a black hole? Is entropy lost along with it? If so, the total entropy of the universe goes down and black holes would violate the second law of thermodynamics. Hawking thought that this was fine. He was happy to discard any concept that stood in the way to a deeper truth. And if that meant the second law, then so be it. Bekenstein and breakthrough But Hawking met his match at a 1972 physics summer school in the French ski resort of Les Houches, France. Princeton University graduate student Jacob Bekenstein thought that the second law of thermodynamics should apply to black holes too. Bekenstein had been studying the entropy problem and had reached a possible solution thanks to an earlier insight of Hawking’s. A black hole hides its singularity with a boundary known as the event horizon. Nothing that crosses the event horizon can ever return to the outside. Hawking’s work had shown that the area of a black hole’s event horizon never decreases over time. What’s more, when matter falls into a black hole, the area of its event horizon grows. Bekenstein realised this was key to the entropy problem. Every time a black hole swallows matter, its entropy appears to be lost, and at the same time, its event horizon grows. So, Bekenstein suggested, what if – to preserve the second law – the area of the horizon is itself a measure of entropy? Hawking immediately disliked the idea and was angry that his own work had been used in support of a concept so flawed. With entropy comes heat, but the black hole couldn’t be radiating heat – nothing can escape its pull of gravity. During a break from the lectures, Hawking got together with colleagues Brandon Carter, who also studied under Sciama, and James Bardeen, of the University of Washington, and confronted Bekenstein. The disagreement bothered Bekenstein. “These three were senior people. I was just out of my PhD. You worry whether you are just stupid and these guys know the truth,” he recalls. Back in Cambridge, Hawking set out to prove Bekenstein wrong. Instead, he discovered the precise form of the mathematical relationship between entropy and the black hole’s horizon. Rather than destroying the idea, he had confirmed it. It was Hawking’s greatest breakthrough. Hawking radiation Hawking now embraced the idea that thermodynamics played a part in black holes. Anything that has entropy, he reasoned, also has a temperature – and anything that has a temperature can radiate. His original mistake, Hawking realised, was in only considering general relativity, which says that nothing – no particles, no heat – can escape the grip of a black hole. That changes when quantum mechanics comes into play. According to quantum mechanics, fleeting pairs of particles and antiparticles are constantly appearing out of empty space, only to annihilate and disappear in the blink of an eye. When this happens in the vicinity of an event horizon, a particle-antiparticle pair can be separated – one falls behind the horizon while one escapes, leaving them forever unable to meet and annihilate. The orphaned particles stream away from the black hole’s edge as radiation. The randomness of quantum creation becomes the randomness of heat. “I think most physicists would agree that Hawking’s greatest contribution is the prediction that black holes emit radiation,” says Sean Carroll, a theoretical physicist at the California Institute of Technology. “While we still don’t have experimental confirmation that Hawking’s prediction is true, nearly every expert believes he was right.” Experiments to test Hawking’s prediction are so difficult because the more massive a black hole is, the lower its temperature. For a large black hole – the kind astronomers can study with a telescope – the temperature of the radiation is too insignificant to measure. As Hawking himself often noted, it was for this reason that he was never awarded a Nobel Prize. Still, the prediction was enough to secure him a prime place in the annals of science, and the quantum particles that stream from the black hole’s edge would forever be known as Hawking radiation. Some have suggested that they should more appropriately be called Bekenstein-Hawking radiation, but Bekenstein himself rejects this. “The entropy of a black hole is called Bekenstein-Hawking entropy, which I think is fine. I wrote it down first, Hawking found the numerical value of the constant, so together we found the formula as it is today. The radiation was really Hawking’s work. I had no idea how a black hole could radiate. Hawking brought that out very clearly. So that should be called Hawking radiation.” Theory of everything The Bekenstein-Hawking entropy equation is the one Hawking asked to have engraved on his tombstone. It represents the ultimate mash-up of physical disciplines because it contains Newton’s constant, which clearly relates to gravity; Planck’s constant, which betrays quantum mechanics at play; the speed of light, the talisman of Einstein’s relativity; and the Boltzmann constant, the herald of thermodynamics. The presence of these diverse constants hinted at a theory of everything, in which all physics is unified. Furthermore, it strongly corroborated Hawking’s original hunch that understanding black holes would be key in unlocking that deeper theory. Hawking’s breakthrough may have solved the entropy problem, but it raised an even more difficult problem in its wake. If black holes can radiate, they will eventually evaporate and disappear. So what happens to all the information that fell in? Does it vanish too? If so, it will violate a central tenet of quantum mechanics. On the other hand, if it escapes from the black hole, it will violate Einstein’s theory of relativity. With the discovery of black hole radiation, Hawking had pit the ultimate laws of physics against one another. The black hole information loss paradox had been born. Hawking staked his position in another ground-breaking and even more contentious paper entitled Breakdown of predictability in gravitational collapse, published in Physical Review D in 1976. He argued that when a black hole radiates away its mass, it does take all of its information with it – despite the fact that quantum mechanics expressly forbids information loss. Soon other physicists would pick sides, for or against this idea, in a debate that continues to this day. Indeed, many feel that information loss is the most pressing obstacle in understanding quantum gravity. “Hawking’s 1976 argument that black holes lose information is a towering achievement, perhaps one of the most consequential discoveries on the theoretical side of physics since the subject was invented,” says Raphael Bousso of the University of California, Berkeley. Concession By the late 1990s, results emerging from string theory had most theoretical physicists convinced that Hawking was wrong about information loss, but Hawking, known for his stubbornness, dug in his heels. It wasn’t until 2004 that he would change his mind. And he did it with flair – dramatically showing up at a conference in Dublin and announcing his updated view: black holes cannot lose information. Today, however, a new paradox known as the firewall has thrown everything into doubt (see “Hawking’s paradox”, below). It is clear that the question Hawking raised is at the core of the quest for quantum gravity. “Black hole radiation raises serious puzzles we are still working very hard to understand,” says Carroll. “It’s fair to say that Hawking radiation is the single biggest clue we have to the ultimate reconciliation of quantum mechanics and gravity, arguably the greatest challenge facing theoretical physics today.” Hawking’s legacy, says Bousso, will be “having put his finger on the key difficulty in the search for a theory of everything”. Hawking continued pushing the boundaries of theoretical physics at a seemingly impossible pace for the rest of his life. He made important inroads towards understanding how quantum mechanics applies to the universe as a whole, leading the way in the field known as quantum cosmology. His progressive disease pushed him to tackle problems in novel ways, which contributed to his remarkable intuition for his subject. As he lost the ability to write out long, complicated equations, Hawking found new and inventive methods to solve problems in his head, usually by reimagining them in geometric form. But, like Einstein before him, Hawking never produced anything quite as revolutionary as his early work. “Hawking’s most influential work was done in the 1970s, when he was younger,” says Carroll, “but that’s completely standard even for physicists who aren’t burdened with a debilitating neurone disease.” Hawking the superstar In the meantime, the publication of A Brief History of Time catapulted Hawking to cultural stardom and gave a fresh face to theoretical physics. He never seemed to mind. “In front of the camera, Hawking played the character of Hawking. He seemed to play with his cultural status,” says Hélène Mialet, an anthropologist from the University of California, Berkeley, who courted controversy in 2012 with the publication of her book Hawking Incorporated. In it, she investigated the way the people around Hawking helped him build and maintain his public image. That public image undoubtedly made his life easier than it might otherwise have been. As Hawking’s disease progressed, technologists gladly provided increasingly complicated machines to allow him to communicate. This, in turn, let him continue doing the thing for which he should ultimately be remembered: his science. “Stephen Hawking has done more to advance our understanding of gravitation than anyone since Einstein,” Carroll says. “He was a world-leading theoretical physicist, clearly the best in the world for his time among those working at the intersection of gravity and quantum mechanics, and he did it all in the face of a terrible disease. He is an inspirational figure, and history will certainly remember him that way.”
1098	dbpedia	3	68	https://www.nytimes.com/2018/03/14/obituaries/stephen-hawking-dead.html	en	Stephen Hawking Dies at 76; His Mind Roamed the Cosmos	https://static01.nyt.com…a67&k=ZQJBKqZ0VN	https://static01.nyt.com…a67&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2018/03/19/science/hawking-full-bleed/hawking-full-bleed-articleLarge.jpg?quality=75&auto=webp&disable=upscale", "https://static01.nyt.com/images/2018/03/15/world/15Hawking-culture-video/15Hawking-culture-video-videoSixteenByNine3000.jpg", "https://static01.nyt.com/images/2015/06/09/science/09earthlings3/09earthlings3-videoLarge-v3.jpg" ]	[ "https://vp.nyt.com/video/2018/03/14/75868_1_15hawking-obit_wg_240p.mp4" ]	[]	[ "" ]	null	[ "Dennis Overbye", "www.nytimes.com", "dennis-overbye" ]	2018-03-14T00:00:00	A physicist and best-selling author, Dr. Hawking did not allow his physical limitations to hinder his quest to answer “the big question: Where did the universe come from?”	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2018/03/14/obituaries/stephen-hawking-dead.html	“Wind back the clock.” “Wind back the clock. Until you get a universe born from a black hole exploding.” “We learn to listen.” Stephen Hawking, one of the greatest physicists of our time, didn’t let a rare motor neuron illness that bound him to a wheelchair stop him from roaming everywhere else. Despite being told, age 22, that he had only a few years left to live, he went on to live for decades more, his mind traveling through the cosmos, making breakthroughs in scientific theories on black holes and relativity, capturing the imagination of millions around the world. And he didn’t stop there. “Don’t feel bad, Lisa. Sometimes the smartest of us can be the most childish.” “Even you?” “No. Not me.” He also broke through onto our screens and radios. “You guys were never even on ‘Futurama.’ I was on three times.” With cameos on TV shows — “You made an arithmetic mistake on Page 2.” — in advertisements and in songs, becoming a pop culture icon — “If you are looking for trouble, you found it.” “Yeah, just try me, you ... ow!” — displaying a wicked sense of humor as he went. “It’s a little hard to read your tone of voice. When you say that, are you being sarcastic?” “Yes.” “I thought so.” His familiar synthesized voice graced Pink Floyd songs and TV commercials. “Mankind’s greatest achievements have come about by talking.” “Seconds after the Big Bang, called inflation, in which the ... [scream]!” He ran over rival physicists, and had other celebrities pandering to him in comedy sketches. “Time to find my new voice.” “Surely it has to be me? Listen to my voice. It’s got a tinge of physics.” He offered sound advice to the next generation. “What do you think is the cosmological effect of Zayn leaving [pop music band] One Direction?” “Finally, a question about something important. My advice to any heartbroken young girl is to pay loads of attention to the study of theoretical physics.” And in 2014, his extraordinary life was immortalized in a film entitled “The Theory of Everything.” “All the way back, to see what happened at the beginning of time itself.” While Hawking may have left planet Earth, his many fans can be sure that his legacy remains. “I could have gone on and on. Space, here I come.”
1098	dbpedia	1	26	https://www.ask-oracle.com/birth-chart/dennis-w-sciama/	en	Dennis W. Sciama Age, Birthday, Zodiac Sign and Birth Chart	https://www.ask-oracle.c…808509_Small.jpg	https://www.ask-oracle.c…808509_Small.jpg	[ "https://askoraclecdn.sfo3.cdn.digitaloceanspaces.com/birth-chart/d/1926/bcw_wheel_dennis-w-sciama.png", "https://askoraclecdn.sfo3.cdn.digitaloceanspaces.com/birth-chart/d/1926/bcw_aspect_dennis-w-sciama.png", "https://askoraclecdn.sfo3.cdn.digitaloceanspaces.com/birth-chart/d/1926/bc__dennis-w-sciama_D1.png" ]	[]	[]	[ "" ]	null	[]	2010-06-25T09:37:49+00:00	Astrology details of Dennis W. Sciama such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.	en	https://www.ask-oracle.c…04/favicon32.png	Ask Oracle	https://www.ask-oracle.com/birth-chart/dennis-w-sciama/	Zodiac Sign (Western) Scorpio Sunsign, Tropical Zodiac Zodiac Sign (Vedic) Aries Moonsign, Sidereal Zodiac Age (Today) 97 years, 9 months, 6 days Your next birthday is 85 days away. Birthday Thursday, November 18, 1926 Death Anniversary Wednesday, December 18, 2024 Next death anniversary is 115 days away. Death Date December 18, 1999 Place of Birth Manchester Time Zone - Europe/London (0:0 W) Chinese Zodiac Sign Tiger (虎) Birth Number 9 Life Path Number 2 Name Number (Chaldean) 42 => 6 Name Number (Pythagorean) 8 Meaning of the name - Dennis follower of Dionysus Read Full Dennis Name Analysis November 18, 1926 Facts Generation Group Dennis W. Sciama belongs to the GI Generation group. Place of Birth: Manchester Place of Death: Oxford Cause of Death: Educated At: Malvern College \| Trinity College \| University of Cambridge Occupation: university teacher \| astrophysicist \| physicist \| astronomer Spouses: Children: Employers: King's College London \| University of Texas at Austin \| Cornell University \| University of Cambridge \| University of Oxford \| Harvard University Awards Received: Guthrie Medal and Prize \| Fellow of the Royal Society Astrology Analysis Western Astrology Chart North Indian Kundli Ephemeris for November 18, 1926 Note: Moon position is location and time sensitive. Planet Position (Tropical, Western) Transits on November 18, 2023 Secondary Progressions for November 18, 2023 Sun 25 Scorpio 24 25 Scorpio 52 3 Pisces 53 Moon 9 Taurus 45 0 Aquarius 13 18 Scorpio 22 Mercury 10 Sagittarius 44 12 Sagittarius 14 21 Pisces 44 Venus 24 Scorpio 39 11 Libra 13 26 Pisces 14 Mars 6 Taurus 51 25 Scorpio 48 0 Gemini 46 Jupiter 19 Aquarius 14 8 Taurus 27 8 Pisces 22 Saturn 28 Scorpio 42 0 Pisces 39 7 Sagittarius 40 Uranus 25 Pisces 38 20 Taurus 53 27 Pisces 58 Neptune 26 Leo 57 24 Pisces 58 25 Leo 23 Pluto 15 Cancer 45 28 Capricorn 14 14 Cancer 0 Rahu 9 Cancer 16 23 Aries 10 4 Cancer 8 Ketu 9 Capricorn 16 23 Libra 10 4 Capricorn 8 More For Scorpio Free Horoscopes Love Compatibility Personality Traits Scorpio Man Scorpio Woman Chandra Kundali (Equal House, North Indian Diamond Chart) Astrology Transits Analysis for Year 2024 Note: Multiple transits occurring in close proximity often signify a major event in a person's life. Dennis W. Sciama's 2024 Transits to Natal Planets Jupiter conjunction Mars Exact: 31 January, 2024 Saturn sextile Mars Exact: 10 February, 2024 Jupiter trine Ketu Exact: 20 February, 2024 Jupiter conjunction Moon Exact: 01 March, 2024 Saturn sextile Moon Exact: 11 March, 2024 Mars conjunction Jupiter Exact: 11 March, 2024 Saturn square Mercury Exact: 11 March, 2024 Jupiter opposition Sun Exact: 10 May, 2024 Jupiter opposition Venus Exact: 10 May, 2024 Jupiter opposition Saturn Exact: 20 May, 2024 Mars aspects Saturn Exact: 09 June, 2024 Mars conjunction Mars Exact: 19 June, 2024 Mars opposition Saturn Exact: 19 July, 2024 Jupiter opposition Mercury Exact: 19 July, 2024 Mars opposition Mercury Exact: 08 August, 2024 Jupiter trine Jupiter Exact: 07 September, 2024 Jupiter trine Jupiter Exact: 06 November, 2024
1098	dbpedia	2	73	https://www.ranker.com/list/the-theory-of-everything-movie-quotes/harper-brooks	en	The 15 Best Quotes From 'The Theory of Everything'	https://imgix.ranker.com/list_img_v2/14610/1894610/original/the-theory-of-everything-movie-quotes	https://imgix.ranker.com/list_img_v2/14610/1894610/original/the-theory-of-everything-movie-quotes	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/brand/20/header/logo.png?fit=fill&fm=png&q=60&dpr=2&w=75&h=56?v=16", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/27122/135605857/original/135605857-u1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://i.ytimg.com/vi/C2OBbb8h988/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/user_node_img/50032/1000635822/original/a-very-heavy-defeat-photo-u1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://i.ytimg.com/vi/_GU9Sve1SA4/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://i.ytimg.com/vi/HUOZeYLWuro/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://i.ytimg.com/vi/g8rcBWYT_3o/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://imgix.ranker.com/img/icons/voteUp.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://imgix.ranker.com/img/icons/voteDown.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=44&w=44", "https://i.ytimg.com/vi/qhjguPCQuc0/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&w=650", "https://v3api.ranker.com/api/px?lid=1894610" ]	[]	[]	[ "" ]	null	[ "Harper Brooks" ]	2014-10-27T00:00:00	Over 100 fans have voted on the 15 Best Quotes From 'The Theory of Everything'. Current Top 3: Wind Back the Clock, A Very Heavy Defeat, No Boundaries to ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/the-theory-of-everything-movie-quotes/harper-brooks	The Theory of Everything tells the true story of when famous physicist Stephen Hawking (Eddie Redmayne) met his first wife Jane (Felicity Jones), fell in love, and dealt with a devastating medical condition. This ranked list article features the best quotes from the film that beautifully capture the essence of this remarkable true story. Released in 2014 and directed by James Marsh, the movie was a biographical drama based on Jane Hawking's memoir, Travelling to Infinity: My Life with Stephen, and was a critical and commercial success. The film follows the journey of Stephen Hawking, a young doctoral student at Cambridge University, who meets Jane Wilde and falls in love, eventually leading to marriage alongside a number of major obstacles. As Stephen delves into his research on space and time, he faces challenges with his motor skills, leading to a life-altering diagnosis of a motor neuron disease. Despite being told he has only two years to live, Jane stands by his side, showcasing their resilience, love in the face of adversity, and commitment to sticking together through thick and thin. Audiences witness the budding relationship, as the pair discuss theories of space and time with Stephen posing, “Wind back the clock until you get a universe born from a black hole exploding" and quipping, “It is a kind of religion for intelligent atheists,” as he explains the science of cosmology. The dialogue through the film also provides insight into Stephen's humor (saying “I was stopped recently by a tourist at Cambridge who asked if I was the real Stephen Hawking. I replied I was not, and said the real one was much better looking,” as he speaks to a crowd) and allows others, like Dennis Sciama, to reflect on his accomplishments and defiance of expectations: "It has been a great joy to watch this man defy every expectation both scientific and personal.” Some of the most memorable and inspirational quotes from the movie are about moments of love, perseverance, and hope. Each quote showcases the emotional depth and complexity of the characters, making them stand out as some of the best in cinematic history. From declarations of love to profound reflections on life, these quotes have a strong impact and resonate with audiences long after the credits roll. As you read through the list of the best quotes from The Theory of Everything, take a moment to reflect on the powerful messages and themes portrayed in the film. Vote for your favorite quotes and relive the magic of this touching and inspiring story.
1098	dbpedia	1	5	https://www.wikidata.org/wiki/Q284336	en	Dennis W. Sciama	https://www.wikidata.org/static/favicon/wikidata.ico	https://www.wikidata.org/static/favicon/wikidata.ico	[ "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	British physicist (1926–1999)	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q284336	British physicist (1926–1999) Dennis William Siahou Sciama edit
1098	dbpedia	1	10	https://www.imdb.com/name/nm0778400/	en	Dennis Sciama	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-3587040-6235821:2ABGGEKEEWW4C5WEYX42$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D2ABGGEKEEWW4C5WEYX42:0", "https://m.media-amazon.com/images/M/MV5BMTAyNTk4NTAxOTheQTJeQWpwZ15BbWU4MDQ5NDkxMTAy._V1_QL75_UY133_CR3,0,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BNzQxMmM1M2YtYzY4NC00NWNhLTg3NjQtMWQ2ZmNmZTM4MzQ2XkEyXkFqcGdeQXVyMTY5Nzc4MDY@._V1_QL75_UY133_CR0,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-3587040-6235821:2ABGGEKEEWW4C5WEYX42$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D2ABGGEKEEWW4C5WEYX42:0" ]	[]	[]	[ "Dennis Sciama" ]	null	[ "IMDb" ]	null	Dennis Sciama. Self: Einsteins Universum. Dennis Sciama was born on 18 November 1926. He was married to Lydia. He died on 18 December 1999 in Oxford, England, UK.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm0778400/	Dennis Sciama was born on 18 November 1926. He was married to Lydia. He died on 18 December 1999 in Oxford, England, UK. Some sources give his date of death as December 18, 1999, others as December 19, 1999.
1098	dbpedia	2	86	https://www.asianage.com/books/160318/the-man-who-beat-hawking-at-more-than-table-tennis.html	en	The man who beat Hawking at more than table tennis	https://s3.ap-southeast-…053512.Medi.jpeg	https://s3.ap-southeast-…053512.Medi.jpeg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=39080398&cv=3.9.1&cj=1", "https://www.asianage.com/images/logo.png?v=1", "https://www.asianage.com/images/authorplaceholder.jpg", "https://s3.ap-southeast-1.amazonaws.com/images.asianage.com/images/aa-Cover-oft1a1k4nofps5n32klf0nm5k1-20180315053512.Medi.jpeg", "https://www.asianage.com/images/authorplaceholder.jpg", "https://www.asianage.com/images/sidekick-open.png" ]	[]	[]	[ "Stephen Hawking", "Banaras Hindu University" ]	null	[ "Sridhar Balan", "asian" ]	2018-03-16T01:22:43+05:30	Hawking had posed a query and this was clarified by Narlikar, saying that Hawking had missed the non-linear character of his presentation.	en	/images/ico/favicon.ico?v=1		https://www.asianage.com/books/160318/the-man-who-beat-hawking-at-more-than-table-tennis.html	The rivalry between Oxford and Cambridge universities is intense and legendary. Both have hotly contested claims to superiority and tend to look down the British aristocratic nose at each other. Oxford always figured in Cambridge’s reckoning as “the other place” where one went if you didn’t get a First in your undergraduate at Cambridge. The rivalry was also reflected in the punting competition over the river Cam with Cambridge not only claiming superiority in the boat race but also asserting the Cam was superior to the river Isis bordering Oxford. I got a taste of this when I had to accompany the then vice-chancellor of Oxford university to meet Dr Shankar Dayal Sharma, then President of India, at Rashtrapathi Bhavan. Now Dr Sharma was a Cambridge man having got his PhD in chemistry in the university some years ago and the V-C, Sir Peter North (subsequently elevated to a peerage) was forewarned! Sure enough, Dr Sharma started by welcoming Sir Peter and then said but Oxford was always as “the other place”. Not so, stoutly remonstrated the V-C. Oxford is now known as “the place”. Good humour and banter peppered the subsequent conversation reinforced by the gifts the V-C had thoughtfully carried over from Oxford. The meeting ended with the V-C being invited to a state banquet the next day! This rivalry extends to the presses too, the publishing arm of both universities, Oxford University Press and Cambridge University Press. Not the least was rival claims as to who was older! CUP reckoned its establishment from a charter given by the king in the mid-14th century to print Bibles and other manner of things though its first book rolled out from the press many years later. Against this, OUP had a definite date for the first book published, the Book of St. Jerome, in 1478. This was impressive considering that William Caxton, the celebrated printer, had established the first printing press in England at Westminster Abbey only in 1476. It didn’t help matters for OUP that in its first printing, the metal type set by hand saw a Latin numeral turned upside down at the last minute, thus the first book printed by OUP had a historic misprint! This rivalry between the two universities is echoed in Jayant Narlikar’s My Tale of Four Cities, originally published in Marathi as Chaar Nagrantale Majhe Vishwa and now translated into English. The four cities which shaped Narlikar’s life are Banaras, Cambridge, Mumbai and Pune. Writing an autobiography or a biography is a craft. In fact, it was a number of requests to write his biography that prompted Narlikar to pen his life’s story. It’s a story worth telling — of an academic career dotted with accolades and honours, of a celebrated astrophysicist and astronomer honoured both at home and abroad. As a scientist, writing your autobiography can be tricky. How much of one’s own life happenings to tell and, more importantly, how much of science? The interests of the reader have to be kept in mind and once the book is out it’s in the public domain and anyone can read and, have an opinion on it. It’s to Narlikar’s credit that he draws in the reader and keeps him engaged. Narlikar came from a typical Maharashtrian middle class family and having an academic for a father, who taught mathematics at the Banaras Hindu University, it was almost ordained that he would take to academics. The academic records of two maternal uncles, one of whom used to pose intricate maths problems for him to solve on the blackboard at home only reinforced this. Similar was the choice of going to Cambridge for higher studies. His father and uncle had preceded him. At Cambridge, Narlikar makes light of his achievements and writes about trying to manage his finances. In the initial years, supported by a Tata Endowment scholarship, and some other stipends, Narlikar managed to limit his expenses to about £530 a year, a figure well below the Reserve Bank of India norm and an uncomfortable example to other scholars. He completed the Maths tripos in record time and was unfortunate to find a guide and mentor for higher studies in Fred Hoyle, one of the world’s leading authorities in astronomy and gravitational theory. His PhD degree was awarded under somewhat unusual circumstances. Narlikar’s examiners for the viva voce were the illustrious scientists Hermann Bondi and Dennis Sciama. A meeting had been convened at Cornell on the Nature of Time. Narlikar was an invitee along with Fred Hoyle, Richard Feynman, Subramanyan Chandrasekhar, and others. Bondi was one of the co-conveners. Permission to conduct the viva at Cornell was given by Cambridge on the condition that it would entail no additional expense! In the event, Bondi and Sciama conducted the viva examination on the day Narlikar had spoken at the conference — it was held between the lunch break and the afternoon session. Narlikar answered the three questions posed by the examiners and was soon dismissed. Narlikar’s presentation at the conference and his defence against probing questions by Feynman had impressed them enough! Narlikar had the great satisfaction of seeing his parents attend Cambridge and watch him being awarded the PhD degree in person. Throughout his Cambridge years, Narlikar speaks about his great respect and admiration for Fred Hoyle and being an extended member of Hoyle’s family. This also meant trekking with Hoyle for he was a passionate trekker, a trait he shared with another physicist, Abraham Pais. In spite of a brilliant career in Cambridge and numerous offers of tenured positions in prestigious universities, including Cambridge, the US and Europe, Narlikar was a bit of a homespun bird. He returned to India on a permanent basis, initially staying in Mumbai and then finally settling down in Pune to set up the prestigious Inter-University Centre for Astrophysics. Narlikar had always intended to return to India after becoming a Cambridge don and his fellowship at the prestigious King’s College ran out. Being a Fellow of King’s College conveyed quaint privileges, like entitlement to walking on the college lawns, a privilege he shared with E.M. Forster. He could also walk the streets of Cambridge without the customary gown and once the University Proctor’s minions realised they were challenging a college fellow, they politely doffed their hats and moved away. Much was reported in the media about a confrontation between Narlikar and Hoyle on the one hand and Stephen Hawking, who passed away this week, on the other. I had written to Narlikar about this. He clarified then and also states in the book. Biographers of Hawking and the media had taken liberties with the truth. Narlikar had explained some of his theories on an expanding universe at a meeting in his department where Sciama and Hawking had been present prior to a joint presentation by him and Hoyle to the Royal Society. Hawking had posed a query and this was clarified by Narlikar, saying that Hawking had missed the “non-linear” character of his presentation. The same query was posed by Hawking at the Royal Society and this too was clarified by Narlikar. The hype in the media was due to Hawking’s subsequent iconic status. It could also be attributed to the fact that Narlikar had once beaten Hawking in table tennis!
1098	dbpedia	2	69	https://www.dogonews.com/2018/3/19/legendary-british-physicist-stephen-hawking-dies-at-76/page/21	en	Legendary British Physicist Stephen Hawking Dies At 76	https://cdn4.dogonews.co…ed9_b-medium.jpg	https://cdn4.dogonews.co…ed9_b-medium.jpg	[ "https://cdn4.dogonews.com/images/520758ce-08c3-44c9-9a5f-de122f874ca1/16043158229_5529a38ed9_b.jpg", "https://cdn4.dogonews.com/images/df6406e1-52e4-47b8-ae33-18a7a4f8581d/1024px-stephen_hawking_and_lucy_hawking_nasa_2008.jpg", "https://cdn4.dogonews.com/images/21756c6f-8c60-4b51-ae51-e8455a345337/stephen-hawking.png", "https://cdn4.dogonews.com/images/39b743e5-4ebb-4903-b672-df60a2ded13b/physicist_stephen_hawking_in_zero_gravity_nasa.jpg", "https://workbooks.dogomedia.com/workbooks/5e75b02d68ea9f0ae59a9fcd/1/en/legendary-british-physicist-stephen-hawking-dies-at-76-en-sample/1.jpg", "https://www.gstatic.com/classroom/logo_square_48.svg", "https://roboavatars.dogonews.com/10?set=set1", "https://roboavatars.dogonews.com/5ab92352b648b2a24a000095?set=set1", "https://cdn2.dogomedia.com/uploads/avatar/image/5a9704966a5772fcaa00023d/small_avatar20190913-47-1tomh13.png", "https://roboavatars.dogonews.com/5ab920e37834917e640003c3?set=set1", "https://roboavatars.dogonews.com/5ab91597783491cf39000f64?set=set1", "https://cdn2.dogomedia.com/uploads/avatar/image/5ab915b57834917e640003aa/small_avatar20180409-6451-1eutrjg.png", "https://roboavatars.dogonews.com/5ab8a0061416bdd79b000d89?set=set1", "https://cdn5.dogomedia.com/images/avatars/56de12ab3ff28505dd000261/avatar-8b335a30-f120-11ee-8f01-77335e4262ca.png", "https://roboavatars.dogonews.com/5ab84c24fcb5cbe03d000c90?set=set1", "https://cdn2.dogomedia.com/uploads/avatar/image/5a0075f737ed301b4000076a/small_avatar20171106-24-1d9dtyt.png", "https://roboavatars.dogonews.com/5ab84bd7fcb5cbe03d000c8f?set=set1", "https://cdn2.dogomedia.com/uploads/avatar/image/5a52942bda0d1a35ac001338/small_avatar20180325-31504-kaxgu3.png", "https://cdn2.dogomedia.com/uploads/avatar/image/5a9e95679e8f9f044500125d/small_avatar20180306-35-95kzmn.png", "https://cdn4.dogonews.com/images/dd55806c-10e4-41d2-9fd3-309852057575/team-photo-1080x720.jpeg", "https://cdn4.dogonews.com/images/82ee374c-60f8-446c-b02b-d34151f05ec0/pexels-photo-1362534.jpeg", "https://cdn4.dogonews.com/images/c84bb7d0-9940-4831-8ee7-9e42720bd88e/raw.jpeg", "https://cdn4.dogonews.com/images/eba1ccf2-0b6d-4904-b735-beda6cc814b6/perseids-2023-preston-dyches-604.jpeg", "https://cdn4.dogonews.com/images/9aeefe60-3570-4227-9a96-a062dc7f0b6e/072924_olympicmen2.jpeg", "https://cdn.dogonews.com/p/_astro/student-privacy-pledge.7c158598.svg", "https://cdn.dogonews.com/p/_astro/GfE-Partner-Badges-Horizontal.30b0125a.svg", "https://cdn.dogonews.com/p/_astro/catholic-schools.e19ceb71.png", "https://cdn.dogonews.com/p/_astro/ChromeWebStore_BadgeWBorder_v2_496x150.98ac999c.png", "https://cdn.dogonews.com/p/_astro/gsuite-marketplace-btn.b5b249e1.png", "https://cdn.dogonews.com/p/_astro/microsoft_badge_en-US.e17cd58a.svg", "https://cdn.dogonews.com/p/_astro/Clever_blue_logo.b9692efc.svg", "https://cdn.dogonews.com/p/_astro/alexa.55eebe1f.svg" ]	[]	[]	[ "kids news", "kids news articles", "ela", "english", "language", "arts", "english language arts", "current events", "kids", "students", "books", "reading", "children's news", "children's news articles", "k-8 news", "news for kids", "news for children", "kids education", "kids current events", "current events for kids" ]	null	[ "Kim Bussing" ]	2018-03-19T00:00:00	Legendary British Physicist Stephen Hawking Dies At 76 has 565 comments. Commenter Dan wrote: "I fell so bad for him I hope he will have a good life in heaven #RIP STEPHEN HAWKING :("	en	/favicon.ico	DOGOnews	https://www.dogonews.com/2018/3/19/legendary-british-physicist-stephen-hawking-dies-at-76/page/21	On March 14, 2018, the world mourned the loss of one of the most brilliant minds of the modern age â Stephen Hawking. The 76-year-old theoretical physicist, who was born exactly 300 years after the death anniversary of Galileo and died on Albert Einsteinâs 139th birthday, finally succumbed to ALS (amyotrophic lateral sclerosis), which he had been battling since the age of 21. The brilliant cosmologist, best known for his invaluable discoveries about black holes and the origins of the universe, was beloved for his sense of humor and his engagement with the public. Born in Oxford, England on January 8, 1942, to research biologist Frank and intellectual Isobel Hawking, the researcher began his scientific career studying physics and chemistry at his parentsâ alma mater â Oxford University. However, Hawking found the curriculum âridiculously easyâ and estimates he only studied about 1,000 hours during his three years at the institution. Though that meant he was unable to answer any of the factual questions in the final examination in 1963, the scientist managed to obtain admission for graduate studies at Cambridge University to focus on his real passion â cosmology. Hawkingâs first year at Cambridge was not easy. In addition to the disappointment of not getting the mentor he had wanted, the 21-year-old was also diagnosed with ALS and informed that he only had a few years to live. Also known as Lou Gehrigâs Disease, the incurable affliction destroys nerve cells, leading to muscle twitching, muscle weakness, slurred speech, and eventually death. Though initially depressed at the dire diagnoses, with encouragement from his advisor, Dennis William Sciama â one of the founders of modern cosmology â Hawking soon returned to his research. As expected, the illness eventually left him wheelchair bound. In 1985, a bout of pneumonia destroyed his ability to speak, forcing him to use his cheek muscles to operate a speech synthesizer to communicate. However, Hawkingâs brilliant mind remained sharp and focused until his passing. The cosmologist, who dedicated his life to achieving a âcomplete understanding of the universe, why it is as it is, and why it exists at all,â made his most significant breakthrough in 1974. The researcher proved that black holes â regions in space where gravity pulls so much that even light cannot get out â are not informational vacuums like scientists had always believed. He was able to demonstrate that black holes thermally create and emit subatomic particles, known today as Hawking radiation until they exhaust all their energy and evaporate completely. The scientist explained, âBlack holes ainât so black: they glow,â and, contrary to popular belief, do not last for eternity. The researcher also pondered many contemporary issues, such as climate change and the existence of aliens. In 2015, he partnered with Russian billionaire Yuri Milner to launch âBreakthrough Initiatives,â a project that uses high-powered computers to listen for extraterrestrial life. "Somewhere in the cosmos, perhaps, intelligent life may be watching these lights of ours aware of what they mean," Hawking said. "Or do our lights wander a lifeless cosmos, unseen beacons announcing that here on our rock, the universe discovered its existence?" Hawkingâs groundbreaking research earned the physicist numerous accolades, including Presidential Medal of Freedom in 2009 and the Fundamental Physics Prize in 2013. He was also named a permanent member of the Pontifical Academy of Science. Of the more than fifteen books Hawking wrote during his lifetime, âA Brief History of Time,â published in 1988, remains the most popular. The cosmology text, which has sold over 10 million copies, tackles complex topics like black holes and the Big Bang in a manner that can be understood by scientists and non-scientists alike. Despite his debilitating illness, Hawking maintained a positive attitude and lived life to the fullest, even guest-starring (as himself) in popular television shows like The Big Bang Theory and The Simpsons. In 2007, he fulfilled his lifelong dream of going to space when he experienced microgravity at the Kennedy Space Center. â[It was] true freedom,â he said. âI was Superman for those few minutes.â R.I.P. Stephen Hawking (1942-2018) Resources: newscientist.com,thevox.com, wikipedia.org, cnn.com
1098	dbpedia	0	27	https://hsm.stackexchange.com/questions/9809/looking-for-a-specific-story-about-young-stephen-hawking	en	Looking for a specific story about young Stephen Hawking	https://cdn.sstatic.net/…g?v=81ec2c76e6ef	https://cdn.sstatic.net/…g?v=81ec2c76e6ef	[ "https://i.sstatic.net/dNUnb.png?s=64", "https://i.sstatic.net/B2dNM.png?s=64", "https://i.sstatic.net/dNUnb.png?s=64", "https://hsm.stackexchange.com/posts/9809/ivc/5239?prg=40427411-67be-4a91-afb9-aae05e83d664" ]	[]	[]	[ "" ]	null	[]	2019-07-14T21:08:48	There was a specific account of Stephen Hawking by one of his contemporaries in which Hawking was in his late undergrad or early postgrad. As I remember, there was a small class of physics students (	en	https://cdn.sstatic.net/Sites/hsm/Img/favicon.ico?v=fbe5dfcb33e0	History of Science and Mathematics Stack Exchange	https://hsm.stackexchange.com/questions/9809/looking-for-a-specific-story-about-young-stephen-hawking	This story has been depicted in The Theory of Everything, a 2014 biographical romantic drama film directed by James Marsh detailing the life of the theoretical physicist Stephen Hawking. In an early scene, it has been shown that Stephen Hawking, who has just begun his PhD at the University of Cambridge, and other fellow students was given a problem set of 10 questions by their PhD supervisor Dennis Sciama of which Stephen could do "only" nine. Though I could find no historical proof for such a story and it only seems (as commented by others) to be a cooked up anecdote for the sake of publicity. Moreover, the film has been criticized for being utterly dishonest on many occasions. Writing for the film blog of UK daily newspaper The Guardian, Michelle Dean noted: The Theory of Everything's marketing materials will tell you it is based on Jane Hawking's memoir of her marriage, a book published in the UK as Music to Move the Stars, and then re-issued as Travelling to Infinity. But the screenwriters rearranged the facts to suit certain dramatic conventions. And while that always happens in these based-on-a-true-story films, the scale of the departure in The Theory of Everything is unusually wide. The film becomes almost dishonest–in a way that feels unfair to both parties, and oddly, particularly Jane Hawking herself.
1098	dbpedia	3	7	https://www.physicsforums.com/threads/sciamas-machian-origin-of-inertia.573332/	en	Sciama's Machian Origin of Inertia	https://www.physicsforum…rums-logo-og.png	https://www.physicsforum…rums-logo-og.png	[ "https://www.physicsforums.com/styles/physicsforums/xenforo/logo.png", "https://www.physicsforums.com/styles/physicsforums/xenforo/logosmall.png" ]	[]	[]	[ "" ]	null	[]	2012-02-02T08:43:17-06:00	Hi, I'm interested in what people think of Dennis Sciama's 1953 paper on the origin of inertia in which he shows how Mach's principle could work using a...	en	https://www.physicsforum…ums_logo_192.png	Physics Forums: Science Discussion, Homework Help, Articles	https://www.physicsforums.com/threads/sciamas-machian-origin-of-inertia.573332/	In summary, the conversation discusses Dennis Sciama's 1953 paper on the origin of inertia and Mach's principle. The paper presents a simple argument using Maxwell-type gravitational field equations and introduces an additional field or potential, a rank 2 tensor, to achieve the Machian property. However, the existence of this potential is yet to be experimentally justified. References for further reading and discussions on Mach's principle and its incorporation in GR are also mentioned. Related to Sciama's Machian Origin of Inertia 1. What is Sciama's Machian Origin of Inertia? Sciama's Machian Origin of Inertia is a theory proposed by British physicist Dennis Sciama in the 1950s that suggests that the inertial properties of matter, such as its resistance to changes in motion, arise from the influence of all other matter in the universe. In other words, the inertia of an object is not an inherent property, but rather a result of its interaction with the rest of the universe. 2. How does Sciama's Machian Origin of Inertia differ from Newton's laws of motion? Newton's laws of motion state that inertia is an inherent property of matter, and that objects will remain at rest or in motion at a constant speed and direction unless acted upon by an external force. In contrast, Sciama's theory suggests that inertia is a result of the gravitational effects of all other matter in the universe. 3. What evidence supports Sciama's Machian Origin of Inertia? One of the main pieces of evidence for Sciama's theory is the mass discrepancy in galaxies, where the observed mass does not match the mass that is predicted based on the speed of the stars within the galaxy. This suggests that there is some unseen mass, or "dark matter", that is causing the gravitational effects needed to explain the observed motion. Sciama's theory provides a potential explanation for this discrepancy by suggesting that the gravitational effects of all matter in the universe contribute to the inertia of objects within it. 4. How does Sciama's Machian Origin of Inertia relate to Einstein's theory of general relativity? Sciama's theory is based on the principle of Mach's principle, which states that the inertia of an object is determined by the distribution of matter in the universe. This principle was also a key influence in Einstein's development of general relativity. However, Einstein did not fully incorporate Mach's principle into his theory, and it remains a topic of debate and further investigation in the scientific community. 5. Is Sciama's Machian Origin of Inertia widely accepted in the scientific community? While Sciama's theory has sparked ongoing discussion and research, it is not currently widely accepted in the scientific community. Some physicists find the idea intriguing and worth exploring, while others remain skeptical and believe that inertia is an inherent property of matter. Further research and evidence is needed to determine the validity of Sciama's Machian Origin of Inertia.
1098	dbpedia	1	92	https://astronomynow.com/2018/03/14/stephen-hawking-1942-2018/	en	Stephen Hawking 1942	https://astronomynow.com…ANicon-32x32.png	https://astronomynow.com…ANicon-32x32.png	[ "https://astronomynow.com/wp-content/uploads/2016/12/AN-Header-1080.jpg", "https://astronomynow.com/wp-content/uploads/2018/03/main_press_image_-_please_credit_graham_copekoga_with_any_use678x898.jpg", "https://astronomynow.com/wp-content/uploads/2018/03/discover-canarias-stephen-hawkings-charla-starmus-2-1024x681.jpg", "https://astronomynow.com/wp-content/uploads/2018/03/3859980155_3b6ef64553_o-1024x683.jpg", "https://astronomynow.com/wp-content/uploads/2018/03/Physicist_Stephen_Hawking_in_Zero_Gravity_NASA-1024x683.jpg", "https://astronomynow.com/wp-content/uploads/2018/03/160202006_1-667x1024.jpg", "https://astronomynow.com/wp-content/uploads/2016/11/Parkes_radio_telescope_678x509-326x245.jpg", "https://astronomynow.com/wp-content/uploads/2015/04/black-hole-eso_940x400-326x245.jpg", "https://astronomynow.com/wp-content/uploads/2015/10/golden_anniversary_black_hole_singularity_940x400-326x245.jpg", "https://astronomynow.com/wp-content/uploads/2024/04/20240430-Horsehead-Nebula-JWST-Feature-80x60.jpg", "https://astronomynow.com/wp-content/uploads/2024/04/20240425-Voyager-80x60.jpg", "https://astronomynow.com/wp-content/uploads/2024/02/20240222_IM-1_landing_attempt-80x60.jpg", "https://astronomynow.com/wp-content/uploads/2023/11/110723_globular_euclid-80x60.jpg", "https://astronomynow.com/wp-content/uploads/2023/09/N7741s-BLOCK-80x60.jpg" ]	[]	[]	[ "" ]	null	[]	2018-03-14T00:00:00		en	https://astronomynow.com…ANicon-32x32.png		https://astronomynow.com/2018/03/14/stephen-hawking-1942-2018/	Professor Stephen Hawking, who was probably the most renowned and recognisable scientist in the world, and famed for his work on black holes, has died aged 76. Despite suffering from crippling motor neurone disease since being diagnosed at the age of 21, Professor Hawking was one of the most brilliant minds of modern times, as well as a best-selling author, most notably with his book A Brief History of Time. Hawking first came to prominence in the early 1970s, when a trip to Moscow to meet the eminent Soviet physicist Yakov Zel’dovich inspired him to question the assumption of whether black holes are truly black. Such was his genius that he would run complex equations through his mind, night after night, eventually leading him to the conclusion that black holes emit particles and, in the process, lose mass, shrink and ultimately disappear. It was an insight that would make his name immortal, but at first he didn’t quite believe it himself. His equations showed that, quantum mechanically, black holes are able to radiate away mass in the form of virtual particles – particles that fizz in and out of existence thanks to tiny quantum fluctuations. At first he stayed silent about his discovery, but he was encouraged by the support of his former PhD supervisor, Dennis Sciama, who apparently had far more faith in Hawking’s equations than Hawking himself did. Soon news of the breakthrough spread, though not everyone was as welcoming of the discovery as Sciama; some physicists were actively hostile to the idea. It took a few years for everyone to be convinced that the so-called ‘Hawking radiation’ was real. Today it is part of the furniture of black hole physics, and helped transform Stephen Hawking into a true celebrity of science. Hawking radiation It all comes down to the nature of the fabric of space–time. Quantum mechanics tells us that space–time is filled with quantum fields and that any given point in space has an associated energy, rendering space–time as a frothing foam of quantum energy. In his famous equation E=mc2, Albert Einstein had shown that energy and mass are equivalent, while quantum mechanics is a probabilistic approach to understanding nature. The combination of the two means that the energy of any given point in space can experience a random fluctuation and transform itself into mass, in the guise of ‘virtual’ particles that ‘borrow’ energy from the Universe, surviving for just a fraction of a second before annihilating each other and disappearing from existence as they return their energy to the cosmos. When virtual particles form just on the inside edge of a black hole’s event horizon (the boundary beyond which not even light can escape), one of the particles moves deeper into the black hole while the other jumps across the event horizon thanks to another quantum mechanical process known as tunnelling. One of the early insights into quantum physics was that particles can also act as waves and have an associated wave-function that describes, among other things, the probabilities associated with their exact position. Some parts of a particle’s wave-function have greater amplitudes, implying that the particle is more likely to be found over here, while other sections of the wave function have lower amplitudes, implying a lower probability that the particle is really over there. When virtual particles form just inside the event horizon there is a chance that one of the particles can appear on the other side of the event horizon – its wave-function has allowed it to tunnel through the barrier, and off it goes. Forever separated, the virtual particles cannot annihilate and so the escaping particle becomes a real particle, boosted in energy by the rotation of the black hole. Because the conservation of energy dictates that the virtual particle falling into the black hole must have ‘negative’ energy, the escaping particle must have positive energy, which it removes from the black hole. Since energy is equivalent to mass, the escaping particle is therefore also removing some of the black hole’s mass. After a very, very long time (say, 10120 years) even the most massive black holes will shrink to nothing thanks to Hawking radiation. The early years Hawking’s discovery had more than just cosmological relevance. It was a testament to his determination to succeed no matter the odds, given that in 1963, just after his 21st birthday, he’d been diagnosed with a form of motor neurone disease called amyotrophic lateral sclerosis, which results in the nerves that control the body’s muscles shutting down, and was given just two years to live. It is testament to his determination that he lived well into his 70s while remaining a prominent figure in science and the public consciousness. Hawking once recalled that when he first visited the clinic where he was diagnosed, he shared a room with a boy suffering from leukaemia and realised that, no matter how bad his condition was, he was fortunate that it was not even worse and he still had something to live for. This sparked renewed enthusiasm in his university studies, while on the personal front he married his first wife, Jane Wilde, in 1965 (their romance is depicted in the 2014 film, ‘Theory of Everything’). His illness failed to progress as quickly as doctors had pronounced and it soon became clear that his impending death was anything but. Although he was forced to abandon his crutches for a wheelchair in 1969, he was still able to take up a position as a visiting professor at the California Institute of Technology (Caltech) in 1970 and became known for his reckless driving of his wheelchair! While in California the Hawking family would take in a grad student each year to help with both Stephen’s work and his health care. It was during his five years at Caltech that Hawking met Kip Thorne, a theoretical physicist best known for his work on black holes, which in the public’s eyes culminated in the 2014 film ‘Interstellar’. Hawking and Thorne enjoyed a playful friendship over the years, frequently placing wagers with one another, or together versus other scientists, over whose theories were correct regarding various aspects of black holes. Often Hawking would be in agreement with the opposing bet but would still place the wager as an ‘insurance policy’, just in case he was wrong, with all manner of light-hearted prizes for the winner. Information Paradox One of those wagers was as a direct consequence of Hawking radiation. Although it is not an official law of nature, it had been assumed that ‘information’ is a property that must be conserved and cannot be lost or destroyed (when we refer to information, we mean properties referring to a particle’s specific state, such as its charge or quantum spin). It was not clear how Hawking radiation could contain any information pertaining to what has fallen into a black hole; that information seemingly had to stay in there. Yet when a black hole eventually evaporates by losing mass through Hawking radiation, what happens to the information that it contained? The notion that information could disappear for good, erased from existence, was disquieting because it clashed with our quantum mechanical understanding of information. If information is lost, then the entropy within the black hole would increase, which the laws of thermodynamics say would cause the black holes to heat up to unfathomable temperatures. Nevertheless, Hawking’s calculations convinced him that information was indeed lost from the Universe once it enters a black hole and the black hole evaporates, but not everyone agreed. By the turn of the millennium, the scientific consensus was against Hawking. Hence another wager – in 1997 Caltech’s John Preskill bet Hawking and Kip Thorne that information was conserved and just seven years later, in a development that made the news headlines, Hawking conceded the bet (Thorne, though, is still holding out), buying Preskill a baseball encyclopaedia – from which information could easily be retrieved! – for winning the wager. The favoured solution to the paradox rests on the idea that our Universe is holographic. What this means is that physics in a given number of dimensions corresponds to different physics operating in a higher number of dimensions. For example, String Theory (which posits that fundamental particles are made from tiny vibrating strings) predicts the existence of eleven dimensions, and in 1997 the Argentinian physicist Juan Maldacena proposed that the quantum field theory belonging to our four-dimensional (length, breadth, width and time) Universe, with the exception of gravity, corresponds to String Theory physics in five dimensions with gravity, as though our Universe were a projection of a four-dimensional boundary in multi-dimensional space, through which gravity leaks into our Universe (which would explain why gravity is so weak compared to the other fundamental forces of nature). Gerard t’Hooft of Utrecht University in the Netherlands and Leonard Susskind of Stanford University suggested something similar for how black holes operate: that the physics of the three-dimensional volume within a black hole, where gravity plays a significant role, corresponds to the physics of a two-dimensional horizon above the black hole that is described by equations that do not need to invoke gravity. This means that the information within the black hole could be encoded onto this two-dimensional surface. From this point, there is a lot of conjecture as to how the information becomes encoded into virtual particles or otherwise escapes the black hole’s evaporation. One of Hawking’s last scientific papers on the subject, published in January 2016 and written with Harvard’s Andrew Strominger and Cambridge’s Malcolm Perry, suggests that when an object falls into a black hole it imprints its information on what they call ‘soft particles’, which are particles such as photons or gravitons that possess zero energy and which lurk on the black hole’s two-dimensional event horizon. The voice Hawking returned to Cambridge in 1975 and four years later took up the chair of the Lucasian Professor of Mathematics at the university. He held this position, of which previous incumbents included such greats as Isaac Newton, Charles Babbage and Paul Dirac, for 30 years before the rules forced him to step down in 2009, after which he became the Director of Research at Cambridge’s Department of Applied Mathematics and Theoretical Physics. During the intervening years he lost his voice for good following a bout of pneumonia in 1985 that resulted in a tracheotomy and subsequent around-the-clock care from nurses. Hawking subsequently adopted a synthesised voice provided by a program called ‘The Equalizer’, which was developed by a Californian software developer Walter Woltosz, whose mother-in-law also suffered from amyotrophic lateral sclerosis. It works by selecting words on a computer screen, arranging them into a sentence and then commanding the computer to speak the words. Initially Hawking was able to control The Equalizer with a hand-held device, but as his illness progressed he gradually lost the limited use he had in his hand. This forced him to control the device with an infrared sensor attached to his glasses that could detect movement in his cheek muscle, allowing him to painstakingly construct on the computer the words that were then spoken by the stilted, robotic voice that made Hawking instantly recognisable when he spoke in the media. His frequent appearances in the media ranged from guest-starring in ‘Star Trek: The Next Generation’ and ‘The Simpsons’ to presenting documentary series. He also voiced his opinion on many subjects, from climate change and politics to the future of humanity and the search for extraterrestrial intelligence. Hawking frequently stated his belief that the future of human civilisation resides in space, spreading amongst the planets and then the stars. To stay on Earth, he said, may doom humanity, whether it is through climate change or war or disease or something else that finally eradicates us. A Brief History of Time In 1988 Hawking published his best-selling book, A Brief History of Time, which has since gone on to sell over 10 million copies. It broached the topics that Hawking was most interested in – black holes, the General Theory of Relativity, quantum mechanics and the origin of the Universe. Although well-written, the topics it attempted to describe for general readers are immensely complex and, despite its tremendous sales success, it’s often said that while most people began reading the book, few ever finished it. Other books followed, including 2001’s The Universe in a Nutshell and 2005’s A Briefer History of Time, in an attempt to convey the ideas presented inside A Brief History of Time in a simpler way, but it was Hawking’s first book that remained his best known tome. Within its pages, Hawking declared that science is all that will ever be needed to understand the Universe and that a complete, unified theory of physics will replace the notion of God. This was a view he continued to hold throughout his life. For Hawking, science was the beginning and the end.
1098	dbpedia	3	80	https://magazine.krieger.jhu.edu/spring-2019-v16n2/remembering-stephen-hawking/	en	Remembering Stephen Hawking	https://magazine.krieger…5/lens-art-2.jpg	https://magazine.krieger…5/lens-art-2.jpg	[ "https://magazine.krieger.jhu.edu/wp-content/themes/AS-Magazine-2019/dist/assets/images/krieger.logo.horizontal.blue.svg", "https://magazine.krieger.jhu.edu/wp-content/themes/AS-Magazine-2019/dist/assets/images/krieger.logo.horizontal.blue.svg", "https://magazine.krieger.jhu.edu/wp-content/themes/AS-Magazine-2019/dist/assets/images/krieger.logo.horizontal.blue.svg", "https://magazine.krieger.jhu.edu/wp-content/themes/AS-Magazine-2019/dist/assets/images/krieger.logo.horizontal.blue.svg", "http://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHawking-photo1b.jpg", "http://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHawking-photo1b.jpg", "http://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHawking_YuilleClass_JHU2872_a.jpg", "http://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHawking_YuilleClass_JHU2872_a.jpg", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-600x214.jpg 600w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-1024x366.jpg 1024w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-640x229.jpg 640w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-1280x457.jpg 1280w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-1440x515.jpg 1440w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-350x125.jpg 350w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1.jpg 1920w", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_EU-5-1-600x214.jpg", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-600x214.jpg 600w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-1024x366.jpg 1024w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-640x229.jpg 640w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-1280x457.jpg 1280w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-1440x515.jpg 1440w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-350x125.jpg 350w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1.jpg 1920w", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaHdr_Sites5-1-600x214.jpg", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-600x214.jpg 600w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-1024x366.jpg 1024w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-640x229.jpg 640w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-1280x457.jpg 1280w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-1440x515.jpg 1440w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-350x125.jpg 350w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1.jpg 1920w", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/05/FeaEU_centerpieceShriverHall-1-600x214.jpg", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/02/ksas-logo-horizontal.png 500w, https://magazine.krieger.jhu.edu/wp-content/uploads/2019/02/ksas-logo-horizontal-350x88.png 350w", "https://magazine.krieger.jhu.edu/wp-content/uploads/2019/02/ksas-logo-horizontal.png" ]	[]	[]	[ "" ]	null	[ "Alan Yuille" ]	2019-05-06T04:00:00+00:00	By looking at clues from the past, present, and future, scientists here are working to better understand how our global climate could change—and the steps we can take now to avoid calamity down the road.	en	https://magazine.krieger…-precomposed.png	Arts & Sciences Magazine	https://magazine.krieger.jhu.edu/spring-2019-v16n2/remembering-stephen-hawking/	I heard about Stephen Hawking’s death at midnight in Baltimore almost as soon it was announced in March 2018. At once, I had a flashback to Stephen turning in circles with his electric wheelchair with a broad grin on his face. I did my PhD on quantum gravity with Stephen at Cambridge in the late 1970s. At that time, he was not yet world famous, although I remember TV producers, an astronaut, and a Hollywood actress visiting. But his reputation among physicists was exceptionally high. “He is already working at Einstein’s level, and if he succeeds in quantizing gravity, he will go down in history as being greater than Einstein,” one professor told me. “He’s cleaned up all the problems in general relativity, and now he is coming into our field of quantum mechanics, and he will clean it up also,” said another who had done Nobel Prize–quality work. Up to that point, Stephen’s career had been a 10-year run of amazing success. As a graduate student, he had started by working on Einstein’s theory of general relativity (GR), which is arguably one of the greatest intellectual achievements of humankind. Unlike almost every other theory of physics, it was constructed by Einstein with almost no guidance from experiments. GR is not only aesthetically attractive—sometimes it is called the beautiful theory—but it also seeks to capture the large-scale structure of the universe itself. Indeed, the beauty of GR, together with its audacity of trying to “solve” the universe, seduced me as a 16-year-old schoolboy and converted my daydreams from becoming a professional sports player to becoming a second Einstein (leading to dramatic improvements in my academic work, to the surprise of my teachers). But until the early 1960s, when Stephen’s research started, the conceptual and mathematical complexity of GR meant that its predictions were not clearly understood. It could only be solved in a very limited number of highly restricted settings, and it was unclear what the theory predicted in more realistic and unrestricted situations. Stephen’s research on GR helped change all that. His advisor, Dennis Sciama, introduced him to new ways of thinking about GR that had recently been developed by the mathematician Roger Penrose (whose interest in GR had been inspired and encouraged by Sciama). This led to the so-called golden age of GR where Stephen, Penrose, and a few collaborators found a way to make predictions from GR in unrestricted situations. These results were astounding. They showed that black holes were extremely likely to occur, predicted most of their properties, and calculated what would happen when black holes collided. But with typical audacity, in his PhD thesis, Stephen turned these results on their head and showed that GR predicted that the universe had to start with a singularity, or big bang. Only a few physicists in the world at that time had the physical intuition and the mathematical skills to make and understand these predictions. Stephen’s work in this area alone would have earned him a Nobel Prize if experiments had been able to confirm his predictions. Indeed, the recent discovery of gravitational waves was co-led by Stephen’s friend Kip Thorne. But then, Stephen trumped this work in 1975 with his incredible prediction of black hole radiation, now known as Hawking radiation. The story goes that when Stephen presented his result at a conference, one of the organizers said it was complete nonsense and closed the session. The organizer’s reaction was not completely unreasonable, since Stephen’s result combined three completely separate and apparently unrelated areas of physics: GR, quantum mechanics, and thermodynamics. This suggests an as-yet-unrealized, deep connection among these fundamental theories. There is still no experimental verification of this result, and it is unclear how and when it will come, but the circumstantial evidence for it is so strong that most physicists think it must be true. The formula for Hawking radiation is etched on Stephen’s tombstone. When I met Stephen two years later, he had left GR behind, finished analyzing Hawking radiation, and was setting his sights on developing a theory that unified quantum mechanics with GR. This was one of the last remaining big challenges in fundamental physics and a major step on the road to the holy grail of the theory of everything, which would unify all of physics. The challenges of quantum gravity made me pause when I was offered the chance of doing a PhD supervised by Stephen. But his reputation—when could I ever work with somebody like him?—and his audacity and cheerfulness persuaded me. I first saw his famous grin when I asked him if there was any obvious way to test quantum gravity, and he answered “None!” An Extended Family Stephen’s research group was small and rather like being in an extended family. We hung around him during most of the day, and his wife, Jane, would visit sometimes with children Robert and Lucy (Timothy was born during that time). A postdoc, Don Page, and later a student, Nick Warner, lived in Stephen’s house and accompanied him to work and back home. We took turns to help feed him and perform other duties. (I still recall with shame that I once forgot to tell Stephen that I was going to London on a day when I was supposed to be looking after him.) We occasionally went to films with him like Some Like It Hot and The Black Hole. I recall helping him play Dungeons and Dragons one afternoon when he was bored. I babysat his children once, and he held New Year’s Eve parties. But despite his friendliness and informality, I could never bring myself to call him “Stephen” to his face, perhaps because I’d gone to traditional English schools where first names were only used for very close friends. “Stephen believes the best work is done in the tea room,” I was told when I started my PhD. At morning and afternoon tea, his group would sit together in the tea room and have informal discussions on various topics, including physics and almost everything else. At lunch, we’d all go a block away to the Graduate Center (known as the Grad Pad) or occasionally to a nearby pub. Free-ranging discussions would continue over lunch, and I recall learning about Chomsky’s theory of linguistics, which with typical physics arrogance, was described as being “basically trivial” (though not by Stephen). At that time, Stephen could talk, but with increasing difficulty. I struggled to understand him but never really mastered it. During my first year, he stopped giving his own talks because it became clear that few people in the audience could understand his pronunciation. So he prepared his talks and sat on the podium as a student presented them. Being painfully shy at the time, I was glad that I was never asked to do this. Giving my own first talk in front of Stephen was challenging enough, though he gave me helpful advice beforehand and congratulated me afterward. Indeed, I remember him as being supportive and encouraging, despite my frequent periods of lack of progress, and his sense of humor was almost always present. In particular, I remember him joking that maybe attempting to quantize gravity was the first sign that a physicist was going crazy (this is based on an English schoolboy joke; the second sign of madness would be thinking you had succeeded). His disability due to Lou Gehrig’s disease was almost never discussed, and he seemed determined never to let it stop him from doing anything. He was so cheerful and upbeat that, whenever he was present, the thought of feeling sorry for him never crossed my mind. Self-Doubt Sparks a Shift I rarely saw Stephen after finishing my PhD because I went directly to the United States to work on quantum gravity as a postdoc and shortly afterward left physics and switched to artificial intelligence. During my PhD, I’d had long periods of self-doubt. My PhD thesis was reasonable, though not stellar, but its contributions were mainly mathematical and didn’t seem to make much progress toward quantizing gravity. Stephen’s Euclidean approach relied on a mathematic trick, called analytic continuation, and it was unclear to me that it could be justified. (“You can’t do that,” argued a U.S. quantum gravity expert; “I just did,” replied Stephen.) I wasn’t sure whether my doubts arose because of the difficulty of the problem or the limits of my intelligence. Perhaps I wasn’t smart enough to quantize gravity? During my first year in the U.S., I learned about alternative attempts to quantize gravity from the U.S. experts, but I wasn’t convinced by any of them. I started speculating that perhaps nobody was smart enough to quantize gravity, and, even if somebody succeeded, how would we know if no experiments could be done? These doubts led me to switch subjects and move to MIT to work on AI and theoretical neuroscience. I preferred to work in a new area that was just starting, where there were many wide-open problems waiting to be explored, rather than in an area like physics, which seemed overworked, with problems that seemed fiendishly difficult. AI was also attractive to me because understanding the brain is surely as important as understanding the universe. Moreover, like physics, it was not purely ivory tower but instead had the potential to make a huge impact on the world (much current technology is based on 19th- and 20th-century physics). Finally, AI also involved mathematics, which I liked to do. Stephen had long been interested in AI, and in his last years, he spoke out about its potential dangers, saying it could be “either the best, or the worst thing, ever to happen to humanity.” In 2015, he was a co-signer of the Open Letter on Artificial Intelligence, which called for research on the societal impacts of AI. As an active researcher in AI, I think the short-term risks of AI are often exaggerated, but I agree with Stuart Russell, an AI expert who also signed the letter, that “it is not too early to start thinking about these things.” I note that Stephen’s willingness to publicly address the risks of AI reflected his broad interests and concerns about social issues, similar to the way he publicly argued that the National Health Service in the U.K. was being seriously weakened by shortage of government funding. Sadly, I never had the chance to discuss these issues with Stephen, though I doubt that my opinions would have influenced him in the slightest. When I switched to AI in the early 1980s, he was interested in hearing about it on the few occasions that we met. In those days, of course, AI was very primitive and not advanced enough to threaten anything. But perhaps Stephen was already worrying about its potential. In 1979, he was appointed as the Lucasian Professor of Mathematics at Cambridge (his distinguished predecessors included Isaac Newton and Paul Dirac), and he gave his famous inaugural lecture, during which he speculated that physics might be over in 30 years. He ended it by joking that even if physics wasn’t over, then maybe physicists would be because they would all be replaced by computers! His worries here have so far been premature, and arguably, AI has enabled physicists to do better research. My meetings with him after the early 1980s were infrequent. The most memorable was when he received an honorary fellowship at Harvard University. I was a junior faculty member at Harvard at the time (“Have you got a backup plan?” Stephen joked, knowing of Harvard’s reputation for treating junior faculty), and he kindly invited me to join him at the fellowship lunch, where we heard Ella Fitzgerald sing. (She was also receiving a fellowship.) Another occasion, many years later, was at Caltech, where his rock-star status meant that his talk in a huge auditorium was sold out. Luckily, a friend of mine was able to exploit her press credentials and smuggled me in as a member of the press. This was the last time I saw Stephen. His condition had deteriorated, and he didn’t flash his usual grin of recognition but made warm eye contact instead. He started his talk by mentioning his first junior school, a little-known place called Byron House that has since closed, and which by a strange coincidence was also my first school. A Heroic Endeavor After leaving physics for AI, I followed physics at a distance as a type of spectator sport. In the first few years, I sometimes worried that I’d made a bad decision. Maybe there would be an enormous breakthrough in quantum gravity, I’d miss all the fun, and my friends would be celebrated in history? Perhaps Euclidean quantum gravity would succeed or, if not, perhaps alternatives like string theory and M-theory would turn out to be correct? I promised myself that if they did, I’d take a few months’ holiday and try to learn them. But so far, I have not been persuaded to try. From a distance, it seems that the search for quantum gravity and a theory of everything is much harder than anticipated when the quest began. Lack of experimental data is a major hindrance. My following of physics involved watching Stephen’s expanding role as a popularizer of science and as a scientific celebrity. His scientific writing was always brilliant because of his ability to get to the key points and use the best, and simplest, words to describe ideas. This may be partly due to his disability. As a student, I was privately frustrated when I occasionally helped Stephen with dictation because progress was very slow, with every word requiring an effort. But the result was exceptional clarity. This clarity of thought has translated brilliantly to his popular scientific writings and television presentations. I think of fundamental science as a heroic endeavor, somewhat similar to exploration. Historically, most explorations ended in failure, and those few that succeeded took many years and much hardship. Scientific progress, and understanding of the universe, requires that we keep exploring and honor those who make it their life’s work. It is too early to tell whether Stephen’s work on the wave function of the universe and the no-boundary conditions of the early universe will be validated as his early work on GR and Hawking radiation almost certainly will be. The lack of experimental data, because the cost of doing the experiments exceeds our financial resources and technological skills, requires that physicists develop data driven by criteria like mathematical beauty as Dirac advocated. This gives uncertain and possibly misleading guidance, but it has also succeeded for physicists like Einstein, Dirac, and also Stephen. Moreover, lacking experimental guidance, it is hard to see what other strategies to explore. Stephen himself, of course, can be considered to be one of the most heroic people of all time. The cover picture of him on A Brief History of Time as a disabled man in a wheelchair against a background of stars captures his audacity and willingness, despite enormous physical handicaps, to address the most existential question of all: Namely, how can a breed of monkey on a minor planet in an unfashionable part of an undistinguished galaxy understand the fundamental laws of the universe?
1098	dbpedia	1	76	https://www.zdnet.com/article/uk-supercomputer-probes-dark-matter-and-dark-energy/	en	UK supercomputer probes dark matter and dark energy	https://www.zdnet.com/a/…t=675&width=1200	https://www.zdnet.com/a/…t=675&width=1200	[ "https://www.zdnet.com/a/img/resize/fe064cd8e8aa953a47a790db8b0cebe879752f21/2014/12/04/8b696cf9-7b72-11e4-9a74-d4ae52e95e57/zd-defaultauthor-tim-ferguson.jpg?auto=webp&fit=crop&frame=1&height=192&width=192", "https://www.zdnet.com/a/img/2014/10/02/52b17653-4a0a-11e4-b6a0-d4ae52e95e57/40154071-1-chile-telescopes.jpg" ]	[]	[]	[ "" ]	null	[ "Tim Ferguson" ]	2011-02-07T12:42:01+00:00	Portsmouth University's Sciama supercomputer will boost research into mysteries of the universe...	en	https://www.zdnet.com/a/…-logo-yellow.png	ZDNET	https://www.zdnet.com/article/uk-supercomputer-probes-dark-matter-and-dark-energy/	Portsmouth University's Sciama supercomputer will boost research into mysteries of the universe... What happened just after the Big Bang? How do stars evolve? What's powering the expansion of the universe? These are some of the biggest questions posed by the universe, and scientists are being helped in their quest to answer them by the University of Portsmouth's Sciama supercomputer. The University's Institute of Cosmology and Gravitation (ICG) recently went live with its first supercomputer, which has a 1,008-core Intel cluster capable of one billion calculations per second. It uses 2.66GHz Intel Xeon processors and has 85 terabytes of fast parallel storage and 10 terabytes of NFS storage. The facility is named after Dennis Sciama, a leading figure in the international development of astrophysics and cosmology, and is also an acronym for the South East Physics Network Computing Infrastructure for Astrophysical Modelling and Analysis. The University of Portsmouth's ICG was founded in 2002 and now has about 50 members, including academic staff, post-doctoral researchers, PhD students and international visitors. About half of the ICG's work concerns the theoretical physics of the universe, while the other half is focused on observational work, although some research projects combine the two. One of the projects that will use Sciama is the Dark Energy Survey - beginning in late 2011 - which will use optical data from the Cerro Tololo Inter-American Observatory in Chile to create an image of the night sky in the southern hemisphere. As the name suggests, the research will study dark energy, which describes the force driving the accelerating expansion of the universe - as shown by the movement of galaxies away from each other. "All the galaxies in the universe seem to be going faster and faster away from each other, which is a very strange thing indeed. We don't understand why they're going away faster and faster. Whatever's causing that we call dark energy, and from those distortions you see, you can learn about dark energy," senior research fellow at the University of Portsmouth Dr David Bacon explained. The project will also look at dark matter, which... ...is the theoretical matter whose gravitational pull is attributed to distorting light as it travels through the universe. The raw images taken by the Chilean telescope will be processed and analysed to profile the shape of galaxies. When the shape of these galaxies is similar, or aligned, it means the light that has travelled from them has been distorted in the same way, indicating the presence and location of dark matter. "If that's true, you're learning directly about gravity and the universe - because it's gravity that would be distorting those objects," Bacon said. He added that if a human spent one second looking at each galaxy in this image it would take five years to look at them all. On the other hand, the Sciama supercomputer can process this data rapidly through the use of parallel computing. "We realised there's an awful lot of our calculations that can be done embarrassingly easily in a parallel way, and that's what our machine is good at," Bacon told silicon.com. Parallel computing means each processor core can process small parcels of data at the same time, rather than having to store a huge image in its memory. "You can literally chop up this vast image of the night sky into little postage stamps of the galaxies you care about. And for each of those galaxies you just want to do some fairly simple tasks - you want to fit a profile to it, you want to measure its width, you want to count up all the pixel values. "You want to do all those little things and you can do that independently of each little galaxy in your image - you don't need to have that vast image all in memory at one time. You can just send a little postage stamp to each core independently," Bacon said. "By examining these observations in great detail, we can measure all the properties of galaxies - the facts and the data we need - and on the other hand, we can use the supercomputer to predict what different theories of dark energy would predict for those things we're seeing. So you can compare the predictions with the observations," he added. Other supercomputers used for cosmology and astronomy by UK researchers include the Cosmos facility in Cambridge, which the University of Portsmouth already uses extensively. Unlike Sciama, Cosmos has a shared-memory architecture that makes it... ...suitable for different kinds of computational calculations. Another example is the Blue Gene supercomputer in the Dutch city of Groningen, which processes data from the Low Frequency Array, or Lofar, project using images from a series of radio telescopes across Europe, including one in Chilbolton near Winchester. Bacon said this computer creates an image of the night sky across Europe "as it glows with radio waves". Each radio telescope can create up to 24 terabytes of data per day, so the computer requires a huge amount of memory as well as fast processing. Sciama will be used to analyse the images created by the Groningen supercomputer to further understanding of dark energy as part of the Lofar project. The initial plan is for the University of Portsmouth to use Sciama 70 per cent of the time, with other universities in the South East Physics Network using the remainder. The South East Physics Network is a consortium comprising the universities of Kent, Oxford, Queen Mary, Southampton, Surrey and Sussex. There are 28 registered users of the supercomputer. They will act as testers, identifying tweaks or the need for additional technology before heavy use of the facility begins. Bacon's PhD student is using Sciama in a project investigating unified dark matter theory in which material has properties of both dark matter and dark energy. The research is about predicting how light will be distorted if unified dark matter theory is applied to objects in the universe. Another researcher at Portsmouth is using the supercomputer to show how galaxies are spread out and to predict which types of galaxies occur in which parts of the universe. International projects will use Sciama in the future, including the Sloan Digital Sky Survey III, which has been gathering data from the Sloan radio telescope in New Mexico for the past year. The five-year project aims to create a 3D image of the universe showing the distribution of galaxies in the largest volume of data from the universe ever surveyed.
1098	dbpedia	3	96	https://blog.galaxyzoo.org/2009/07/02/a-busy-galaxy-zoo-day/	en	A Busy Galaxy Zoo Day	https://secure.gravatar.com/blavatar/404c7016d9a4ad14d72dd6323f88368ef571ea7d56d093a8b6db30f38cfebf07?s=200&ts=1723324694	https://secure.gravatar.com/blavatar/404c7016d9a4ad14d72dd6323f88368ef571ea7d56d093a8b6db30f38cfebf07?s=200&ts=1723324694	[ "https://blog.galaxyzoo.org/wp-content/uploads/2012/05/cropped-nasa_-_spiral_galaxy_ngc_1300.jpg", "https://1.gravatar.com/avatar/a10192866c8bda0917a5f5c34d866c2b3aa3f148264ed19c4c69bcd8fdd7c546?s=65&d=identicon&r=G", "https://0.gravatar.com/avatar/936b0a6e2d66478748e5dd9f56bdedf3abc4972d9491c5c5bba952ed89a6d580?s=80&d=identicon&r=G", "https://0.gravatar.com/avatar/6a22a47c748d1175d9304707f4b0dd252998f8061039cc518483a0f9fa2ca47f?s=80&d=identicon&r=G", "https://1.gravatar.com/avatar/73d7a8eb5b846485a4795569c41a7664d6cdc6f6d4ce89cf8049868c8d04dc3f?s=80&d=identicon&r=G", "https://0.gravatar.com/avatar/?s=80&d=identicon&r=G", "https://secure.gravatar.com/blavatar/404c7016d9a4ad14d72dd6323f88368ef571ea7d56d093a8b6db30f38cfebf07?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/404c7016d9a4ad14d72dd6323f88368ef571ea7d56d093a8b6db30f38cfebf07?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2009-07-02T00:00:00	Sometimes in scientific research opportunities collide and lead to rather busy days. Yesterday I had such a day, and since it involved me giving two presentations about Galaxy Zoo I thought you might be interested to hear about it. In the morning I gave a talk "Galaxy Evolution in the Galaxy Zoo" at the "Unity…	en	https://secure.gravatar.com/blavatar/404c7016d9a4ad14d72dd6323f88368ef571ea7d56d093a8b6db30f38cfebf07?s=32	Galaxy Zoo	https://blog.galaxyzoo.org/2009/07/02/a-busy-galaxy-zoo-day/	Sometimes in scientific research opportunities collide and lead to rather busy days. Yesterday I had such a day, and since it involved me giving two presentations about Galaxy Zoo I thought you might be interested to hear about it. In the morning I gave a talk “Galaxy Evolution in the Galaxy Zoo” at the “Unity of the Universe” conference in Portsmouth, a conference celebrating the opening of the new Dennis Sciama Building for the Institute of Cosmology and Gravitation (ICG, where I and several other “Zoo Keepers” work). This talk was aimed at summarizing for astronomers and cosmologists at the meeting the exciting results on galaxy evolution which have come out of Galaxy Zoo. Many researchers in astronomy are aware of Galaxy Zoo, and in general are very interested in it, but they tend to think of it more an an opportunity for outreach with the interested general public and less in terms of the exciting science which can come out of it. The point of my talk was to say that it should in fact be viewed as both. It seemed to go over well. Over lunch I took a train to London where in the afternoon I was interviewed by an esteemed panel of scientists (including Baroness Susan Greenfield, Director of the Royal Institution, and Prof. Alec Boksenberg, Chair of the UK National Commission for UNESCO). This interview was because I was a finalist in the competition for the 2009 L’Oreal UNESCO UK/Ireland Fellowships for Women in Science. My proposal for this fellowship (for £15000) was to extend my period of study at Portsmouth so I could spend more time studying the red spirals in Galaxy Zoo (among other things). I gave a 10 minute talk about this proposed research, then answered questions from the panel. Later that afternoon I had a L’Oreal makeover (really – but don’t worry this was not a requirement for the fellowship just a treat, and a positive sign in my opinion of a recognition that scientists can want to be feminine) and in the evening I attended a reception at the Royal Institution at which the winners of the fellowship were announced. Unfortunately I did not win the competition, but as I did make the final 8 (out of 240 applicants) I can’t feel too bad about it. I also got a nice engraved pen, met some very interesting people, and I’m assured I can still expect some free makeup. So that’s not too bad after all! Quite a busy day in the life of an astronomer!
1098	dbpedia	0	7	https://physics.stackexchange.com/questions/743188/observational-status-of-sciamas-hypothesis	en	Observational status of Sciama's hypothesis	https://cdn.sstatic.net/…g?v=f58801408228	https://cdn.sstatic.net/…g?v=f58801408228	[ "https://cdn.sstatic.net/Sites/physics/Img/logo.svg?v=6eb7d730c013", "https://www.gravatar.com/avatar/e1f812069a573c4685c26114aaaf2ca6?s=64&d=identicon&r=PG&f=y&so-version=2", "https://www.gravatar.com/avatar/b8b02aeec1ef26bb34e4d477d11d8446?s=64&d=identicon&r=PG&f=y&so-version=2", "https://physics.stackexchange.com/posts/743188/ivc/5148?prg=35b48575-5c8a-4597-8503-07908b19968c" ]	[]	[]	[ "" ]	null	[ "Martin C" ]	2022-12-30T10:41:17	I have always taken the existence of inertia more or less for granted, as an observational fact that does not require explanation. But on reflection this is an unscientific attitude, and perhaps th...	en	https://cdn.sstatic.net/Sites/physics/Img/favicon.ico?v=e8ea30e2eacd	Physics Stack Exchange	https://physics.stackexchange.com/questions/743188/observational-status-of-sciamas-hypothesis	I have always taken the existence of inertia more or less for granted, as an observational fact that does not require explanation. But on reflection this is an unscientific attitude, and perhaps there exists a deeper reason for the existence of inertial mass. Of course, in the absence of an explanatory theory of inertia that makes testable predictions we should be wary of ascribing importance to an observation that seems to stand by itself, but that does not mean the question is somehow beyond the realm of scientific inquiry. Happily, in (1) Sciama put forth the bold hypothesis that the inertia of a single object is due to the action of the mass of the rest of the universe (since becoming aware of this I have found various other theories of inertia of greater or lesser cogency, but many of them seem to veer into quackery). Sciama also worked out a prediction of his theory - that is, his theory is falsifiable. Specifically, the gravitational constant becomes a function of the distribution of matter in the (presumably observable) universe, so that a precise value of G predicts a value for the mean density of the universe. The value provided in the original paper of 1953 is $\rho \approx 5\times 10^{-27}g cm^{-3} $ , which Sciama argued was not incompatible with the observational estimates of the time ($\rho \approx \times 10^{-30}g cm^{-3}$). A quick google search (e.g. https://wmap.gsfc.nasa.gov/universe/uni_matter.html) suggests current estimates are around $9.9 \times 10^{-30}gcm^{-3}$, i.e. still of the same order of magnitude as in the 1950s(!). Is this sufficient to definitively falsify Sciama's theory (which made numerous simplifications), or are there reasons to doubt this quantity?
1098	dbpedia	2	62	https://astro.cornell.edu/events	en	Department of Astronomy	https://astro.cornell.edu/sites/default/files/favicon.ico	https://astro.cornell.edu/sites/default/files/favicon.ico	[ "https://astro.cornell.edu/sites/default/files/Department-of-Astronomy_1.png" ]	[]	[]	[ "" ]	null	[]	null	This was a Modal Page imported from Drupal 7	en	/sites/default/files/favicon.ico		https://astro.cornell.edu/events	The Planetary Lunch Seminar Series (PLunch) is an informal seminar series with talks that are relevant to everybody with an interest in planetary science. Speakers include both members of the Cornell community and visitors. Talks are aimed to appeal to and presented by faculty members, research associates, and both graduate and undergraduate students from various academic departments. The seminars will be on every other Monday listed below at 12:15 pm in the Terzian Conference Room (Rm 622 Space Sciences Bldg). For a Zoom link, please contact Alexia Kubas (ak2248@cornell.edu). NOTE: Attendance is restricted to Cornell students, staff and faculty. All Cornell community members should take personal responsibility and demonstrate COVID-19 etiquette. Date Topic Speaker Aug 26, 2024 Sep 9, 2024 Sep 23, 2024 Oct 7, 2024 Oct 21, 2024 Nov 4, 2024 Nov 18, 2024 Dec 2, 2024 Dec 9, 2024 Astrophysics Lunch is a series of informal talks on topics related to theoretical astrophysics, gravitational physics, and cosmology. Speakers are free to present their own research or present papers that they find of particular interest. The audience consists of faculty members, research staff, as well as graduate and undergraduate students, so talks should be at a level accessible to most. Astrophysics Lunch is open to talks from all members of the Cornell community, as well as to visiting scientists. We will reschedule a local speaker in order to accommodate visitors. Astrophysics Lunch will be held on Wednesdays at 12:10 PM in the Terzian Conference Room (Rm 622). For a Zoom link, please contact Larry Kidder (kidder@astro.cornell.edu). NOTE: Attendance is restricted to Cornell students, staff and faculty. All Cornell community members should take personal responsibility and demonstrate COVID-19 etiquette. Date Topic Speaker Aug 28, 2024 Sep 4, 2024 Sep 11, 2024 Sep 18, 2024 Sep 25, 2024 TBA Prof. Xing Wei (Beijing Normal U.) Oct 2, 2024 Oct 9, 2024 Oct 16, 2024 Oct 23, 2024 Oct 30, 2024 Nov 6, 2024 Nov 13, 2024 Nov 20, 2024 Nov 27, 2024 Thanksgiving Break Dec 4, 2024 The Galaxy and Cosmology Lunch Series is held on the Tuesdays listed below, from 12:15 to 1:15 in the Terzian Conference Room (Rm 622 Space Sciences Bldg). For a Zoom link, please contact Thomas Nikola (tn46@cornell.edu). NOTE: Attendance is restricted to Cornell students, staff and faculty. All Cornell community members should take personal responsibility and demonstrate COVID-19 etiquette. In general, the topics are related to galactic and extragalactic astronomy, and large-scale structure. The audience consists of faculty members, research staff, as well as graduate and undergraduate students. Galaxy Lunch is open to talks from all members of the Cornell Astronomy department, as well as to visiting scientists and speakers from different disciplines/departments. Date Topic Speaker Aug 27, 2024 Sep 3, 2024 Sep 10, 2024 Sep 17, 2024 Sep 24, 2024 Oct 1, 2024 Oct 8, 2024 Oct 15, 2024 FALL BREAK Oct 22, 2024 Oct 29, 2024 Nov 5, 2024 Nov 12, 2024 Nov 19, 2024 Nov 26, 2024 Dec 3, 2024 The Salpeter Lecture Series was established in 1998 to honor Professor Edwin E. Salpeter, one of the most important astrophysicists of the 20th century. Under the auspices of the lectureship, distinguished astronomers and astrophysicists are invited to visit Cornell for one to two weeks. Former Salpeter Lecturers: 1999 Sterl Phinney (CalTech) 2000 Lars Bildsten (Univ. California-Berkeley) 2001 Dave Stevenson (CalTech) 2002 John Carlstrom (Univ. Chicago) 2003 Shri Kulkarni (CalTech) 2004 Andrea Ghez (UCLA) 2005 Victoria Kaspi (McGill) 2006 Avi Loeb (Harvard) 2007 Jonathan Lunine (Univ. of Arizona) 2008 Alexei Filippenko (Univ. California-Berkeley) 2009 Gilles Chabrier (ENS Lyon) 2010 David Spergel (Princeton University) 2011 Sara Seager (MIT) 2012 Elliot Quataert (UC Berkeley) 2013 Eve Ostriker (Princeton) 2014 Adam Showman (University of Arizona) 2015 Daniel Eisenstein (Harvard-Smithsonian Center for Astrophysics) 2016 Fiona A. Harrison (California Institute of Technology) 2017 Alyssa Goodman (Harvard) 2018 Fred Rasio (Northwestern) 2019 May Ruth Murray-Clay (UCSC) 2019 Nov Brian Metzger (Columbia University) 2022 Vicky Kalogera (Northwestern University) 2023 Matias Zaldarriaga, IAS Princeton 2024 Jenny Greene, Princeton William E. Gordon, then professor of electrical engineering at Cornell, proposed the construction of the Arecibo telescope in 1958 to study the Earth's ionosphere via the incoherent scatter of powerful radio waves from the individual electrons in the ionospheric plasma. He also understood that the telescope would be able to make significant contributions to planetary science and the then relatively new field of radio astronomy. Gordon raised the funding for the telescope and organized its construction. Completed in 1963, the 305m (1000ft) diameter telescope and its powerful radar systems were continuously upgraded over the intervening years and were used to made major advances in the areas of ionospheric physics, radio astronomy and planetary science. Sadly, after fifty-seven years of ground-breaking contributions to astronomy, planetary science and ionospheric physics the telescope collapsed on December 1, 2020. The Gordon Lectures are made possible by an endowment by Tom and Betty Talpey. Tom and Betty Talpey were one of the families that moved with the Gordon's to Arecibo in the summer of 1960 to supervise the telescope's construction and build the observing instrumentation. Former Gordon Lecturers: 2002 Harold Ewen (University of Massachusetts) 2003 Tor Hagfors (Max Planck Institute for Aeronomy) 2005 Gordon Pettengill (MIT) 2006 Jocelyn Bell Burnell (University of Oxford) 2008 Lewis Duncan (Rollins College) 2009 Shri Kulkarni (Caltech) 2011 Joint Lecture & Arecibo Observatory Staff Event: Donald Farley (Cornell University) Miguel Feyjoo (Engineer) Herbert Carlson (Utah State University) Carl Heiles (UC Berkeley) Donald B. Campbell (Cornell University) 2013 Lara Waldrop (Univ. Illinois Urbana-Champaign) and Jean-Luc Margot (UCLA) 2015 Xavier Siemens (Univ. of Wisconsin-Milwaukee) 2018 Gregg Hallinan (Caltech) 2019 Amelie Saintonge (University College London) 2021 Maura McLaughlin (West Virginia University) 2022 Mark Devlin (University of Pennsylvania) 2023 Heino Falcke (Radboud University, Nijmegen)
1098	dbpedia	0	94	https://warnerbros.fandom.com/wiki/Stephen_Hawking	en	Stephen Hawking	https://static.wikia.nocookie.net/warner-bros-entertainment/images/7/77/L_ki_1609376_hawking01.jpg/revision/latest?cb=20180314191211	https://static.wikia.nocookie.net/warner-bros-entertainment/images/7/77/L_ki_1609376_hawking01.jpg/revision/latest?cb=20180314191211	[ "https://static.wikia.nocookie.net/warner-bros-entertainment/images/e/e6/Site-logo.png/revision/latest?cb=20231231202645", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/7/77/L_ki_1609376_hawking01.jpg/revision/latest?cb=20180314191211", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/0/01/Flag_of_England.png/revision/latest/scale-to-width-down/20?cb=20160307200924", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/d/d4/Stephen_Hawking_%28Big_Bang_Theory%29.jpg/revision/latest?cb=20170121180158", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/d/d7/Stephen-hawking-bigbangtheory-cast-today-tease-1-180314_39cec584248eb3adb64a3fc9a2e2f494.jpg/revision/latest/scale-to-width-down/185?cb=20180314192142", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/d/d7/Stephen-hawking-bigbangtheory-cast-today-tease-1-180314_39cec584248eb3adb64a3fc9a2e2f494.jpg/revision/latest/scale-to-width-down/185?cb=20180314192142", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/e/ef/Stephen-hawking-jim-parsons.jpg/revision/latest/scale-to-width-down/185?cb=20180314192215", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/e/ef/Stephen-hawking-jim-parsons.jpg/revision/latest/scale-to-width-down/185?cb=20180314192215", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/0/05/WikipediaListLink.PNG/revision/latest/scale-to-width-down/20?cb=20200131172620", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/1/10/2000px-TBBT_logo_svg.png/revision/latest/scale-to-width-down/200?cb=20160206194318", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Warner Bros. Entertainment Wiki" ]	null	Hawking was born on 8 January 1942 in Oxford to Frank and Isobel Eileen Hawking (née Walker). Hawking's mother was born into a family of doctors in Glasgow, Scotland. His wealthy paternal great-grandfather, from Yorkshire, over-extended himself buying farm land and then went bankrupt in the...	en	https://static.wikia.nocookie.net/warner-bros-entertainment/images/4/4a/Site-favicon.ico/revision/latest?cb=20231231202645	Warner Bros. Entertainment Wiki	https://warnerbros.fandom.com/wiki/Stephen_Hawking	Background[] History[] Hawking was born on 8 January 1942 in Oxford to Frank and Isobel Eileen Hawking (née Walker). Hawking's mother was born into a family of doctors in Glasgow, Scotland. His wealthy paternal great-grandfather, from Yorkshire, over-extended himself buying farm land and then went bankrupt in the great agricultural depression during the early 20th century. His paternal great-grandmother saved the family from financial ruin by opening a school in their home. Despite their families' financial constraints, both parents attended the University of Oxford, where Frank read medicine and Isobel read Philosophy, Politics and Economics. Isobel worked as a secretary for a medical research institute, and Frank was a medical researcher. Hawking had two younger sisters, Philippa and Mary, and an adopted brother, Edward Frank David (1955–2003). In 1950, when Hawking's father became head of the division of parasitology at the National Institute for Medical Research, the family moved to St Albans, Hertfordshire. In St Albans, the family was considered highly intelligent and somewhat eccentric; meals were often spent with each person silently reading a book. They lived a frugal existence in a large, cluttered, and poorly maintained house and travelled in a converted London taxicab. During one of Hawking's father's frequent absences working in Africa, the rest of the family spent four months in Mallorca visiting his mother's friend Beryl and her husband, the poet Robert Graves. Hawking began his schooling at the Byron House School in Highgate, London. He later blamed its "progressive methods" for his failure to learn to read while at the school. In St Albans, the eight-year-old Hawking attended St Albans High School for Girls for a few months. At that time, younger boys could attend one of the houses. Hawking attended two independent (i.e. fee-paying) schools, first Radlett School and from September 1952, St Albans School, after passing the eleven-plus a year early. The family placed a high value on education. Hawking's father wanted his son to attend the well-regarded Westminster School, but the 13-year-old Hawking was ill on the day of the scholarship examination. His family could not afford the school fees without the financial aid of a scholarship, so Hawking remained at St Albans. A positive consequence was that Hawking remained close to a group of friends with whom he enjoyed board games, the manufacture of fireworks, model aeroplanes and boats, and long discussions about Christianity and extrasensory perception. From 1958 on, with the help of the mathematics teacher Dikran Tahta, they built a computer from clock parts, an old telephone switchboard and other recycled components. Although known at school as "Einstein", Hawking was not initially successful academically. With time, he began to show considerable aptitude for scientific subjects and, inspired by Tahta, decided to read mathematics at university. Hawking's father advised him to study medicine, concerned that there were few jobs for mathematics graduates. He also wanted his son to attend University College, Oxford, his own alma mater. As it was impossible to read mathematics there at the time, Hawking decided to study physics and chemistry. Despite his headmaster's advice to wait until the next year, Hawking was awarded a scholarship after taking the examinations in March 1959. Hawking began his university education at University College, Oxford, in October 1959 at the age of 17. For the first eighteen months, he was bored and lonely – he found the academic work "ridiculously easy". His physics tutor, Robert Berman, later said, "It was only necessary for him to know that something could be done, and he could do it without looking to see how other people did it." A change occurred during his second and third years when, according to Berman, Hawking made more of an effort "to be one of the boys". He developed into a popular, lively and witty college-member, interested in classical music and science fiction. Part of the transformation resulted from his decision to join the college boat-club, the University College Boat Club, where he coxed a rowing-crew. The rowing-coach at the time noted that Hawking cultivated a daredevil image, steering his crew on risky courses that led to damaged boats. Hawking estimated that he studied about 1,000 hours during his three years at Oxford. These unimpressive study habits made sitting his finals a challenge, and he decided to answer only theoretical physics questions rather than those requiring factual knowledge. A first-class degree was a condition of acceptance for his planned graduate study in cosmology at the University of Cambridge. Anxious, he slept poorly the night before the examinations, and the final result was on the borderline between first- and second-class honours, making a viva (oral examination) with the Oxford examiners necessary. Hawking was concerned that he was viewed as a lazy and difficult student. So, when asked at the viva to describe his plans, he said, "If you award me a First, I will go to Cambridge. If I receive a Second, I shall stay in Oxford, so I expect you will give me a First." He was held in higher regard than he believed; as Berman commented, the examiners "were intelligent enough to realise they were talking to someone far cleverer than most of themselves". After receiving a first-class BA degree in physics and completing a trip to Iran with a friend, he began his graduate work at Trinity Hall, Cambridge, in October 1962. Hawking's first year as a doctoral student was difficult. He was initially disappointed to find that he had been assigned Dennis William Sciama, one of the founders of modern cosmology, as a supervisor rather than the noted astronomer Fred Hoyle, and he found his training in mathematics inadequate for work in general relativity and cosmology. After being diagnosed with motor neurone disease, Hawking fell into a depression – though his doctors advised that he continue with his studies, he felt there was little point. His disease progressed more slowly than doctors had predicted. Although Hawking had difficulty walking unsupported, and his speech was almost unintelligible, an initial diagnosis that he had only two years to live proved unfounded. With Sciama's encouragement, he returned to his work. Hawking started developing a reputation for brilliance and brashness when he publicly challenged the work of Fred Hoyle and his student Jayant Narlikar at a lecture in June 1964. When Hawking began his doctoral studies, there was much debate in the physics community about the prevailing theories of the creation of the universe: the Big Bang and Steady State theories. Inspired by Roger Penrose's theorem of a spacetime singularity in the centre of black holes, Hawking applied the same thinking to the entire universe; and, during 1965, he wrote his thesis on this topic. Hawking's thesis was approved in 1966. There were other positive developments: Hawking received a research fellowship at Gonville and Caius College at Cambridge; he obtained his PhD degree in applied mathematics and theoretical physics, specialising in general relativity and cosmology, in March 1966; and his essay "Singularities and the Geometry of Space–Time" shared top honours with one by Penrose to win that year's prestigious Adams Prize. In his work, and in collaboration with Penrose, Hawking extended the singularity theorem concepts first explored in his doctoral thesis. This included not only the existence of singularities but also the theory that the universe might have started as a singularity. Their joint essay was the runner-up in the 1968 Gravity Research Foundation competition. In 1970, they published a proof that if the universe obeys the general theory of relativity and fits any of the models of physical cosmology developed by Alexander Friedmann, then it must have begun as a singularity. In 1969, Hawking accepted a specially created Fellowship for Distinction in Science to remain at Caius. In 1970, Hawking postulated what became known as the second law of black hole dynamics, that the event horizon of a black hole can never get smaller. With James M. Bardeen and Brandon Carter, he proposed the four laws of black hole mechanics, drawing an analogy with thermodynamics. To Hawking's irritation, Jacob Bekenstein, a graduate student of John Wheeler, went further—and ultimately correctly—to apply thermodynamic concepts literally. In the early 1970s, Hawking's work with Carter, Werner Israel, and David C. Robinson strongly supported Wheeler's no-hair theorem, one that states that no matter what the original material from which a black hole is created, it can be completely described by the properties of mass, electrical charge and rotation. His essay titled "Black Holes" won the Gravity Research Foundation Award in January 1971. Hawking's first book, The Large Scale Structure of Space-Time, written with George Ellis, was published in 1973. Beginning in 1973, Hawking moved into the study of quantum gravity and quantum mechanics. His work in this area was spurred by a visit to Moscow and discussions with Yakov Borisovich Zel'dovich and Alexei Starobinsky, whose work showed that according to the uncertainty principle, rotating black holes emit particles. To Hawking's annoyance, his much-checked calculations produced findings that contradicted his second law, which claimed black holes could never get smaller, and supported Bekenstein's reasoning about their entropy. His results, which Hawking presented from 1974, showed that black holes emit radiation, known today as Hawking radiation, which may continue until they exhaust their energy and evaporate. Initially, Hawking radiation was controversial. By the late 1970s and following the publication of further research, the discovery was widely accepted as a significant breakthrough in theoretical physics. Hawking was elected a Fellow of the Royal Society (FRS) in 1974, a few weeks after the announcement of Hawking radiation. At the time, he was one of the youngest scientists to become a Fellow. Hawking was appointed to the Sherman Fairchild Distinguished Visiting Professorship at the California Institute of Technology (Caltech) in 1974. He worked with a friend on the faculty, Kip Thorne, and engaged him in a scientific wager about whether the X-ray source Cygnus X-1 was a black hole. The wager was an "insurance policy" against the proposition that black holes did not exist. Hawking acknowledged that he had lost the bet in 1990, a bet that was the first of several he was to make with Thorne and others. Hawking had maintained ties to Caltech, spending a month there almost every year since this first visit. Hawking returned to Cambridge in 1975 to a more academically senior post, as reader in gravitational physics. The mid-to-late 1970s were a period of growing public interest in black holes and the physicists who were studying them. Hawking was regularly interviewed for print and television. He also received increasing academic recognition of his work. In 1975, he was awarded both the Eddington Medal and the Pius XI Gold Medal, and in 1976 the Dannie Heineman Prize, the Maxwell Medal and Prize and the Hughes Medal. He was appointed a professor with a chair in gravitational physics in 1977. The following year he received the Albert Einstein Medal and an honorary doctorate from the University of Oxford. In 1979, Hawking was elected Lucasian Professor of Mathematics at the University of Cambridge. His inaugural lecture in this role was titled: "Is the End in Sight for Theoretical Physics?" and proposed N=8 Supergravity as the leading theory to solve many of the outstanding problems physicists were studying. His promotion coincided with a health-crisis which led to his accepting, albeit reluctantly, some nursing services at home. At the same time, he was also making a transition in his approach to physics, becoming more intuitive and speculative rather than insisting on mathematical proofs. "I would rather be right than rigorous", he told Kip Thorne. In 1981, he proposed that information in a black hole is irretrievably lost when a black hole evaporates. This information paradox violates the fundamental tenet of quantum mechanics, and led to years of debate, including "the Black Hole War" with Leonard Susskind and Gerard 't Hooft. Cosmological inflation – a theory proposing that following the Big Bang, the universe initially expanded incredibly rapidly before settling down to a slower expansion – was proposed by Alan Guth and also developed by Andrei Linde. Following a conference in Moscow in October 1981, Hawking and Gary Gibbons organised a three-week Nuffield Workshop in the summer of 1982 on "The Very Early Universe" at Cambridge University, a workshop that focused mainly on inflation theory. Hawking also began a new line of quantum-theory research into the origin of the universe. In 1981 at a Vatican conference, he presented work suggesting that there might be no boundary – or beginning or ending – to the universe. Hawking subsequently developed the research in collaboration with Jim Hartle, and in 1983 they published a model, known as the Hartle–Hawking state. It proposed that prior to the Planck epoch, the universe had no boundary in space-time; before the Big Bang, time did not exist and the concept of the beginning of the universe is meaningless. The initial singularity of the classical Big Bang models was replaced with a region akin to the North Pole. One cannot travel north of the North Pole, but there is no boundary there – it is simply the point where all north-running lines meet and end. Initially, the no-boundary proposal predicted a closed universe, which had implications about the existence of God. As Hawking explained, "If the universe has no boundaries but is self-contained... then God would not have had any freedom to choose how the universe began." Hawking did not rule out the existence of a Creator, asking in A Brief History of Time "Is the unified theory so compelling that it brings about its own existence?", also stating "If we discover a complete theory, it would be the ultimate triumph of human reason – for then we should know the mind of God"; in his early work, Hawking spoke of God in a metaphorical sense. In the same book he suggested that the existence of God was not necessary to explain the origin of the universe. Later discussions with Neil Turok led to the realisation that the existence of God was also compatible with an open universe. Further work by Hawking in the area of arrows of time led to the 1985 publication of a paper theorising that if the no-boundary proposition were correct, then when the universe stopped expanding and eventually collapsed, time would run backwards. A paper by Don Page and independent calculations by Raymond Laflamme led Hawking to withdraw this concept. Honours continued to be awarded: in 1981 he was awarded the American Franklin Medal, and in the 1982 New Year Honours appointed a Commander of the Order of the British Empire (CBE). These awards did not significantly change Hawking's financial status, and motivated by the need to finance his children's education and home-expenses, he decided in 1982 to write a popular book about the universe that would be accessible to the general public. Instead of publishing with an academic press, he signed a contract with Bantam Books, a mass-market publisher, and received a large advance for his book. A first draft of the book, called A Brief History of Time, was completed in 1984. One of the first messages Hawking produced with his speech-generating device was a request for his assistant to help him finish writing A Brief History of Time. Peter Guzzardi, his editor at Bantam, pushed him to explain his ideas clearly in non-technical language, a process that required many revisions from an increasingly irritated Hawking. The book was published in April 1988 in the US and in June in the UK, and it proved to be an extraordinary success, rising quickly to the top of best-seller lists in both countries and remaining there for months. The book was translated into many languages, and ultimately sold an estimated 9 million copies. Media attention was intense, and a Newsweek magazine-cover and a television special both described him as "Master of the Universe". Success led to significant financial rewards, but also the challenges of celebrity status. Hawking travelled extensively to promote his work, and enjoyed partying and dancing into the small hours. A difficulty refusing the invitations and visitors left him limited time for work and his students. Some colleagues were resentful of the attention Hawking received, feeling it was due to his disability. He received further academic recognition, including five more honorary degrees, the Gold Medal of the Royal Astronomical Society (1985), the Paul Dirac Medal (1987) and, jointly with Penrose, the prestigious Wolf Prize (1988). In the 1989 Birthday Honours, he was appointed a Companion of Honour (CH). He reportedly declined a knighthood in the late 1990s in objection to the UK's science funding policy. Hawking pursued his work in physics: in 1993 he co-edited a book on Euclidean quantum gravity with Gary Gibbons and published a collected edition of his own articles on black holes and the Big Bang. In 1994, at Cambridge's Newton Institute, Hawking and Penrose delivered a series of six lectures that were published in 1996 as "The Nature of Space and Time". In 1997, he conceded a 1991 public scientific wager made with Kip Thorne and John Preskill of Caltech. Hawking had bet that Penrose's proposal of a "cosmic censorship conjecture" – that there could be no "naked singularities" unclothed within a horizon – was correct. After discovering his concession might have been premature, a new and more refined wager was made. This one specified that such singularities would occur without extra conditions. The same year, Thorne, Hawking and Preskill made another bet, this time concerning the black hole information paradox. Thorne and Hawking argued that since general relativity made it impossible for black holes to radiate and lose information, the mass-energy and information carried by Hawking radiation must be "new", and not from inside the black hole event horizon. Since this contradicted the quantum mechanics of microcausality, quantum mechanics theory would need to be rewritten. Preskill argued the opposite, that since quantum mechanics suggests that the information emitted by a black hole relates to information that fell in at an earlier time, the concept of black holes given by general relativity must be modified in some way. Hawking also maintained his public profile, including bringing science to a wider audience. A film version of A Brief History of Time, directed by Errol Morris and produced by Steven Spielberg, premiered in 1992. Hawking had wanted the film to be scientific rather than biographical, but he was persuaded otherwise. The film, while a critical success, was not widely released. A popular-level collection of essays, interviews, and talks titled Black Holes and Baby Universes and Other Essays was published in 1993, and a six-part television series Stephen Hawking's Universe and a companion book appeared in 1997. As Hawking insisted, this time the focus was entirely on science. Hawking continued his writings for a popular audience, publishing The Universe in a Nutshell in 2001, and A Briefer History of Time, which he wrote in 2005 with Leonard Mlodinow to update his earlier works with the aim of making them accessible to a wider audience, and God Created the Integers, which appeared in 2006. Along with Thomas Hertog at CERN and Jim Hartle, from 2006 on Hawking developed a theory of top-down cosmology, which says that the universe had not one unique initial state but many different ones, and therefore that it is inappropriate to formulate a theory that predicts the universe's current configuration from one particular initial state. Top-down cosmology posits that the present "selects" the past from a superposition of many possible histories. In doing so, the theory suggests a possible resolution of the fine-tuning question. Hawking continued to travel widely, including trips to Chile, Easter Island, South Africa, Spain (to receive the Fonseca Prize in 2008), Canada, and numerous trips to the United States. For practical reasons related to his disability, Hawking increasingly travelled by private jet, and by 2011 that had become his only mode of international travel. By 2003, consensus among physicists was growing that Hawking was wrong about the loss of information in a black hole. In a 2004 lecture in Dublin, he conceded his 1997 bet with Preskill, but described his own, somewhat controversial solution to the information paradox problem, involving the possibility that black holes have more than one topology. In the 2005 paper he published on the subject, he argued that the information paradox was explained by examining all the alternative histories of universes, with the information loss in those with black holes being cancelled out by those without such loss. In January 2014, he called the alleged loss of information in black holes his "biggest blunder". As part of another longstanding scientific dispute, Hawking had emphatically argued, and bet, that the Higgs boson would never be found. The particle was proposed to exist as part of the Higgs field theory by Peter Higgs in 1964. Hawking and Higgs engaged in a heated and public debate over the matter in 2002 and again in 2008, with Higgs criticising Hawking's work and complaining that Hawking's "celebrity status gives him instant credibility that others do not have." The particle was discovered in July 2012 at CERN following construction of the Large Hadron Collider. Hawking quickly conceded that he had lost his bet and said that Higgs should win the Nobel Prize for Physics, which he did in 2013. In 2007, Hawking and his daughter Lucy published George's Secret Key to the Universe, a children's book designed to explain theoretical physics in an accessible fashion and featuring characters similar to those in the Hawking family. The book was followed by sequels in 2009, 2011, 2014 and 2016. In 2002, following a UK-wide vote, the BBC included Hawking in their list of the 100 Greatest Britons. He was awarded the Copley Medal from the Royal Society (2006), the Presidential Medal of Freedom, which is America's highest civilian honour (2009), and the Russian Special Fundamental Physics Prize (2013). Several buildings have been named after him, including the Stephen W. Hawking Science Museum in San Salvador, El Salvador, the Stephen Hawking Building in Cambridge, and the Stephen Hawking Centre at the Perimeter Institute in Canada. Appropriately, given Hawking's association with time, he unveiled the mechanical "Chronophage" (or time-eating) Corpus Clock at Corpus Christi College, Cambridge in September 2008. During his career, Hawking supervised 39 successful PhD students. One doctoral student did not successfully complete the PhD.[better source needed] As required by Cambridge University policy, Hawking retired as Lucasian Professor of Mathematics in 2009. Despite suggestions that he might leave the United Kingdom as a protest against public funding cuts to basic scientific research, Hawking worked as director of research at the Cambridge University Department of Applied Mathematics and Theoretical Physics. On 28 June 2009, as a tongue-in-cheek test of his 1992 conjecture that travel into the past is effectively impossible, Hawking held a party open to all, complete with hors d'oeuvres and iced champagne, but publicised the party only after it was over so that only time-travellers would know to attend; as expected, nobody showed up to the party. On 20 July 2015, Hawking helped launch Breakthrough Initiatives, an effort to search for extraterrestrial life. Hawking created Stephen Hawking: Expedition New Earth, a documentary on space colonisation, as a 2017 episode of Tomorrow's World. In August 2015, Hawking said that not all information is lost when something enters a black hole and there might be a possibility to retrieve information from a black hole according to his theory. In July 2017, Hawking was awarded an Honorary Doctorate from Imperial College London. Hawking's final paper – A smooth exit from eternal inflation? – was posthumously published in the Journal of High Energy Physics on 27 April 2018. Hawking met his future wife, Jane Wilde, at a party in 1962. The following year, Hawking was diagnosed with motor neurone disease. In October 1964, the couple became engaged to marry, aware of the potential challenges that lay ahead due to Hawking's shortened life expectancy and physical limitations. Hawking later said that the engagement gave him "something to live for". The two were married on 14 July 1965 in their shared hometown of St Albans. The couple resided in Cambridge, within Hawking's walking distance to the Department of Applied Mathematics and Theoretical Physics (DAMTP). During their first years of marriage, Jane lived in London during the week as she completed her degree at Westfield College. They travelled to the United States several times for conferences and physics-related visits. Jane began a PhD programme through Westfield College in medieval Spanish poetry (completed in 1981). The couple had three children: Robert, born May 1967, Lucy, born November 1970, and Timothy, born April 1979. Hawking rarely discussed his illness and physical challenges, even – in a precedent set during their courtship – with Jane. His disabilities meant that the responsibilities of home and family rested firmly on his wife's increasingly overwhelmed shoulders, leaving him more time to think about physics. Upon his appointment in 1974 to a year-long position at the California Institute of Technology in Pasadena, California, Jane proposed that a graduate or post-doctoral student live with them and help with his care. Hawking accepted, and Bernard Carr travelled with them as the first of many students who fulfilled this role. The family spent a generally happy and stimulating year in Pasadena. Hawking returned to Cambridge in 1975 to a new home and a new job, as reader. Don Page, with whom Hawking had begun a close friendship at Caltech, arrived to work as the live-in graduate student assistant. With Page's help and that of a secretary, Jane's responsibilities were reduced so she could return to her doctoral thesis and her new interest in singing. Around December 1977, Jane met organist Jonathan Hellyer Jones when singing in a church choir. Hellyer Jones became close to the Hawking family, and by the mid-1980s, he and Jane had developed romantic feelings for each other. According to Jane, her husband was accepting of the situation, stating "he would not object so long as I continued to love him". Jane and Hellyer Jones were determined not to break up the family, and their relationship remained platonic for a long period. By the 1980s, Hawking's marriage had been strained for many years. Jane felt overwhelmed by the intrusion into their family life of the required nurses and assistants. The impact of his celebrity status was challenging for colleagues and family members, while the prospect of living up to a worldwide fairytale image was daunting for the couple. Hawking's views of religion also contrasted with her strong Christian faith and resulted in tension. After a tracheotomy in 1985, Hawking required a full-time nurse and nursing care was split across 3 shifts daily. In the late 1980s, Hawking grew close to one of his nurses, Elaine Mason, to the dismay of some colleagues, caregivers, and family members, who were disturbed by her strength of personality and protectiveness. In February 1990, Hawking told Jane that he was leaving her for Mason, and departed the family home. After his divorce from Jane in 1995, Hawking married Mason in September, declaring, "It's wonderful – I have married the woman I love." In 1999, Jane Hawking published a memoir, Music to Move the Stars, describing her marriage to Hawking and its breakdown. Its revelations caused a sensation in the media but, as was his usual practice regarding his personal life, Hawking made no public comment except to say that he did not read biographies about himself. After his second marriage, Hawking's family felt excluded and marginalised from his life. For a period of about five years in the early 2000s, his family and staff became increasingly worried that he was being physically abused. Police investigations took place, but were closed as Hawking refused to make a complaint. In 2006, Hawking and Mason quietly divorced, and Hawking resumed closer relationships with Jane, his children, and his grandchildren. Reflecting on this happier period, a revised version of Jane's book, re-titled Travelling to Infinity: My Life with Stephen, appeared in 2007, and was made into a film, The Theory of Everything, in 2014. Hawking had a rare early-onset, slow-progressing form of motor neurone disease (MND; also known as amyotrophic lateral sclerosis (ALS) or Lou Gehrig's disease), a fatal neurodegenerative disease that affects the motor neurones in the brain and spinal cord, which gradually paralysed him over decades. Hawking had experienced increasing clumsiness during his final year at Oxford, including a fall on some stairs and difficulties when rowing. The problems worsened, and his speech became slightly slurred. His family noticed the changes when he returned home for Christmas, and medical investigations were begun. The MND diagnosis came when Hawking was 21, in 1963. At the time, doctors gave him a life expectancy of two years. In the late 1960s, Hawking's physical abilities declined: he began to use crutches and could no longer give lectures regularly. As he slowly lost the ability to write, he developed compensatory visual methods, including seeing equations in terms of geometry. The physicist Werner Israel later compared the achievements to Mozart composing an entire symphony in his head. Hawking was fiercely independent and unwilling to accept help or make concessions for his disabilities. He preferred to be regarded as "a scientist first, popular science writer second, and, in all the ways that matter, a normal human being with the same desires, drives, dreams, and ambitions as the next person." His wife, Jane Hawking, later noted: "Some people would call it determination, some obstinacy. I've called it both at one time or another." He required much persuasion to accept the use of a wheelchair at the end of the 1960s, but ultimately became notorious for the wildness of his wheelchair driving. Hawking was a popular and witty colleague, but his illness, as well as his reputation for brashness, distanced him from some. When Hawking first began using a wheelchair he was using standard motorised models. The earliest surviving example of these chairs was made by BEC Mobility and sold by Christie's in November 2018 for £296,750. Hawking continued to use this type of chair until the early 1990s, at which time his ability to use his hands to drive a wheelchair deteriorated. Hawking used a variety of different chairs from that time, including a DragonMobility Dragon elevating powerchair from 2007, as shown in the April 2008 photo of Hawking attending NASA's 50th anniversary; a Permobil C350 from 2014; and then a Permobil F3 from 2016. Hawking's speech deteriorated, and by the late 1970s he could be understood by only his family and closest friends. To communicate with others, someone who knew him well would interpret his speech into intelligible speech. Spurred by a dispute with the university over who would pay for the ramp needed for him to enter his workplace, Hawking and his wife campaigned for improved access and support for those with disabilities in Cambridge, including adapted student housing at the university. In general, Hawking had ambivalent feelings about his role as a disability rights champion: while wanting to help others, he also sought to detach himself from his illness and its challenges. His lack of engagement in this area led to some criticism. During a visit to CERN on the border of France and Switzerland in mid-1985, Hawking contracted pneumonia, which in his condition was life-threatening; he was so ill that Jane was asked if life support should be terminated. She refused, but the consequence was a tracheotomy, which required round-the-clock nursing care and the removal of what remained of his speech. The National Health Service was ready to pay for a nursing home, but Jane was determined that he would live at home. The cost of the care was funded by an American foundation. Nurses were hired for the three shifts required to provide the round-the-clock support he required. One of those employed was Elaine Mason, who was to become Hawking's second wife. For his communication, Hawking initially raised his eyebrows to choose letters on a spelling card, but in 1986 he received a computer program called the "Equalizer" from Walter Woltosz, CEO of Words Plus, who had developed an earlier version of the software to help his mother-in-law, who also had ALS and had lost her ability to speak and write. In a method he used for the rest of his life, Hawking could now simply press a switch to select phrases, words or letters from a bank of about 2,500–3,000 that were scanned. The program was originally run on a desktop computer. Elaine Mason's husband, David, a computer engineer, adapted a small computer and attached it to his wheelchair. Released from the need to use somebody to interpret his speech, Hawking commented that "I can communicate better now than before I lost my voice." The voice he used had an American accent and is no longer produced. Despite the later availability of other voices, Hawking retained this original voice, saying that he preferred it and identified with it. Originally, Hawking activated a switch using his hand and could produce up to 15 words per minute. Lectures were prepared in advance and were sent to the speech synthesizer in short sections to be delivered. Hawking gradually lost the use of his hand, and in 2005 he began to control his communication device with movements of his cheek muscles, with a rate of about one word per minute. With this decline there was a risk of his developing locked-in syndrome, so Hawking collaborated with Intel researchers on systems that could translate his brain patterns or facial expressions into switch activations. After several prototypes that did not perform as planned, they settled on an adaptive word predictor made by the London-based startup SwiftKey, which used a system similar to his original technology. Hawking had an easier time adapting to the new system, which was further developed after inputting large amounts of Hawking's papers and other written materials and uses predictive software similar to other smartphone keyboards. By 2009, he could no longer drive his wheelchair independently, but the same people who created his new typing mechanics were working on a method to drive his chair using movements made by his chin. This proved difficult, since Hawking could not move his neck, and trials showed that while he could indeed drive the chair, the movement was sporadic and jumpy. Near the end of his life, Hawking experienced increased breathing difficulties, often resulting in his requiring the usage of a ventilator, and being regularly hospitalised. Starting in the 1990s, Hawking accepted the mantle of role model for disabled people, lecturing and participating in fundraising activities. At the turn of the century, he and eleven other humanitarians signed the Charter for the Third Millennium on Disability, which called on governments to prevent disability and protect the rights of the disabled. In 1999, Hawking was awarded the Julius Edgar Lilienfeld Prize of the American Physical Society. In August 2012, Hawking narrated the "Enlightenment" segment of the 2012 Summer Paralympics opening ceremony in London. In 2013, the biographical documentary film Hawking, in which Hawking himself is featured, was released. In September 2013, he expressed support for the legalisation of assisted suicide for the terminally ill. In August 2014, Hawking accepted the Ice Bucket Challenge to promote ALS/MND awareness and raise contributions for research. As he had pneumonia in 2013, he was advised not to have ice poured over him, but his children volunteered to accept the challenge on his behalf. In late 2006, Hawking revealed in a BBC interview that one of his greatest unfulfilled desires was to travel to space; on hearing this, Richard Branson offered a free flight into space with Virgin Galactic, which Hawking immediately accepted. Besides personal ambition, he was motivated by the desire to increase public interest in spaceflight and to show the potential of people with disabilities. On 26 April 2007, Hawking flew aboard a specially-modified Boeing 727-200 jet operated by Zero-G Corp off the coast of Florida to experience weightlessness. Fears that the manoeuvres would cause him undue discomfort proved groundless, and the flight was extended to eight parabolic arcs. It was described as a successful test to see if he could withstand the g-forces involved in space flight. At the time, the date of Hawking's trip to space was projected to be as early as 2009, but commercial flights to space did not commence before his death. Hawking died at his home in Cambridge on 14 March 2018, at the age of 76. His family stated that he "died peacefully". He was eulogised by figures in science, entertainment, politics, and other areas. The Gonville and Caius College flag flew at half-mast and a book of condolences was signed by students and visitors. A tribute was made to Hawking in the closing speech by IPC President Andrew Parsons at the closing ceremony of the 2018 Paralympic Winter Games in Pyeongchang, South Korea. His private funeral took place on 31 March 2018, at Great St Mary's Church, Cambridge. Guests at the funeral included The Theory of Everything actors Eddie Redmayne and Felicity Jones, Queen guitarist and astrophysicist Brian May, and model Lily Cole. In addition, actor Benedict Cumberbatch, who played Stephen Hawking in Hawking, astronaut Tim Peake, Astronomer Royal Martin Rees and physicist Kip Thorne provided readings at the service. Although Hawking was an atheist, the funeral took place with a traditional Anglican service. Following the cremation, a service of thanksgiving was held at Westminster Abbey on 15 June 2018, after which his ashes were interred in the Abbey's nave, between the graves of Sir Isaac Newton and Charles Darwin. Inscribed on his memorial stone are the words "Here lies what was mortal of Stephen Hawking 1942–2018" and his most famed equation. He directed, at least fifteen years before his death, that the Bekenstein–Hawking entropy equation be his epitaph. In June 2018, it was announced that Hawking's words, set to music by Greek composer Vangelis, would be beamed into space from a European space agency satellite dish in Spain with the aim of reaching the nearest black hole, 1A 0620-00. Hawking's final broadcast interview, about the detection of gravitational waves resulting from the collision of two neutron stars, occurred in October 2017. His final words to the world appeared posthumously, in April 2018, in the form of a Smithsonian TV Channel documentary entitled, Leaving Earth: Or How to Colonize a Planet. One of his final research studies, entitled A smooth exit from eternal inflation?, about the origin of the universe, was published in the Journal of High Energy Physics in May 2018. Later, in October 2018, another of his final research studies, entitled Black Hole Entropy and Soft Hair, was published, and dealt with the "mystery of what happens to the information held by objects once they disappear into a black hole". Also in October 2018, Hawking's last book, Brief Answers to the Big Questions, a popular science book presenting his final comments on the most important questions facing humankind, was published. On 8 November 2018, an auction of 22 personal possessions of Stephen Hawking, including his doctoral thesis ("Properties of Expanding Universes", PhD thesis, Cambridge University, 1965) and wheelchair, took place, and fetched about £1.8 m. Proceeds from the auction sale of the wheelchair went to two charities, the Motor Neurone Disease Association and the Stephen Hawking Foundation; proceeds from Hawking's other items went to his estate. In March 2019, it was announced that the Royal Mint issued a commemorative 50 pence coin in honour of Hawking. The same month, Hawking's nurse, Patricia Dowdy, was struck off for "failures over his care and financial misconduct." Personal views[] At Google's Zeitgeist Conference in 2011, Stephen Hawking said that "philosophy is dead". He believed that philosophers "have not kept up with modern developments in science" and that scientists "have become the bearers of the torch of discovery in our quest for knowledge". He said that philosophical problems can be answered by science, particularly new scientific theories which "lead us to a new and very different picture of the universe and our place in it". In 2006, Hawking posed an open question on the Internet: "In a world that is in chaos politically, socially and environmentally, how can the human race sustain another 100 years?", later clarifying: "I don't know the answer. That is why I asked the question, to get people to think about it, and to be aware of the dangers we now face." Hawking expressed concern that life on Earth is at risk from a sudden nuclear war, a genetically engineered virus, global warming, or other dangers humans have not yet thought of. Hawking stated: "I regard it as almost inevitable that either a nuclear confrontation or environmental catastrophe will cripple the Earth at some point in the next 1,000 years", and considered an "asteroid collision" to be the biggest threat to the planet. Such a planet-wide disaster need not result in human extinction if the human race were to be able to colonise additional planets before the disaster. Hawking viewed spaceflight and the colonisation of space as necessary for the future of humanity. Hawking stated that, given the vastness of the universe, aliens likely exist, but that contact with them should be avoided. He warned that aliens might pillage Earth for resources. In 2010 he said, "If aliens visit us, the outcome would be much as when Columbus landed in America, which didn't turn out well for the Native Americans." Hawking warned that superintelligent artificial intelligence could be pivotal in steering humanity's fate, stating that "the potential benefits are huge... Success in creating AI would be the biggest event in human history. It might also be the last, unless we learn how to avoid the risks." However, he argued that we should be more frightened of capitalism exacerbating economic inequality than robots. Hawking was concerned about the future emergence of a race of "superhumans" that would be able to design their own evolution and, as well, argued that computer viruses in today's world should be considered a new form of life, stating that "maybe it says something about human nature, that the only form of life we have created so far is purely destructive. Talk about creating life in our own image." Hawking was an atheist. In an interview published in The Guardian, Hawking regarded "the brain as a computer which will stop working when its components fail", and the concept of an afterlife as a "fairy story for people afraid of the dark". In 2011, narrating the first episode of the American television series Curiosity on the Discovery Channel, Hawking declared: We are each free to believe what we want and it is my view that the simplest explanation is there is no God. No one created the universe and no one directs our fate. This leads me to a profound realisation. There is probably no heaven, and no afterlife either. We have this one life to appreciate the grand design of the universe, and for that, I am extremely grateful. Hawking's association with atheism and freethinking was in evidence from his university years onwards, when he had been a member of Oxford University's humanist group. He was later scheduled to appear as the keynote speaker at a 2017 Humanists UK conference. In an interview with El Mundo, he said: Before we understand science, it is natural to believe that God created the universe. But now science offers a more convincing explanation. What I meant by 'we would know the mind of God' is, we would know everything that God would know, if there were a God, which there isn't. I'm an atheist. In addition, Hawking stated: If you like, you can call the laws of science 'God', but it wouldn't be a personal God that you would meet and put questions to. Hawking was a longstanding Labour Party supporter. He recorded a tribute for the 2000 Democratic presidential candidate Al Gore, called the 2003 invasion of Iraq a "war crime", campaigned for nuclear disarmament, and supported stem cell research, universal health care, and action to prevent climate change. In August 2014, Hawking was one of 200 public figures who were signatories to a letter to The Guardian expressing their hope that Scotland would vote to remain part of the United Kingdom in September's referendum on that issue. Hawking believed a United Kingdom withdrawal from the European Union (Brexit) would damage the UK's contribution to science as modern research needs international collaboration, and that free movement of people in Europe encourages the spread of ideas. Hawking said to Theresa May, "I deal with tough mathematical questions every day, but please don't ask me to help with Brexit." Hawking was disappointed by Brexit and warned against envy and isolationism. Hawking was greatly concerned over health care, and maintained that without the UK National Health Service, he could not have survived into his 70s. Hawking especially feared privatisation. He stated, "The more profit is extracted from the system, the more private monopolies grow and the more expensive healthcare becomes. The NHS must be preserved from commercial interests and protected from those who want to privatise it." Hawking blamed the Conservatives for cutting funding to the NHS, weakening it by privatisation, lowering staff morale through holding pay back and reducing social care. Hawking accused Jeremy Hunt of cherry picking evidence which Hawking maintained debased science. Hawking also stated, "There is overwhelming evidence that NHS funding and the numbers of doctors and nurses are inadequate, and it is getting worse." In June 2017, Hawking endorsed the Labour Party in the 2017 UK general election, citing the Conservatives' proposed cuts to the NHS. But he was also critical of Labour leader Jeremy Corbyn, expressing scepticism over whether the party could win a general election under him. Hawking feared Donald Trump's policies on global warming could endanger the planet and make global warming irreversible. He said, "Climate change is one of the great dangers we face, and it's one we can prevent if we act now. By denying the evidence for climate change, and pulling out of the Paris Agreement, Donald Trump will cause avoidable environmental damage to our beautiful planet, endangering the natural world, for us and our children." Hawking further stated that this could lead Earth "to become like Venus, with a temperature of two hundred and fifty degrees, and raining sulphuric acid". Hawking was also a supporter of a universal basic income. Personality[] Stephen Hawking is a very intelligent man with bright sense of talent, he is shown to be giving some advice to Sheldon, Leonard, Howard, and Raj whenever either of them are facing difficult issues. Hawking can be shown to troll Sheldon about his research paper, before admitting his real reason why he loves it. He can shown to be sarcastic at times, but mostly anyone can't really tell. Hawking can sometimes takes offense to anyone who mocks his disability, for instance, Sheldon gave him a nickname "wheels" for "Words with Friends" where Sheldon learnt Hawking's disapproval. Hawking doesn't mind having a small motorised toy version of himself. Physical appearance[] Stephen Hawking is a slender fair skinned man, with light brown hair and blue eyes. Hawking is paralyzed due to motor neuron disease and he is confined to a wheelchair with an automatic computer from Intel that activates his voice synthesizer, to help him with the synthesizer, a small sensor on the right side of his framed glasses picks up the muscle moves from his cheek and types characters and numbers on his keyboard. His suit consists of a dress shirt, jacket, and trousers in various colours in different episodes. Appearances[] The 11th Hour[] Last Week Tonight with John Oliver[] The Big Bang Theory[] In Season 1, 2, and 3, Hawking is only mentioned. Until he makes his on-screen appearance on "The Hawking Excitation", where he arrives at Caltech and gives a lecture. Hawking allows Howard Wolowitz to control his wheelchair, and rewards him some parts from his wheelchair that were useless. Hawking reads Sheldon's paper and he is impressed; he invites Sheldon for a meeting with him. Sheldon meets his idol for the first time and he is honored to be here. Hawking reveals that not only did he enjoy reading his paper, he found a error in his paper, Sheldon looks in his paper and passes out after finally seeing his mistake. In "The Extract Obliteration", Sheldon challenges Hawking for a game "Words with Friends", Sheldon calls himself "Coop" and Hawking "Wheels". Throughout the game, Hawking becomes uncomfortable with the nickname "Wheels" and Sheldon now calls him "Stephen". Hawking finally stops playing for more than three days, until he resumes his turn on the game and wins the game (on Sheldon's decision to let him win). Hawking phones Sheldon about their game and calls him "Dr. Loser". Sheldon congratulates him for winning the game, Hawking asks him if he likes brain teasers. "What do Sheldon Cooper and a black hole have in common? They both suck. Neener, neener." For most of the series, Hawking now Skypes with the gang. In "The Troll Manifestation", Hawking trolls Sheldon over the gang's paper without Sheldon realizing who was the troll. They soon found out, Hawking reveals that he liked their paper, and admits that he did find it intriguing and after forty years in a wheelchair, one gets bored. He appears on Skype again, this time at Sheldon's birthday party in "The Celebration Experimentation". In "The Geology Elevation", Howard found his remote-controlled Stephen Hawking that he built and found in a box, Howard, along with Raj, show the toy to everyone who finds it in a bad taste, except Kripke who plans to send it to the girls' bathroom, prompting Howard to conclude that the toy to be offensive. Hawking appears on Skype, giving Sheldon some advice on to stop being jealous; Hawking has professional jealousy when he did not win the Noble Prize, and wishes that there was a small motorized version of himself - unbeknownst to Howard. Stephen Hawking later died peacefully in his sleep in Cambridge, which he will no longer appear further in the series. Young Sheldon[] A copy of Hawking's book, 'A Brief History of Time', can be seen lying on Sheldon's shelf and it's shown and mentioned multiple times throughout the series. Gallery[] Trivia[] [] Stephen Hawking at Wikipedia Stephen Hawking on The Big Bang Theory Wiki
1098	dbpedia	1	37	https://commons.wikimedi…ama_building.JPG	en	File:University of Portsmouth Dennis Sciama building.JPG	https://upload.wikimedia…ama_building.JPG	https://upload.wikimedia…ama_building.JPG	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/University_of_Portsmouth_Dennis_Sciama_building.JPG/800px-University_of_Portsmouth_Dennis_Sciama_building.JPG?20110511105036", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/22/Heckert_GNU_white.svg/64px-Heckert_GNU_white.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/79/CC_some_rights_reserved.svg/90px-CC_some_rights_reserved.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Cc-by_new_white.svg/24px-Cc-by_new_white.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/University_of_Portsmouth_Dennis_Sciama_building.JPG/120px-University_of_Portsmouth_Dennis_Sciama_building.JPG?20110511105036", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg", "https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	2011-03-14T00:00:00		en	/static/apple-touch/commons.png		https://commons.wikimedi…ama_building.JPG	This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong. Camera manufacturerSONYCamera modelDSC-W290Exposure time1/500 sec (0.002)F-numberf/8ISO speed rating80Lens focal length5 mmOrientationNormalHorizontal resolution72 dpiVertical resolution72 dpiY and C positioningCo-sitedExposure ProgramNormal programExif version2.21Image compression mode4APEX exposure bias0Maximum land aperture3.4375 APEX (f/3.29)Metering modePatternLight sourceUnknownFlashFlash did not fire, compulsory flash suppressionColor spacesRGBCustom image processingNormal processExposure modeAuto exposureWhite balanceAuto white balanceScene capture typeLandscapeContrastNormalSaturationNormalSharpnessNormal
1098	dbpedia	3	55	https://vhistory.wordpress.com/2022/12/27/	en	December	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://vhistory.wordpress.com/wp-content/uploads/2022/12/hawking-dvd-486.jpg?w=620", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/fred-hoyle-2.jpg?w=620&h=373", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/benedict-cumberbatch.jpg?w=620&h=373", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/michael-brandon-3.jpg?w=620&h=373", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/st-albans.jpg?w=620&h=373", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/phoebe-nicholls.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/jane-and-stephen.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/tests.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/stephen-gets-the-news.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/frank-hawking.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/john-sessions-19.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/fred-hoyle-3.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/bertie-carvel.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/tom-ward.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/alice-eve.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/peter-firth-3.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/penzias-and-wilson-and-pigeons.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/working-it-out.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/hotle-lectures.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/penrose-lectures.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/relative-trains.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/the-past-is-pear-shaped.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/hawking-proposes.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/dissertation.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/mozart.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/hes-going-to-be-my-husband.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/hoyle-is-still-a-skeptic.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/the-fossil.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/penzias-and-wilson-received-the-nobel.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/fred-hoyle-never-accepted-the-theory.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/roger-penrose-was-knighted.jpg?w=620&h=376", "https://vhistory.wordpress.com/wp-content/uploads/2022/12/stephen-and-jane.jpg?w=620&h=376", "https://vhistory.wordpress.com/i/rss/red-small.png?m=1391188133i", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2022-12-27T00:00:00	1 post published by VHiStory on December 27, 2022	en	https://s1.wp.com/i/favicon.ico	VHiStory	null	We’re still finishing up our small cache of rediscovered DVDs, and on today’s disc there’s one programme – Hawking. It’s a BBC film made quite a while before the movie The Theory of Everything and stars young Benedict Cumberbatch as Stephen Hawking. The film does a nice fake-out at the start. We first see a young Hawking sitting watching television – he’s actually watching Professor Fred Hoyle on TV saying that the universe has no beginning – that it always existed. This is the Steady State theory, of which Hoyle was the main promoter. I thought perhaps that this was a bit of Archive footage, but Hoyle is played here by Peter Firth. Hawking is watching the TV, sitting in his characteristic slumped pose. But when Hoyle’s broadcast ends, he stands up and switches the TV off. This is young Stephen Hawking, before his motor neurone disease took hold. Intercut with these scenes are scenes from later – 1978 to be exact – as scientists Arno Penzias and Robert Wilson are being interviewed before their Nobel Prize ceremony. Penzias plays a recording for the reporter – it sounds like white noise – and tells him “This is the most profound thing you will hear in your entire life.” The earlier scene with Hawking is actually in St Albans – which just a few miles from where I live. That’s Lisa Dillon who plays Jane Wilde. Phoebe Nicholls plays Hawking’s mother Isobel. It’s Hawking’s 21st birthday, and he had invited Jane to his party. They’re in the garden, looking up at the stars, vaguely flirting. She suggests they should go back to the party. But he finds he can’t get up. In hospital, he undergoes some unpleasant tests. Eventually, the doctor tells him he has motor neurone disease. The neurones that send signals to his muscles are dying. Eventually, his muscles will waste through lack of use. And he will die. But he still embarks on his PhD. His father Frank takes him to Cambridge, and without Stephen knowing, he finds his PhD supervisor, and asks him for his help. “Physics means everything to him. I want him to be happy, Mr Sciama.” Sciama replies “What can I do?” “I want you to set him a question that he can finish. Something easy enough for him to finish. Before he dies.” Dennis Sciama is played by John Sessions. He tells Frank that he can’t do what he asks. Stephen briefly meets Fred Hoyle. There’s some famous faces among Stephen’s college friends. Bertie Carvel plays George Ellis. Tom Ward off of Silent Witness plays Roger Penrose. Alice Eve plays Martha Guthrie, whom Hawking chats up in the bar using Einstein’s theory of relativity. It almost works until she asks him what his star sign is. He has another encounter with Hoyle. “The thing about a big bang is that it’s wrong. Irrational and wrong. It’s my term, “big bang”. Do you know why I called it that? Because it sounds like a cartoon. Big-bang theory is cartoon physics.” Penzias and Wilson are still telling the story of the noise. It’s more radio noise than can be accounted for by the energy of all the galaxies. One theory is that pigeons pooping in their antenna horn was causing the extra noise. “We had the pigeons shot.” They cleaned out all the poop. “The pigeons were innocent. The noise was still there.” Hawking visits Hoyle’s lab again. He talks to Hoyle’s assistant, who shows him Hoyle’s new paper. Hawking reads it, and spends the whole night working out the equations. At Hoyle’s lecture, Hawking stands up at the end and tells him he’s got his maths wrong. Dennis Sciama tells him he should work on something original rather than just demolishing other people’s work. He sits in on one of Roger Penrose’s lectures, where he talks about the work he’s doing on singularities – stars collapsing. This is quite radical at the time. Penrose: “It’s what frightened Einstein.” Hawking: “Singularities can’t exist – the laws of science don’t allow for them.” Penrose persists. “Wrong. Singularities do exist.” He takes a train. When the train next to them starts moving, the woman opposite him starts talking about how strange things happen on the Cambridge platform. “Backwards, now. We are having a time of it.” Hawking has an insight, and gets out of the train, looking for Penrose who had seen him onto the train. He starts drawing a diagram on the ground to explain his idea. “What if the whole of the universe were trapped in a region whose boundary shrinks to zero?” Penrose: “A singularity? Nothingness.” “Your theorem works for collapsing, dying stars. It proves that a singularity must exist. What if it works for this? Could it work? Roger, what would it mean if it did?” “A collapse in reverse.” “Which is?” “An explosion.” “Bang.” Hawking proposes to Jane, but she has to take some time to think about it. He throws himself into his dissertation based on this idea. Dennis Sciama and Penrose have read his dissertation. Sciama: “The first three chapters – nothing special. The fourth…” Penrose finished the thought: “Mozart.” Jane visits him at his rooms (despite women not being allowed). He has to go and see the bursar at Caius college, as he’s been given a fellowship. Hawking tries to explain his specific needs, but the bursar isn’t being helpful. Jane takes over. “You listen to me, and you listen very carefully. This man cannot walk up stairs. His illness won’t allow it, and his illness will get worse. He needs housing with easy access. And YOU are going to find it for him because if you don’t, all the newspapers will hear about how the bursar of this college treats a man of huge courage, brilliant mind and the capacity to imagine faith like a piece of nothing. Do you understand me? And he’s going to be my husband.” Curmudgeonly old Fred Hoyle is still skeptical. “If you’re right, which you’re not, there should be some left-over radiation from the big bang. And somebody should have heard it. But they haven’t, have they? I wonder why that could be? Could it be because it isn’t there? Where’s the fossil, Hawking? Where’s the fossil?” Cut To Arno Penzias’s tape of the 3 degrees of excess heat noise they couldn’t explain. “This noise, this goddam beautiful hiss… It connects. It’s the sound of the beginning of time. The leftover heat from the big bang. The three degrees that hasn’t cooled yet. It’s everywhere. It’s all around us. It’s 15 billion years old. And we found it.” I really enjoyed that. It was interesting, and surprisingly emotional.
1098	dbpedia	3	14	https://www.timeshighereducation.com/features/close-to-greatness	en	What it’s like to work with the academic greats	https://www.timeshighere…tatue-leshan.jpg	https://www.timeshighere…tatue-leshan.jpg	[ "https://www.timeshighereducation.com/sites/default/files/styles/the_breaking_news_image_style/public/person-standing-on-big-toe-of-sitting-buddha-statue-leshan.jpg?itok=W1YKecHV", "https://www.timeshighereducation.com/sites/default/files/dennis-sciama-1926-1999.jpg", "https://www.timeshighereducation.com/sites/default/files/elizabeth-anscombe-cambridge-1990.jpg", "https://www.timeshighereducation.com/sites/default/files/malcolm-bradbury-1985.jpg", "https://www.timeshighereducation.com/sites/default/files/dorothy-hodgkin-london-1973.jpg", "https://www.timeshighereducation.com/sites/default/files/philip-larkin-011015.jpg", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/jellyfish_getty.jpg?itok=AxuwXObr", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/web-the_290824_p10_wet-pride_getty.jpg?itok=J5kvFkIC", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/statue-being-covered-with-dustsheet.jpg?itok=OOjpRgFL", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/money_tree_0.jpg?itok=ivV1gIvr", "https://dmp.adform.net/dmp/profile/?pid=10648&sg=DeUr-8da6f5e5", "https://track.adform.net/Serving/TrackPoint/?pm=711826" ]	[]	[]	[ "" ]	null	[ "Contributors" ]	2015-10-01T12:00:00	Five contributors recall friendships and encounters with preeminent scientists, writers and philosophers	en	https://www.timeshighereducation.com/sites/default/themes/custom/the_responsive/favicon.ico	Times Higher Education (THE)	https://www.timeshighereducation.com/features/close-to-greatness	The physicist Dennis Sciama (1926-1999) is considered one of the fathers of modern cosmology. Martin Rees was one of his PhD students at the University of Cambridge in the 1960s. The film The Theory of Everything portrays Stephen and Jane Hawking superbly. But the scientific backdrop fares less well. In particular, the film distorts the personality and style of Dennis Sciama – a crucial supporter of Stephen’s early career, and a mentor to many others. Dennis inspired his research group with his infectious enthusiasm; he followed developments in theory and observation along a broad front and was a fine judge of where the scientific opportunities lay. This year, we are celebrating the centenary of Einstein’s theory of general relativity. But this theory was somewhat sidelined from the mainstream of physics, until the situation changed dramatically in the 1960s. This was partly because astronomers discovered neutron stars, quasars, black holes and the Big Bang – contexts in which Einstein’s theory is crucial, rather than just a tiny correction to Newtonian gravity. But it stemmed also from advances in the theory. Here, the pioneering figure was the mathematician Roger Penrose, and Dennis – his friend and near-contemporary – persuaded him to transfer his interests to relativity. Penrose’s insights led to a deeper appreciation of what Einstein’s theory actually implied. Dennis encouraged his students (several of whom became major figures in the subject) to attend a lecture series that Penrose was giving in London. When I enrolled as a graduate student at the University of Cambridge (two years after Stephen Hawking), it was my good luck to be allocated to Dennis. I was initially unsure whether doing astrophysics was a sensible choice – in fact, I’d seriously thought of shifting to economics. But Dennis created a “buzz” that swept me along. My own research was guided into a less mathematical topic: trying to interpret new observations of quasars. Dennis was “plugged in” to these developments too. He encouraged his students and postdocs to interact and to learn from each other. He eagerly shared new preprints, correspondence, news of conferences, and so forth – and of course, in those pre-internet days, being on networks and mailing lists gave one a crucial head start. In the late 1940s, Fred Hoyle, Thomas Gold and Hermann Bondi proposed the steady state cosmology, according to which the universe, although expanding, had existed in the same state from everlasting to everlasting. This theory never acquired much traction in the US (and still less in the Soviet Union). But its three advocates were vocal and articulate: and in the UK, the theory was widely publicised and discussed. Dennis extolled its aesthetic qualities in his book The Unity of the Universe (1959) – and described himself as its most fervent advocate apart from its three inventors. The steady state theory made definite predictions that everything was the same, everywhere and at all times. But in the 1960s astronomers were, for the first time, able to probe deep enough into space (and therefore, because of light’s finite speed, far enough back into the past) to test it – and it hit the buffers. Dennis’ disappointment was deep, but short-lived. He was quickly reconciled to the Big Bang – indeed he espoused it with the enthusiasm of the newly converted. The 1960s worldwide renaissance in relativity and “high energy astrophysics” was centred on three “schools”: those inspired by John Wheeler (Princeton University), Yakov Zeldovich (Institute for Physical Problems) – and Dennis in the UK. The interactions among them (even though those between East and West were sadly restricted) were cooperative and friendly, to an extent that isn’t always the case in fast-moving scientific fields. Although a superb teacher, Dennis had never enjoyed his routine lecturing or supervision in Cambridge. He left in 1971 to become a senior research fellow of All Souls College, Oxford (being one of the first scientists to breach the walls of that institution). In Oxford, he again mentored an outstanding generation of young scientists. He then moved to the recently established International School for Advanced Studies (SISSA) in Trieste, Italy, where he did it all again for a third time. He was a distinguished and original researcher, but he achieved even more as a “coach” than as a “player”. Martin Rees is emeritus professor of cosmology and astrophysics, fellow of Trinity College, Cambridge, and astronomer royal. Elizabeth Anscombe (1919-2001) was a British analytic philosopher who has been described as “the undoubted giant among women philosophers”. Roger Teichmann knew her since childhood and is author of The Philosophy of Elizabeth Anscombe (2008). Elizabeth Anscombe was one of the most important philosophers of the second half of the 20th century. Renowned for her English translations of the writings of Wittgenstein, whose friend and pupil she was, she was also a bold and original thinker in her own right. I got to know Anscombe as a child: my mother had been taught by Anscombe in the 1950s at the University of Oxford, and they kept up the friendship after they had both come to the University of Cambridge. It was by sitting in on philosophical conversations between the adults that I first caught the philosophy bug. I’ve remained infected ever since. As I grew older, and as a friend of the family, I increasingly took part in those domestic conversations, so that when as an undergraduate I came to attend Anscombe’s lectures, the experience was familiar and at the same time strangely novel. Like Wittgenstein, she lectured more or less without notes. Again like Wittgenstein, she had both intellectual honesty and philosophical stamina, both necessary when it comes to resisting the charms of system-building. If your name is associated with some “-ism”, it can be tempting to spend the rest of your career just defending and elaborating. Anscombe was immune to this common temptation. It was only after I had graduated that I came slowly to appreciate the depth and fecundity of Anscombe’s thought. When I was offered the editorship of a collection of essays in her honour that had got “stuck”, I gladly accepted. At my request, she sent me a photocopy of one of her unpublished essays for inclusion, written in an elegant hand on what appeared to be foolscap paper. There are many anecdotes told about Anscombe, and many are apocryphal. But the non-apocryphal anecdotes are quite good enough. Her independence of spirit coupled with a mischievous and sometimes slightly surreal sense of humour account for many of these. Taken to a restaurant in the US during one of her visits there, she was told by the doorman that ladies in trousers were not admitted (she always wore slacks). Her host was mortified, but she insisted that he shouldn’t worry. She then removed her trousers, beneath which she wore a slip, and they gained entry to the fastidious establishment. I myself remember her at a stand-up drinks reception, when everyone was applauding some worthy speech, putting her glass on her head so as to clap since there were no tables nearby. The experiment failed. In her lifetime, Anscombe trod on many toes, being forthright in her views and in how she expressed them. But she could be as encouraging to her students as she was infuriating to some of her colleagues. She was one of the least hierarchical people I have known. Her complete seriousness and lack of interest in anything glib or merely fashionable was obvious to anyone who knew her, and went back to her childhood and youth. An early manifestation of her independent-mindedness was her teenage announcement to her horrified parents of her conversion to Roman Catholicism. Later in Oxford, she protested against the proposal to award President Truman an honorary degree, a man she described on the occasion as having “a couple of massacres to his name” (at Hiroshima and Nagasaki). The vote went against her, unsurprisingly. Anscombe’s philosophical range was wide. Especially influential has been what she wrote about intention, action and ethics. My own work has been hugely influenced by Anscombe; she together with Wittgenstein taught me how to tackle a philosophical problem. Her star is very much in the ascendant these days, and that can only be for the good. System-builders beware. Roger Teichmann is a lecturer in philosophy at the University of Oxford. The author Malcolm Bradbury (1932-2000), best known for his comic novels about academic life, worked at the universities of Hull, Birmingham and East Anglia. Christopher Bigsby met him in 1966 when he was a lecturer at the University of Wales, Aberwystwyth. What to say of Malcolm Bradbury, academic, comic novelist, television scriptwriter, knighted for services to literature, and my reason for teaching at the University of East Anglia, a university that he helped to shape? As soon as he moved to Norwich I decided to follow. After all, his interests were mine – creative writing and American studies. We had both studied and taught in the US. Thereafter, he would become my model, mentor and best of friends. In 1958, Malcolm underwent major heart surgery, without which he would not have survived to the age of 50. Typically, while in hospital he wrote a comic novel, Eating People is Wrong. Having sidestepped an early death, he threw himself into life and was always writing. If invited to lecture, be a literary judge, write a piece for The New York Times, his answer would always be “yes”, unless his wife answered the phone, in which case it would always be “no”. Over the years we would travel together for the British Council or to conferences. In Moscow, a dash across the airport ended in Malcolm, always a better writer than runner, being treated with oxygen. In Tenerife, the professor who had invited us to a conference was in hiding from terrorists, so we had to introduce and then thank ourselves profusely. He had an eye for a pretty face but also a terror of heights so that I once watched as on a mountain drive he chatted up the young female driver but then grew whiter and more silent as the altitude rose. In the mid-1970s, he was asked to write a Play for Today set in a new university for BBC television, but having just published The History Man felt that he needed a new angle and asked me to co-write. I was very much the junior partner but had a track record of sorts. As an undergraduate I had written satirical scripts for Granada TV, admittedly for a puppet and admittedly appalling. I had also gone the usual student route of writing and performing in a revue at the Edinburgh fringe. The play turned on a manipulative vice-chancellor (our own, we subsequently discovered, anaesthetising himself with a bottle of wine as he watched in trepidation) and a young professor of organisational studies. At the time, there was no such academic discipline. Now there is. He was in contention with that familiar Malcolm figure, the well-meaning but disordered liberal. The line of which I was most proud was, “If God had been a liberal we wouldn’t have had the Ten Commandments, we would have had the Ten Suggestions.” We then wrote a science fiction play for BBC Two, but finding ourselves in contention with the producer, adopted the pseudonym Malcolm Christopher. The Daily Mail review began, “A new play by Malcolm Christopher is always an event.” Malcolm had the ability to write brilliantly funny novels that caught the zeitgeist. In that respect he was the twin of his friend David Lodge and, like David, was an astute and deeply intellectual critic who wrote with a clarity that I admired and aspired to. Politically conservative, he was morally and in every other way liberal, a master of so much but prone to phone his wife from the station asking her where he was supposed to be going. Pipe Smoker of the Year in 1997, he lived in fear that they would take the award away when he was finally forced to stop smoking. When he was dying (although not aware of such) we were writing a speculative new television series set in a failing post-92 university. One of my last memories of him was his laughing at his own jokes behind the oxygen mask he was required to wear. There are worse ways to go. I miss him greatly. Christopher Bigsby is director of the Arthur Miller Centre and professor of American studies at the University of East Anglia. Dorothy Hodgkin (1910-1994) won the Nobel Prize in Chemistry in 1964 for her work on the structures of vitamin B12 and penicillin and remains the only British woman to have won a Nobel prize in science. I was a very young postgraduate when I went to see Dorothy Hodgkin at the University of Oxford one summer to discuss the possibility of my doing a DPhil. I had just completed a BSc in chemistry at the University of Bristol and she was incredibly kind to accept me with a plan to work on the neutron study of insulin. Dorothy was in the process of finishing novel research on the neutron diffraction of vitamin B12 with my co-supervisor, Terry Willis of the Atomic Energy Research Establishment, Harwell. It was very unusual at that time to study such large structures by neutron diffraction, and the doctorate offered a huge but exciting challenge. I joined Somerville College two years after she had been awarded the Nobel prize and was in complete awe, but I had no preconceptions about how it would be in Oxford working with such a famous person – I just knew that I was very lucky to be there. Dorothy never made us feel inadequate about our lack of knowledge or inexperience in the subject and always seemed to have time for her students and members of the research group. Although I spent most of my time working on experiments at Harwell, it seemed that I had plenty of opportunity to be with Dorothy in her rooms in the chemistry department to discuss our results. She sometimes seemed to go into her own world in the middle of some discussion we were having and I wondered if I should slip away quietly and leave her to more serious scientific matters, but then she would return from her reverie and continue our conversation quite cheerfully. I don’t think I realised at the time just how many famous names in crystallography came through Oxford in those years. It was a truly enriching period of my early career and the influence of Dorothy and the Oxford labs stayed with me for ever and directed my future career. Dorothy was a very gentle person in many ways, but she was not without enormous presence. When she felt strongly about something, she was direct in giving an opinion on matters within and beyond science. Less than two years after I had left Oxford to take up a postdoctoral position at Bristol, Dorothy became the chancellor of the University of Bristol in 1971. This was wonderful for me as I could continue to see her regularly and we could talk about science rather than university politics. When Dorothy retired formally from Oxford, she spent more time at her home in the Cotswolds. I lived nearby and became a frequent visitor to her home at Crab Mill. Later, when I moved to Durham, my route back to the South West took me past her house and I would call in regularly to see her and her family. She was by then increasingly frail but always enjoyed hearing about science and discussing the latest results. Dorothy was extremely bright and had the ability to concentrate completely when working on a difficult problem, refusing to give up even when the task was long and complicated. Her seminal work on the structure of insulin spanned almost 35 years. It was a tour de force and ran alongside other major projects for which she was awarded the Nobel prize in 1964. She very cleverly chose to study the most important biological systems of the time, as well as tackling extremely interesting scientific challenges using the then-new technique of X-ray crystallography. One of her many skills was an incredible ability to interpret correctly complicated electron density maps that she calculated herself from the X-ray diffraction photographs, and with tremendous insight and tenacity she solved extremely important and complex molecular structures. These are facts, but her “greatness” was so much more a part of her character and her gentle ability to inspire and encourage others. Her empathy with scientists in parts of the world where life was more complicated and difficult scientifically was amazing, and Dorothy gave a great deal of her time to help aspiring young people. Her example lives on through those who worked with her and whom she taught and inspired. Judith Howard is professor of chemistry at Durham University. The poet Philip Larkin (1922-1985) worked as university librarian at the University of Hull for 30 years. James Booth worked in Hull’s English department from 1968 to 2011, so was for 17 years a distant colleague. “Of course it will all be up if any of the committee has read Toads,” Larkin wrote on being invited for interview at the University of Hull in 1954: “Why should I let the toad work/Squat on my life? […]/Six days of the week it soils/With its sickening poison-/Just for paying a few bills!/That’s out of proportion.” His luck held, and he was offered the post of librarian at the age of 32. A quarter-century after his death, in 2010, 25 brightly decorated toads adorned the streets of Hull. Today Larkin’s toad is part of Hull’s cultural “brand”. This, then, is no conventional account of academic influence. My contacts with Larkin were slight. He was a poet who never gave readings; I was an academic specialising in postcolonial literature. Larkin saw his work in the university as the nine-to-five “day job” that gave him the time to write poems. Nevertheless, his librarianship alone would preserve his memory. He presided over two rebuildings (completed in 1961 and 1970), creating, with vice-chancellor Sir Brynmor Jones, one of the finest post-war university libraries in Britain. After his death the Library Association published a volume of essays in his honour. Larkin’s Library remained unaltered until the magnificent £28 million renewal under his successor, Richard Heseltine, which was officially opened by the Poet Laureate last month. The new Reading Room preserves the original design of lighting, and with it, for all the computer terminals, much of the atmosphere of Larkin’s time. I arrived in Hull five years after the Robbins report, in 1968, a record year for staff appointments. With his background in the austere 1950s, the arrogance and sense of entitlement of the younger generation sharpened Larkin’s reactionary persona: “the place is full of replicas of Che Guevara & John Lennon, muttering away and plotting treason”. On the other hand, lunching in the staff refectory with my poet colleague Angela Leighton, he would envy the life of Riley we male academics must be enjoying among the female students. In 1973, The Guardian revealed that Reckitt and Colman, in which the university held a large investment, were paying black workers in their South African subsidiary below the official United Nations poverty wage. Knocking on doors, I signed up half the university staff to a petition to the university council requesting disinvestment. Asked about this in the bar over lunch, Larkin replied: “He’s performing a valuable function. It will be handy to have a complete list of all the pricks in the university.” But beyond all this are the poems. In the 1970s, I would spend Sunday afternoons in Loten Hall of Residence, watching the sky darken over the rugby pitch and listening to the familiar music of Larkin’s voice on the vinyl records of The Less Deceived and The Whitsun Weddings: “And past the poppies bluish neutral distance/Ends the land suddenly beyond a beach/Of shapes and shingle. Here is unfenced existence:/Facing the sun, untalkative, out of reach.” In those days, Larkin was a guilty passion; he was too parochial, not modernist enough. But new enthusiastic generations of readers have followed to prove this a mistake. His work does not “date”. By the 1990s, I was teaching a Larkin option and supervising PhDs on his work. I recall my last glimpse. A few months before he died, in 1985, I saw him standing outside Grandways supermarket holding a plastic carrier bag. He acknowledged me with a wan grimace, round-shouldered, defeated, bound for “the total emptiness forever,/The sure extinction that we travel to/And shall be lost in always”.
1098	dbpedia	2	5	https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33994	en	American Institute of Physics	https://www.aip.org/sites/default/files/favicon_1.ico	https://www.aip.org/sites/default/files/favicon_1.ico	[ "https://www.aip.org/sites/default/files/aip-logo-180.png", "https://www.aip.org/sites/default/files/styles/large/public/2022-01/esva-image-not-available.jpg?itok=09xDxOQh", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/aip-logo-fullname-400.png", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/1383075471_twitter.png" ]	[]	[]	[ "" ]	null	[]	2021-09-24T10:08:33-04:00	Lightman: I wanted to start by asking you a few questions about your childhood. Can you tell me a little about what your parents were like, what they did?	en	/sites/default/files/favicon_1.ico		https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33994	Lightman: I wanted to start by asking you a few questions about your childhood. Can you tell me a little about what your parents were like, what they did? Sciama: My father was a businessman. Actually you have taken me slightly aback because lots of things are rather personal, and I don't know if I would like to talk about them for publication. But certainly he was a businessman in Manchester. I grew up in Manchester. I then went to what we in England call a public school — that means a private school — from which I got a very good mathematical training. Those schools could afford to pay for the better teachers. In fact, my main teacher was a man who these days wouldn't go into school teaching. He got first-class honors in all three parts of the mathematical tripos in Cambridge, and he went into school teaching, and he helped me to get a scholarship to Cambridge. Lightman: Were either of your parents interested in science? Sciama: No, not at all. The atmosphere was entirely a business one. It rather surprised my father when I had this interest in science, which was outside his orbit. He was a very clever man, but he had left school at the age of 12 because his father had died, and he wasn't therefore used to higher education or anything like that. Although he had a fine brain, it hadn't been trained. He was trained in the world, but not trained in institutions. He therefore didn't particularly know about higher education until I told him. I told him Cambridge was great and Trinity was great, and he accepted that. But it wouldn't have been anything in his world. Lightman: When he knew that you had an interest in science, when he became aware of that, did he discourage you or encourage you? Sciama: He tried to discourage me because he thought that I ought to go into his business. Lightman: What about your mother? Sciama: She helped me a little bit, but he was much the stronger personality. It was just that I was so motivated to do science and mathematics. I suppose at that age I didn't even distinguish them. I originally thought of myself as a mathematician, and only later did I move first toward physics and then to cosmology. Lightman: Do you remember in your childhood, do you remember any particular books that you read that had a strong influence on you? Sciama: Yes, I can't remember how old I was when I read them, but I think it must have been in school. So many people of several generations were around then — Eddington,[1] in particular. Although I did read Jeans[2] a bit, I found Eddington more challenging. Lightman: He had several popular books. Sciama: He had several popular books. Perhaps now they've faded out a bit. I don't know. At that time they were very well known and considered the leading books of that kind. I don't know if you have read them — they are very imaginative. Lightman: I have read one or two of his books, and I think he is a beautiful writer as well as a good scientist. Sciama: So that certainly appealed to me, although at that time I wasn't thinking of myself as an astronomer. There were other people, mainly connected with Trinity. G.H. Hardy, the pure mathematician, wrote a lovely little book called A Mathematician's Apology.[3] Lightman: That is one of my favorites. Sciama: Then you may remember how he says from an early age his one ambition was to become a Fellow of Trinity. Again, this reads a bit old-fashioned now, and some people would even say it is no longer [impressive] and so on, but at the time it thrilled me. Lightman: Did you read Hardy's book when you were a youngster? Sciama: Yes. I also read some Bertrand Russell, who again was associated with Trinity. Lightman: So you were interested in philosophy? Sciama: I've always had a mild interest in philosophy. In fact, I'm giving a talk on the philosophical aspects of the anthropic principle in a week or two. So, I have had an interest in philosophy. When I went up to Trinity in 1944, I attended a whole course of lectures by Wittgenstein, who was then still a professor and giving lectures. That was a very good experience. So, while I was basically doing mathematics, I had this interest in philosophical things, and it just so happened that many of the leading people at the time were Fellows of Trinity, or had been. Trinity was the most prominent college. That was all part of the image of what a youngster would be attracted to, to strive, as it were, because there was this goal. So that played an important part. Lightman: At this age, before you went up to Cambridge, did you have an intention to go into science or mathematics? Sciama: Yes, from about the age of 15 or 16, I suppose. Before that, I was very young, and I naturally said I would go into my father's business because that was the obvious thing to say. I don't remember precisely, but roughly from the age of about 15 or 16, when I was beginning to be coached to take the scholarship to Cambridge, I realized [science and mathematics was] what I wanted to do. Lightman: One thing you said in your interview[4] with Spencer Weart in 1978 was that at this age you developed a passion for mathematics and science. Do you have any idea how that passion developed or what caused you to be so taken with this subject? Sciama: I think in retrospect I can answer that question perhaps, but it's a bit wisdom after the event. In fact, I came to cosmology and astronomy relatively late. When I was doing my Ph.D., for instance, I started out in statistical mechanics. Only in the middle, partly under the influence of people here like Fred Hoyle and Hermann Bondi, and Tommy Gold, did I start getting interested in cosmology and Mach's principle and so forth. Rather unusually, in the middle of my Ph.D., I switched to relativity and Mach's principle and so on. They had to give me a new supervisor as a result. They gave me no less than [Paul] Dirac, in order to try and cope with this rather alarming change of subject from the point of view of the authorities. So, something inside of me must have burst out at that point. Although the statistical mechanics problem — it was about the Onsager, Ising type of work — is very attractive theoretical physics. But it doesn't, of course, have the connotations of understanding the origin of the universe. Once I started doing things beginning with Mach's principle, I then realized my real passion was for understanding the fundamental nature of the universe. Some people, and perhaps the majority, do that by particle physics, and a few of us do it by cosmology. Of course, as I dare say you will discuss later, now the two things are linked together. So, then I said "ah, hah, it's clear to me what it's all about, and I want to understand the way the world is made, where it comes from, and what it means in the scientific sense." That's my passion. Therefore, always I've tended not so much to work on very technical detailed problems — although some of my students have — but rather on problems that in some way help to understand the great questions. So, that's obviously what my real passion is. But at 15, I didn't say all that. It expressed itself then as an interest in, say, mathematics. I remember enjoying projective geometry at school. I thought it was very beautiful and well ordered, and so on. Cosmology came much later. Lightman: Did you like well-ordered things? Sciama: Yes. Because, you see, if you do understand the universe... I mean, if Mach's principle had been true and sensible and worked well, or if superstrings or something are right, you are imposing order on the universe. And no doubt a psychoanalyst would have his own views as to why one wants to do that. Again, I think I mentioned this to Spencer. If you impose order on [the universe], then you help to achieve it yourself. Roughly speaking, what I like to say is that the universe is enormous — it is much stronger than you are — and your only way of hitting back at it is to understand it. No doubt, a psychoanalyst would use psychoanalytic jargon to describe [that idea], but that's what it amounts to, I guess. Lightman: Do you think that kind of motivation was something you sensed at a young age, or was it something that developed later? Sciama: I don't think I sensed it as explicitly as that. When I was enjoying projective geometry, I just said "how beautiful, and what a nice intellectual challenge, and what lovely theorems you get when you use your intellect, and that's great fun." I didn't realize all that I am now saying, probably until I made that switch in the middle of my Ph.D. But no doubt it was underneath. Lightman: Can you tell me a little about your undergraduate and graduate work at Cambridge? I don't want you to go into too much length because you said quite a bit to Spencer Weart but just give me some of the high points. Sciama: The high point is that I was a disastrously bad student. No, that's putting it too strongly. I did get a minor scholarship in mathematics at Trinity, which was a great achievement. A large part of that was due to very good coaching by the particular school teacher I mentioned earlier. Lightman: Did you say his name? Sciama: I didn't. His name was R.H. Cobb. Anyway, it's a bit like training for a race or something, learning how to solve these problems. It's all book work. You learn how to prove these things. You've been through this yourself, I'm sure. You remember how to prove book-work theorems, and you do many, many "riders," as we used to call them — examples based on the theorems. And so you trained. I was good enough to be trainable to get even a minor scholarship at Trinity, which was the great place in maths at Cambridge. But then I did extremely badly in exams here, so badly that when I finished I had to go into the army. This was just after the war, but there was still conscription, and I couldn't remain to be a research student. I got a lower second in finals, and two thirds in my earlier exams. So I was in disgrace. However, during the two years that I had to be in the army, for 18 months of it I managed to get sent to a government research lab, which was called TRE in those days. [That lab] originally had done a lot of radar work in the war. One was still concerned with detecting enemy airplanes, detecting infrared radiation. They were studying photoconductors, or semiconductors — they become conducting when the light hits them. And I with a team — of course I was guided by the senior people — worked on the quantum mechanics of the band structure in the lead sulfide group of elements. Lightman: So you got to do physics. Sciama: Yes, I wrote internal reports. Hartree was one of the professors here at the time. You know his name, I'm sure. He I had seen just as I was leaving as a student, and I told him I wanted to get back into research. He helped me to get transferred to this government lab and then accepted me back as a research student when he had seen these internal reports. It was all about the group theory, and the levels, and so on. So, that is how I got back in to the system. Lightman: So they thought you might have been dismissed out of hand from Trinity? Sciama: Well, I wouldn't take a student on with my exam records. It's all rather embarrassing when I now have to take students on. If it were a question of a grant, I wouldn't be allowed to give a grant, because you’ve got to get a first or an upper second to get a grant. But he took me back without a grant, and that's where my father being a businessman came in. I was able to live through the help of my father, despite his early discouragement. Lightman: How did he feel about supporting you in this intellectual pursuit? Sciama: Well, he was still terribly upset that I had rejected business, but he saw that I was so determined that he let me do it. Later, I agreed with him whether I would continue depended on certain things. It was a crazy thing to do, because clearly if I was going to be a tenth-rate researcher, then maybe it's better to earn a lot of money in a good firm. So, I agreed with him that [I would stay in scientific research] only if I got the research fellowship at Trinity — the thing Hardy had written all about. That would be a sign that it was worth the sacrifices, and otherwise not. That was a crazy [agreement], because even if I were very good — which I didn't know really at that time — it's very chancy whether you get a [fellowship]. You're competing with a whole group of people in a whole range of all subjects. Lightman: Was this his proposition or your proposition? Sciama: I think I said at one point, "well look, the natural thing for me to do is go in for a Fellowship." It's such a prestigious thing to get, which I explained to him, and he accepted that. Because if I did get [the Fellowship], that would be the sign that it would be worth the sacrifices. Lightman: Then did you also complete the proposition and say that if you didn't get [the Fellowship]; you would put your [fate] in his hands? Sciama: Yes. If I didn't get it, then that would show that it wasn't justified to give up these good prospects in the textile business. Lightman: So you made him a business proposition. Sciama: I made him a business proposition. Exactly. But a very bad one. [Lightman and Sciama laugh.] Arnold Weinstock would never do that today. Perhaps you don't know him. He is the chap in GEC here, and they've just been trying to take him over with clever tricks. Yes, so by sheer luck I did get the damn thing, so I was able to remain in an academic career. Lightman: When you decided to do cosmology, you said that you came under the influence of Hoyle and Bondi. Sciama: And Gold. They were all here. They were senior to me, but I got a bit friendly, particularly with Tommy Gold, and to some extent with Hermann Bondi. Hoyle was still older than that. They were all playing a strong part here. You probably know that they were all considered sort of rebels at that time. Hoyle was not Sir Fred Hoyle, Plumian Professor. He probably had a lectureship then, and I think Bondi did. But Bondi wasn't Sir Hermann Bondi, et cetera, et cetera. Lightman: This was in the early fifties? Sciama: Yes. I got my fellowship in 1952, and I actually got the degree of Ph.D. in 1953. I started being a research student in 1949. The steady-state theory,[5] which was one of the dominating ideas in cosmology at that time, was published in 1948. So at that time it was far too soon for the hostile evidence to arise. [The steady state] was a very attractive idea to some of us. Also, [Hoyle, Bondi, and Gold] were concerned with astronomical questions. But in a lot of their work, they were introducing rather new points of view, which tended to be the kinds of points of view that got resistance from the establishment. They were the young rebels, and they were an exciting influence at the time for a younger person like myself. Even when I was doing the statistical mechanics, I must have gone to their lectures and realized that their personalities were robust and exciting. I suppose that played a part. I don't remember waking up one day and saying "no more Ising [models], I will now do distant galaxies or something." I can't remember the precise details, but it's clear that I started thinking about questions of that kind, and then I proposed a change of subject, and they got very agitated because you don't normally make such a big change. And then there are questions like "have you been working long enough at the new topic?" As I say, they gave me [Dirac], because there weren't many people around at the time. I don't know why they didn't give me Bondi. Lightman: Yes, why did they give you Dirac instead of Bondi? Sciama: I don't know. It's not that I can't remember. I wasn't privy to the discussion. They may have felt that since it was a slightly delicate matter — this big change — they ought to give me a very senior person. But I'm only guessing. Lightman: Dirac didn't really work in general relativity, did he? Sciama: Well, he had done things in cosmology, like the large number business.[6] And he had one something in general relativity. He had done this Hamiltonian theory for quantization purposes. It was all part of his theory of constraints in quantum mechanics, when you have theories with invariants. Electrodynamics is the first example, when you have gauge invanance. [It becomes] coordinate invariance in the relativity case. This gives rise to a lot of technical problems when you try and quantize. He had a whole theory of first-class constraints and second-class constraints designed to deal with that. Then he decided to apply that to general relativity. It was quite important work actually, in a way. Nothing like his greatest work, but it's very considerable. He found[7] a Hamiltonian for general relativity, as distinct from the Lagrangian. He tried to quantize it. And he wrote other papers on general relativity. So, while [general relativity] is obviously not the first thing you would think of with Dirac, he had done quite a bit. Maybe the mere fact that he was a major theoretical physicist was taken into consideration. But by the time I got Dirac, as I think I explained before, I had already worked out this Mach's principle thing that I wrote my thesis on.[8] So, he didn't particularly help me — not through any fault of his. But I did have access to him, and that was fascinating. Lightman: You mentioned steady state a moment ago. Obviously that was extremely important during this period. Can you tell me a little bit about why you were so attracted to the steady state theory? Sciama: I suppose because of its simplicity and predictive power. The big bang — even now, of course, we're struggling to understand the big bang. [I accept the big bang], although Fred Hoyle still doesn't. But I accept now that basically the big bang picture is clearly correct. But, it's a naturally very complicated physics that goes on near the bang. There were even questions like: can you be sure the laws of physics are the same in a changing universe. You see, there might be philosophical reasons for worrying about that. This was all part of the original discussion. Lightman: That was in the original papers. Sciama: Whereas it's at least reasonable to say that if the universe always has the same large-scale appearance, it's less of an assumption that the laws are unchanged. And there were various arguments of that kind. The whole picture you got of the universe was a rather simple, appealing one. And [the steady state theory] did have predictive power, and therefore that was good. All those things didn't mean I believed it, as it were, but just that it was so attractive that I felt in a small way to try and make it work. When hostile evidence started to appear, you weren't sure what to make of it. I remember writing various papers at the time and having arguments with Martin Ryle about whether the evidence against the steady state was good or not. It was worth trying to save [the steady state theory], but as the evidence mounted, there came a point where one couldn't. But the reason for supporting it was not, as I say, that it had to be right, but just that it was to me very attractive and the penalty of having creation of matter didn't seem to be such a terrific penalty. It was rather an interesting process to study. As they used to say at that time, [continuous creation of matter] is even less of a thing to introduce than the creation of a whole universe at one go. Lightman: Was that an argument that you talked about at that time? Sciama: I suppose. I recognized that the standard theory didn't in fact have a creation moment. What we later came to call the singularity was not well understood. But, I never felt then and I don't now feel so alarmed about outrageous proposals in physics, unless they're easily disposed of by experimental evidence. I never felt creation of matter was something disturbing. It was a rather interesting phenomenon, and the bang was obviously even more interesting. It was very remarkable. But I wasn't frightened by saying "let's not have a bang, let's have a steady, continuing process which is subject to physical investigation because it's repetitive." Lightman: You said that you felt that steady state had predictive power, and that appealed to you. Did you feel that it had more predictive power than the big bang model? Sciama: It did in some respects, because by denying the possibility of evolution of the average properties of galaxies, you could make much more specific predictions about, for instance, the number of sources as a function of redshift. Whereas, indeed as we all know now, the [big bang model] requires evolution. You don't just get a distribution of these quantities that is different from steady state because the metric of the universe is different. There is very strong evolution, which, of course, does occur. I accept that. But, from the point of view of making predictions, [in the steady state model] you are denied evolution, which would have many parameters. Then you can be very specific. So, that was certainly appealing in the sense of being useful. Then you decide very quickly, perhaps with luck, whether this proposal was reasonable or not, because you couldn't keep cheating every time there was hostile evidence. At first, you could worry about whether the evidence was accurate or not and so on, but you couldn't say "oh well, we’ll introduce this fudge factor and that fudge factor." Lightman: At this time, during the 1950s, when you did think about the big bang model, did you have any preference for a particular model in the big bang, say open versus closed or that kind of thing? Sciama: I did, and that was linked to my interest in Mach's principle, although this was never fully worked out. But, as did other people perhaps for similar reasons, I preferred the Einstein-de Sitter model, the one that only just expands forever, the k = 0 model. That's the Machian thing, because k, in the Newtonian analogue of these models, is the energy-kinetic plus gravitational. If the energy is due to gravitation, ala Mach, rather than having a kind of spontaneous existence, then at least it might seem as though it would be rather natural to have one [energy] balance the other. One made the other. Therefore, that would be the attractive model. But that turned out not to work later, because I had a student, Derek Raine, now a lecturer at Leicester University, who worked later on Mach's principle, producing a much better theoretical statement of the principle. The principle is a kind of boundary condition. He produced, as far as I'm concerned, still the best discussion of what boundary condition you're really groping for. But when he did that, he found that because of feedback effects in the different models, all the cosmological models of the Robertson- Walker type, with the exception of Minkowski, are Machian. Essentially, if you were to use technical language, you introduce a Green's function to tell you how much a particular piece of source influences the metric here. In relativity, that's got to be a functional of metric. It can't be a fixed quantity. I wrote a paper,[9] with others, which I was quite pleased with, in which I showed that general relativity could be written as an integral equation to represent the metric here as a sum of contributions from the energy momentum tensor everywhere. [That formulation] used a propagator or Green's function, which itself was a functional of metric but had certain structural properties that made it rather attractive. Derek Raine used that idea to make a Machian boundary condition. He has written an article[10] on this by the way. So, he used those ideas and generalized them a bit to say that if you want a Machian boundary condition in addition to the propagator, which is entirely implied by GR itself, you need some statement about boundary conditions somewhere. When he made the most Machian statement he could — a statement that I approved of — he then found that all the Robertson-Walker models except the empty one would count as Machian. Owing to the fact that the Green's function itself depended on the metric. If you chose a non-Einstein Sitter case, there would be adjustments. Lightman: To make itself consistent. Sciama: Each one was self-consistent. The sources were doing their job. The way they did their job was different in each case. I had to accept that, but it was disappointing. But, until that was done, I would have preferred the Einstein-de Sitter model. Lightman: I think the Brans-Dicke theory,[11] which partially incorporates Mach's principle through the scalar field, much more than general relativity, also allows all Roberton-Walker metrics (flat, open, and closed) for cosmology. Sciama: It probably does. I suppose, in a way, the Brans-Dicke theory was at least partly stimulated by my own writings. But I never quite liked that theory. I preferred to [incorporate Mach's principle] within GR [general relativity] if I could, rather than introducing extra fields. Of course, one now introduces extra fields for other purposes. They are very likely. But at that time, I didn't really quite like that. So when [the Brans-Dicke theory] ran into difficulty from observations, I wasn't sorry. I'm sure Bob Dicke was sorry. But I wasn't. Lightman: I know that he was certainly influenced by Mach's principle in designing that theory, and probably your work as well. Sciama: Well, also John Wheeler had seen my work and had written many things himself on it,[12] and we all influenced each other. I suppose of the three of us, I was slightly the first, but we all had different ways of incorporating the principle. Naturally, I like my way the best. But in the end, that hasn't been terribly successful. It all sort of went into the sand, I believe. Lightman: We have been talking about Mach's principle, which has been a theme of a lot of your work starting with your Ph.D. thesis. Do you remember why you got interested in Mach's principle in the first place? Sciama: I have a vague memory that I was thinking about other cosmological questions and steady state questions — how one could make a field theory of steady state. I remember one time writing an article or variation of the thesis that actually pointed out that the scheme I was developing was not consistent with Mach's principle. I then started to attack Mach's principle, [because] I wanted my scheme to be a good one. Then, at a certain moment, I got converted and said, "No, I've got it the wrong way around. The nice thing is Mach's principle, and I'm missing the point." Lightman: Why were you thinking about Mach's principle at all? I didn't know that that was something on people's minds at the time. Sciama: There is a simple answer to that. I probably picked up the idea from Bondi. Lightman: Was he discussing Mach's principle? Sciama: If you look at the Bondi-Gold paper[13] on steady state and you look at Bondi's very lovely book[14] on cosmology that came out in 1952, there was a lot about Mach's principle in both of them. You see, in the steady state, the idea was whatever makes Mach's principle work in the steady state would be happening all the time. So, the arrangement of the world let Mach's principle apply. Also, I went to a course of lectures Bondi gave on cosmology. In fact, I was telling him the other day — because I'm at the college here where he is master now — that I still have the notes from that course. His book came out a little later, but I would have heard about it from the course. I found the idea extremely attractive, and this has something to do with my psychology. I like simple ideas with very great power in physics — the idea that centrifugal forces and Newton's rotating bucket is mainly due to galaxies. As I have pointed out in my books,[15] the main contribution came from galaxies beyond what you can see with telescopes — suggesting that the whole universe acts one unit in this way. That seemed to me to be a mind-blowing idea, as one might say. I realized quite soon that most physicists thought I was not quite a crank, but at least peculiar. Despite the tradition of Mach and Einstein about Mach's principle, most of my contemporaries would have said it was a will of the wisp, a semi-crank [idea]. Yet, after all, the little calculations I did then would show that if an object accelerates towards you, it produces a 1/r force, just like an accelerating [electrical] charge does. Lightman: This is gravitational. Sciama: Gravitational. And you know very well that if you have a 1/r force, distant [sources] are more important than near ones. It's worse than Olber's paradox. It's no good saying it's cranky to talk about distant galaxies, they just dominate. You just do a sum of two lines, and they dominate. The other question is: do they dominate so completely that they do the whole job? That's the boundary condition problem. But, to me it was clear that you had to worry about that. It was no good saying this is cranky. If it's a long-range force, then distant [sources] dominate. As I say, it was the power and the sweep of the idea — the idea that the whole universe was acting as a mechanism. Indeed, my first book was called The Unity of the Universe.[16] That was my [belief]. That's why I liked [Mach's principle], once I learned the idea. And I was very disappointed when it all went into the sand. Lightman: Let me ask you about another project that you worked on somewhat later. Do you remember what motivated you to work[17] with Martin Rees on plotting the distribution of quasar redshifts versus intensities? Sciama: Oh yes! I have probably told Spencer [Weart] this. That was very funny. That was typical of a lot of my work, where the student really does it much better. At that time, the hostile evidence [against the steady state theory] was accumulating, but it was in the early days, and you could still try to save the steady-state theory. So I was tittling around with these various things. The microwave background had just been discovered. But at that stage you couldn't be sure it wasn't due to [things other than the big bang]. In fact, I wrote a paper[18] saying that there might be a type of radio source whose integrated radiation would mimic a black body spectrum over at least a limited range of wavelengths — which was all that could be measured at that time. Lightman: So you were defending the steady-state. Sciama: The idea was to defend the steady-state, and also I learned astrophysics in the process. It was an interesting thing for various reasons. I knew from the great battle between [Martin] Ryle and Hoyle about the radio source counts that questions of counts would be crucial, or might be crucial. Quasar data was beginning to come in during that period. Of course, quasars were just three years old or something. In fact, in 1965 was the great discovery by Maarten Schmidt of a quasar with a redshift of 2. So, I started plotting out the number of quasars as a function of redshift. Lightman: Why did you do that? Sciama: To see whether it agreed with the steady state. This relation between number and red shift is a unique prediction of steady state. You [don't have] to worry about whether [the quasars] evolve at different redshifts. So there was a specific formula, which I knew. I think it probably was in the original Bondi-Gold paper. Anyway, it was a known formula, a straight-forward formula. So, the question was: is there enough data accumulated to test this? You see, today there are far more people in the field, and this sort of thing would be done instantly. But at that time there were fewer of us, and therefore it still had to be done. So I plotted out the number-redshift relation. The way I do these things, it was sloppy. And lo-and-behold, it fit the steady state [prediction]. I remember going to Martin and saying "Martin, Martin, look. I have plotted out N [number] as a function of z [redshift] and the steady state is supported." Martin was then a research student of mine, with whom I discussed all the more astrophysical types of questions involving cosmology. He was always a bit skeptical about my enthusiasm for steady state. He is a very well balanced chap. He said, "well, I'll have a look at it," and he went away to have a look at it, and he did it better. Two days later — I forget how long it took him — he came back and said, "I've done it properly, and it's very bad for steady state. The [observed] relation is quite different [from that predicted by steady state.]" It was the same general kind [of relation] as what I was finding for the regular radio sources. I looked at what he'd done, and I agreed that he'd done it properly. That was the thing, as I probably told Spencer, that for me made me give up steady state. I wasn't prepared. You see, there was a conceivable let-out from people like Hoyle and [Geoffrey] Burbidge, who were then saying that quasars are local. I didn't like that — it was piling one thing on top of another. I have a bit of a conscience, somewhere along the lines, and I couldn't play that game. It really wasn't reasonable. So, I said "okay, the quasars are cosmological, and therefore this decides it." At that time, the blackbody thing was still debatable. So, for me at least — though not for most people... it was this study that was decisive, and I had a bad month giving up steady-state. Then, of course, Maarten Schmidt did a much better job,[19] and it's now always attributed to him, and I think quite rightly. He did a much better job of getting this evolution, about a year later - much better data and more details. But we were the first to actually point out that quasars evolve, so I'm quite proud of that. But, it was Martin, not me. Lightman: This is what convinced you? Sciama: That's what convinced me. Lightman: Martin Rees, and some others, brings up an interesting question: You have been the advisor of a number of students who have gone on to brilliant careers. Can you tell me a little bit about your approach to advising students? Sciama: Let me first say, as I probably said in my last interview [with Spencer Weart],[20] I always feel that I've been in a false position, particularly by being at Cambridge, and to some extent also in Oxford. We've had the best students in England, because of the structure in England. And so, if you have a very good student, you just sit back and let him go, and he does wonderful things, you see. So, that's what's happened in quite a numb~r of cases. My only role was enabling them to do relativity and cosmology. That required a certain structure and someone who is willing to take them on, but then they did their own thing. Lightman: Did you talk to them on a regular basis? Sciama: Oh yes. Well, let's say I'm the kind of person who suggests problems to people. A good example, actually, is Brandon Carter, who did some very important work[21] on the uniqueness of the Kerr solution and other such things. I remember saying to him one day early on when he was my student - and he still remembers this and he says he's grateful for it — I said to him, "Brandon, why don't you do axisymmetric collapse. I think there is a lot of richness and interesting [things there]." And he went away and did[22] axisymmetric collapse. [Sciama laughs] So, therefore, I provoked them a little bit in some cases. In Steve Hawking's case — as Steve himself has recorded now I think in his book[23] and elsewhere for the first year or two he was struggling for a good problem. At that time, in the more relativistic side of cosmology, as distinct from astrophysical, there wasn't too much to do that was] high-class. Then in 1965, Roger Penrose produced the singularity paper[24] — a bombshell, but for a star, a collapsing star. I know there are articles which credit me with saying one ought to look at the singularity theorems more generally. I can't honestly remember doing that. My memory is that Steve came to me one day and said "I can adapt Roger's arguments for the whole universe and get the singularity of the big bang." I said "Yes. Good. Do that." The last chapter of his thesis is his first singularity theorem.[25] Although, in fact, in an article[26] by George Ellis, Chris Clark and Frank Tipler, whom you may know, about the singularity theory, there is a footnote or something that says I insisted that people work on singularity theorems. Perhaps I did. I can't remember. But mainly, it's that they [my students] are gifted to that extent, and there are problems lying around worthy of their gifts, but "do-able." Lightman: Do you think about whether a problem is "do-able" before you suggest it to one of your students? Sciama: Well, I can't necessarily tell. In the case of axisymmetric collapse, it seemed to me that not much had been done on it. I think in the case of the uniqueness of Kerr, I can remember Hawking saying around the department, after [Werner] Israel's proof[27] of the uniqueness of the Schwarzschild [solution], that we should be able to do Kerr. That probably helped Brandon — who was already in that area because of my original suggestion — but I remember Steve saying that. I don't think I would have had the technical understanding to see that it was do-able. So, I regard it as a matter of sheer luck that I've been associated in a minor way with all these students. Lightman: Let me go back to the 1950s again, when you were here among the young Turks — Bondi, Gold, and Hoyle and so forth — and the steady state was in the air. Can you tell me a little bit about the general attitude in the larger community towards cosmology — cosmology in general, not steady state in particular. How did people regard cosmology? Sciama: Physicists regarded it very badly, I think. Physicists generally, and in particular particle physicists, would have said that [cosmology] is highly speculative — everything is uncertain. They were very scornful. I remember Murray Gellman was once a visitor at Cambridge, and he came to dinner — it must have been in the mid-1960s — and he said to me "there has been no progress in cosmology since Friedmann in 1922."[28] [Sciama laughs.] Generally, I think, it was then [regarded] as just speculation — not because of its intrinsic nature, but because of the lack of good observational evidence. [Cosmology] was not quite respected. Lightman: How would a general astronomer have regarded cosmology at that time? Sciama: I think an astronomer would not have had those particular feelings that the particle theorists did. Someone like Hubble was regarded as a great man. Astronomers would have been even more aware of the uncertainties of the data, but they would recognize it as a worthy enterprise, I suppose. The intellectual scorn was more characteristic of the particle theory-type of person. Lightman: What about an astronomical theorist who was not particularly aware of the observational problems? Sciama: An astronomical theorist would have been. Someone like Martin Schwarzschild, say, would have been enough of a general astronomer to know. Well, everybody tried to do things like decide the deceleration parameter, or even the value of the Hubble constant. It was known how uncertain those things were. But I don't think they would have felt, [not quite] the spite and the scorn, but the attitude that this was a low-grade activity that [is undertaken] by people who can't solve problems in particle physics. Astronomers didn't feel that because they were already astronomers. They might have had a few smiles at the passions with which cosmologists argued. But there wouldn't have been the contempt. I don't think contempt is too strong a word in those early days, among physicists. That changed, bit by bit, as the new era came in and particle physics [ideas] became important. Maybe we will talk about that later. [Things changed] particularly when, [for example, the physicists realized] that cosmologists could do much better than the particle physicists at restricting the number of neutrino types.[29] All that came in later. Then they [the physicists] had to admit that maybe the cosmologists have got something. Lightman: Do you think that's when physicists began taking cosmology seriously? Sciama: I believe so. Lightman: Grand unified theories,[30] and so forth? Sciama: Well, slightly earlier maybe than that, because the business of the number of neutrinos slightly predates that. That was perhaps the first sign that you could say something that couldn't be said just from particle physics]. A different example comes more from astronomy than cosmology, though it's linked up. Willie Fowler, who of course by now has won the Nobel Prize for nuclear astrophysics, came in to the subject through the influence of Fred Hoyle. It was partly the famous story about the level of carbon twelve. Here was Willie Fowler, a down-to-earth nuclear physicist at Caltech, being told by this madman that this crazy nonsense could tell him a specific level in a particular nucleus, which was only suspected to exist then by laboratory experiment. Then they do a careful experiment and find out it's there, bang on at the [predicted] energy. [Fowler] said, "it's fantastic that astronomy can do that." And it was taken seriously, and that was one of the major factors, plus the personal attitude, that brought Willie into the fold. Although that's astrophysics and not cosmology, there is a relation, because if you believe in the steady-state theory, you have to make heavy elements in stars. And that actually is one of the great selling points of the steady state theory. Now we know it's wrong. [But] it forced people like Fred to make elements in stars. That was very successful. So actually there is a link. The fact that Fred was studying that problem was directly due to the fact that steady state theory required [that elements be made in stars]. Do you know the old joke of Eddington about a hotter place? Lightman: No. Sciama: In early days, people had vague ideas that the elements had to be made by high-temperature nuclear reactions, and Eddington must have had some kind of primitive theory of this long before the supernova theory of Hoyle. People said to him that the stars he was dealing with weren't hot enough to do this job, and he said "then go and find a hotter place." But, in fact, there is a direct link back with cosmology, so Fred was working on these problems because steady state required some hot place, not the big bang, to make at least the major range of elements like carbon, etc. Supernovae were the obvious choice. And then Willie came into it for the reason I said. Lightman: I wanted to switch gears a little bit and ask you about your reactions to some recent theoretical and observational discoveries. As background for that, let me ask you I first, do you remember when you first heard about the horizon problem, the causality problem, or thought about it on your own? Sciama: Just about, because the person who wrote the key paper[31] on horizons is a great personal friend of mine, Wolfgang Rindler. Lightman: Yes, as I understand it [however], he didn't discuss the puzzle. He didn't raise the issue of why there is a problem with the current universe in that paper. Sciama: That's correct. Lightman: So, I want to ask you, when did you first hear that there was a problem with the current universe, that there are regions that are causally disconnected according to the big bang theory, and yet have the same temperature and the same properties, and so forth? Sciama: I do understand. I think that the answer to that question is that I am vaguely aware that [Robert] Dicke had raised[32] that point, but it was not in the forefront of, certainly, my consciousness until Alan Guth's paper.[33] Although the history of inflation is complicated. There were people[34] before Guth, who now never get mentioned, and that, I think, is not fair. But then we are not discussing that. Lightman: We will in a moment. Sciama: Okay. I am not very well informed about the fine details, but we can come to that in a moment. As far as I'm concerned, it was, in practice, [Guth's] paper which emphasized that [the horizon problem] had to be taken very seriously. And the business about the flatness. In fact, it was the flatness, perhaps, that Dicke had referred to[35] even more than the communication problem, the horizon problem. Maybe I'm getting them slightly confused. So, perhaps that was what I was referring to a moment ago... Lightman: Do you remember when you became aware of Dicke's discussion of that? Sciama: Well, I was vaguely aware of it because I knew him personally already by then — if only because of our mutual interest in Mach's [principle]. But it's not something I would have given a talk about or gone shouting about. It was just vaguely in my mind that he had said something at that time. Lightman: When you did become vaguely aware of it, did it worry you as a serious problem? Sciama: No, I don't think so. This was probably my concern with other matters or my lack of being smart enough to spot that it really was rather important. I would not have been in a position to say this is so important that I've got to tell people about it and worry about it. No. You're asking about me, and I'm not sure that I'm representative or not. Lightman: I'm just asking about you. Sciama: As far as I'm concerned, it was only very vague. I wouldn't have even known off-hand the formula you would use to show how the density parameter scales with time. I was just vaguely aware that [Dicke] had made some remarks that something was a bit worrisome. That's all that was in my mind. Lightman: You mentioned that you became much more aware of these problems [the horizon and flatness problems] after Guth's paper. When you read that paper, did you take these problems seriously in the sense that they were important problems that demanded solutions? How did you feel about them after Guth's work? Sciama: I do remember that I was a bit slow to appreciate the significance of what Guth had done — perhaps again because I had other things to attend to. When his paper came out, I glanced at it and I didn't say to myself, "ah, hah, here is a great breakthrough. Whether true or not we must attend to this thing." I didn't quite even know fully what it was all about. It was only a few months later, I suppose, when other people started talking a lot about it, that I said "ah, hah, I'm getting left behind, I better find out what this is all about." Then I either read his paper again or read something by Mike Turner or heard a talk, or something. I learned the stuff. I did my book work. Then, it all fell into place and I saw how potentially important it was. In fact, Guth came to the Royal Society in London for some meeting. He spoke, and at lunch I remember saying to him "do you realize that your inflationary epoch is just the steady state theory?" And he said, "What is the steady state theory?" He hadn't even heard of it. So that is just one of many reminders about culture gaps, or time gaps and culture gaps. So I explained to him the way the steady state theory worked. Even things now like the so-called "no hair" theorem, you see with de Sitter. Many, many of the ideas were just steady state, but only for this shortish [epoch], at this early time. I was very amused that it occurred in that way. Fred has recently tried to make more of it than is justified. Lightman: Yes, I saw a recent paper [of Hoyle's to that effect] in Comments on Astrophysics.[36] Sciama: Yes. In that sense, I could understand what Guth had done. Lightman: Once you understood the horizon and flatness problems, or thought about them more deeply, did they seem to you to be serious, fundamental problems? Sciama: Yes. Now we get on to slightly delicate ground because there is still a bit of debate about these things, and I'm one of those who thinks that inflation is getting a bit oversold. I'm sure Roger Penrose talked to you about that. Lightman: I want to ask you about inflation separately in a moment, but I just wanted to ask you now about these two particular problems: the flatness problem and the horizon problem — whether or not inflation ever arrived. Sciama: Yes, I think they are genuine problems, and the reason we weren't all worrying about [them] is partly because until recently there were so few people in the field. What was worked on or worried about at that time was it very sensitive function of who happened to be in the field and what their interests happened to be. It's the same when you look at the history of cosmology and black holes, where rather strange views were peddled by top people like Eddington. They only got away with that because there weren't an army of technically equipped people to say the correct thing and push him aside. It's interesting when a subject depends for its development on so few people that it depends on their individual attitudes and what interests them. Whereas when hundreds of people do it, you very rapidly get a kind of streamlined view. Now, there is a whole army [of researchers]. For any new idea about particle physics, there are hundreds of people ready to apply it to the early universe. In those days there were only a handful of us, you see, and if this handful hadn't paid attention to these problems, then they weren't in the literature or currently debated. I think that's the reason. I suppose once they are thoroughly pointed out to you and your nose is rubbed into it, then yes, they are very important problems. Whether inflation has solved them or not is a separate, technical question. But clearly they are important problems. Lightman: Putting aside inflation, do you have any view as to how the flatness and horizon problems might be solved? Sciama: There's a third problem that's also very important — and I agree with Roger Penrose that inflation doesn't solve it — and that's the smoothness. It's related to the horizon problem. One argument is that the early wrinkles get pulled out by inflation. But that is not a correct argument. What inflation does, if it works well, is provides a possibility for a transport process being slower than light to equilibrate different regions and remove temperature gradients. And that was all that was claimed originally. Then there was a kind of shift of view that came in almost surreptitiously, [which said] that, in addition, inflation already does the smoothing out for you automatically, because of pulling out the smaller scales to larger scales. But if the small scales are very rough and they're pulled out to larger scales, the larger scales are rough. Or, to put it more mathematically, given any state now with a regular differential equation, there's some early state that matched it. This point had been made earlier, in fact, by John Stewart, about [Charles] Misner's mixmaster model.[37] The same idea had been attempted: that, independent of the initial conditions, by mixing processes [you arrive at the present universe]. But it's strictly speaking not true. However, that's perhaps not what you wanted me to talk about. Lightman: That's certainly relevant. Let me ask you about inflation itself, since we have referred to that. You already mentioned the history. When the paper first came out, you were thinking about other things and it took you a few months to read it. What is your view about the inflationary model now, either in the original form or one of the derivatives of it? Sciama: Well, in the end I think it's turned out a bit disappointing. It was a marvelous idea. It had various difficulties, as you know. You referred to the various variants that were produced.[38] It's now in what I call a Baroque state. There are so many variations, and there is no formalism, there is no reasonable grand unified theory and a cosmological formalism that gives a scheme that really does all that is required of it. There are many sub cases. Half a dozen people in the field have produced their own variations. A related question has also ended up rather disappointing, and that's baryosynthesis, which would occur, perhaps, just after inflation. Again, it was a glorious idea, and again it has not worked out in a kind of definitive way. There are many variations of the possibilities. Perhaps this is the nature of scientific research. I'm not saying therefore the idea is wrong, but it's a mess at the moment. I do think that it is oversold by some of the pundits, who no doubt find it an advantage to them, being a highly regarded theory, and it has all these virtues. I do have to say I think it's oversold. But it's still potentially a marvelous idea we just need more particle physics first, to get a grand unified theory that we might have faith in. Lightman: Let me ask you a sociological question: Why do you think that the inflationary idea has caught on so widely? Sciama: Two reasons, I suppose. One is the very elegant link with the most advanced questions of particle physics. Cosmologists like me are happy that particle physics plays a key role, but also the particle physicists enter the arena. And partly that [inflation] doubly delivered what it advertised. To some extent it does. It solves great problems. Those are two perfectly adequate reasons. Plus, it's not every day that there is a great new idea in cosmology. [There is the] fighting for recognition. So therefore people jump at it. And that's fine. It's only if then it's oversold, it's a shame. One ought to be rational. Lightman: Let me ask you about an observational discovery. Do you remember when you first heard about the work[39] of Geller, de Lapparent, and Huchra on the bubble-like structure of the distribution of galaxies? That was a few years ago. Sciama: Yes. Lightman: How did you react to that work? Sciama: I was very excited. That seems to me extremely important. I’ve talked to Margaret Geller about it. She visited Trieste where I work mainly now, and she spoke to the summer school I was organizing. She was saying quite rightly that the irregularities she's finding. [continue] to the largest length scale that she observes, and therefore why shouldn't it go on forever, and maybe the whole idea of a homogeneous universe is lousy. Lightman: How do you feel about that? Sciama: I said to her afterwards, over a meal, "look Margaret, there is one constraint that you have got to recognize, and that is the isotropy of the microwave background. If you put too much irregularity on too large a scale you conflict with that, and that's therefore an overall constraint, although it doesn't come in at 100 megaparsecs." Lightman: Unless our interpretation of that is wrong. Sciama: She said "what would you do if we go on making the studies, and we keep finding this effect, let's just say out to 1,000 megaparsecs?" I said, "Well, that would be the most devastating thing in physics and astrophysics. I don't know what I would do." There is no obvious, easy way out. To say we've totally misinterpreted the microwave background ... We considered that in the early days. There were jokes that if it's so isotropic, that's because your box which is measuring the thing is isotropic. But by now, it would be very, very difficult to reconcile a bumpy universe on a scale of 1,000 megaparsecs with the isotropy of the microwave background. Lightman: Does that worry you? Did that worry you? Sciama: No. I therefore feel confident that the universe has to smooth itself out on that scale. Obviously you can ask me a hypothetical question: "What would you do if it didn't?" But that would just be a crisis in physics. It's silly to speculate. Lightman: No, I don't want to ask you that hypothetical question. I would rather ask you about what your attitude is right now about the thing. Sciama: Well, my attitude is that it's an extremely important discovery because, of course, galaxy formation has to be understood. And it's related to the nature of the dark matter that we haven't talked about — how galaxies form and so forth. It was totally unexpected from a theoretical point of view. Therefore, it's a very, very important scientific discovery. Lightman: I gather from what you have just said, though, that it doesn't shake your belief in the large-scale homogeneity. Sciama: Well, fortunately, up to the scale that's now been found, it wouldn't conflict with the isotropy, although it's interestingly coming close to it. Lightman: A factor of five or six or something [in distance]. Sciama: That's right, and there are plans afoot to improve the measurements of the isotropy another factor of ten. If they don't find anything then, that would also be worrying, even from other points of view. Just structures you can see in the sky would then work at the one in a million level. Therefore, I'm confident they will find something. I think that's reasonable. But if not, then we will have this crisis. So, I just have to suppose that they have almost reached the limit [where the two types of observations are consistent]. It's a numerical matter. Obviously, there is some lumpiness on the scale of 1,000 megaparsecs. It's a matter of the numbers. But I would suppose that you wouldn't find the same effect [inhomogeneities in the distribution of galaxies] at a much larger scale. Perhaps a bit larger, but not ten times larger. So, I'm not worried about this. I'm very much excited because it's got to be understood. Lightman: You mentioned the dark matter. I guess there are two kinds of dark matter: there is the dark matter that we know is there, that takes omega from .01 to .1; and then there is the missing matter that would have to be there if inflation is right, that takes omega from 0.1 to 1. What is your belief in that range of possibilities? Sciama: Well, as a matter of fact, there is an argument going on at the moment between two of my old students, — George Ellis and Martin Rees — as to whether inflation does require an omega of 1. That's a rather technical matter, and I don't want to go into that. But the statement that [inflation] requires omega close to 1 is at least up for argument. Lightman: I see. Sciama: But let us suppose for the purpose of this discussion that inflation does require that. Then, of course, we have to identify that matter. But we still [also] have to identify the matter in galactic haloes. If you are just asking me about my view of the present position, I don't have a particularly individual view. We all agree that any proposal made never seems to work out quite nicely. In fact, just recently, with some colleagues, I have shown[40] that a particular candidate can probably been ruled out because of the supernova in the Magellanic cloud. This is the case of certain super symmetry particles, like photinos, if they have low mass, like 100 eV or something. They've been very seriously considered as candidates [for the missing mass]. I liked [those particles] for various reasons, such as when they decayed and made photons, these photons might show up in astronomy. I've written a number of papers about that recently.[41] But we've just shown that the neutrino data from the supernova and the energetics involved in that and in the neutron star that formed in the supernova — using the very latest ideas about the coupling between photinos and nucleons — can rule out the existence in nature of these [hypothesized] low-mass photinos. Otherwise, the supernova would radiate more energy than it could tolerate in that form. So that's a particular candidate that's gone. Then, of course, with the recent upper limit on the electron-type neutrino mass, both from the lab and from the supernova, [that neutrino] almost certainly can't be responsible [for the missing mass]. There are still candidates left, but I think perhaps the best candidate is the tau-type neutrino. Or a GeV mass photino. Lightman: Something that we have the least data on. Sciama: Well, strictly speaking, I believe that neutrino hasn't yet been detected, although there was a claim from CERN some while ago that, at last, it had. But I think that claim is not substantiated. I'm not seriously suggesting that it doesn't exist. Anyway, it's certainly not clear. Lightman: I gather that since you're not necessarily a strong proponent of inflation, you are not convinced that this missing matter has to be there. Sciama: With an omega of one? Lightman: Yes. I don't want to state your position; I'm just trying to understand it. Sciama: No, I take inflation very seriously. I was only saying — it's an objective fact, I think — that the theory is in a bit of a mess. That is objective. But some form of inflation may very well be correct. It's a marvelous idea. Whether it requires omega as 1, I'm still trying to join in this argument with my colleagues, and I'm not completely sure. I don't want my view to go on record, with two of my good friends next. No, seriously, if there were a decisive argument I would accept it. And, linking with our earlier discussion, since I can no longer claim that [the universe] has to be Einstein-de Sitter [flat] because of Mach, there is no requirement for omega being one. Therefore, it is an open question. Of course, there might be other reasons we don't yet understand why omega equals one. It's a nice thing from the point of view of theoretical physics. So I would be very happy with an omega of one on these vague grounds of fundamental theoretical-physics. It's great fun looking for a form of the dark matter, although equally you have to worry about galactic haloes anyway. Lightman: Yes, we know that's there. Sciama: We know that is there even though, in that case too, it's sometimes been slightly exaggerated how much there is. But I think even the skeptics agree that there is some [dark matter] there. We have to make this identification [of the dark matter], and that's still an unsolved problem. It's very embarrassing. Lightman: How do you feel that theory and observations have worked together in modern cosmology, let's say in the last 15 or 20 years? Sciama: I think extremely well. One example, which I mentioned, is this business about the number of neutrino types. It fits almost too well. If you take the present abundances of the helium-4 and the other light elements and do the theory of it and so on and worry about the neutron half-life, which isn't quite as well in line, you still find that you are only allowed three or four neutrino types. Whether it's 3 or 4 even depends on what you take as the errors of the observation. In particular, a very good friend of mine, Bernard Pagel, who has got the latest measurement of the helium abundance, puts a very low error on his work - and is, perhaps, a little optimistic about that — but he insists that you can't even have 4 neutrino types. Also, you can't have a low mass photino, unless there are tricks for suppressing it. If you don't suppress it, you can't even be allowed that. When this was first realized, the best limit from the lab on the number of neutrino types was several thousand. Now, with the data from CERN on the Z0 particle, it's down to about five. But that, by the way, was one of the things that, I believe, made the particle physicists take cosmology seriously — the fact that we could, ahead of them, make a very stringent constraint on this number. We really stuck our neck out, and then when they do the necessary experiment with their best equipment they get the same result. Now amazingly, as I am sure you know, the supernova, from the same kind of argument about how much energy is emitted, limits the number of neutrino types to perhaps five or six. So all this involves observations of all different kinds — both particle physics and astronomical. It all fits together. I think that's very remarkable. I don't know if that is the kind of thing you had in mind when you asked me. It's not the same as things like great big bubbles and so on, but it's a cosmological thing which involves a variety of arguments — from measuring helium abundances in compact galaxies, to measuring the half-life of a neutron, to measuring things about the Z0 particle, to measuring neutrinos from a supernova. Everything fits together in a consistent way. Lightman: Let me ask you this. Some of modern cosmology in recent years has extrapolated backwards in time to very close to the big bang. What is your attitude about those theoretical extrapolations? Do you think that they are justified? Do you think that's a good way we should be working right now in cosmology? Sciama: Well, I think asking "is it justified?" is not quite the same question as "is it a good way to proceed?" I think it's a good way to proceed, because we have got to proceed in some ordered way. Justifying it would mean I can try and argue and say you've got to do this. Clearly you can extrapolate back to the [period of] nuclear reactions. I know that you are talking about much earlier. Lightman: Much earlier, yes. Sciama: And it's clear that if, say, Linde's ideas[42] are right, where you get these different domains and so on, you might not extrapolate the simplest Robertson-Walker system right back to a very early [time]. But that's part of this kind of theory — whether this domain structure occurs or not. You can't say, "Okay, things got hot enough to make helium, but we won't discuss what it was like when it was hotter or denser." You've got to extrapolate back. Something unexpected or something you overlooked may occur, but this is the nature of the business, at least in astrophysics and cosmology. You proceed by making a natural extrapolation unless you have a strong reason for not doing so. Steady state would say I have another reason, which I bring in, which prevents me going to the densest state, but then if you have a good point to make you are allowed to consider that as an alternative. If that is not present, then of course you would say density, temperature, time relations are so and so in the simplest models; they would imply such and such parameters in the early stages, and that's important to the particle physics. So all that must be done. If you can actually find an explanation of why there is more mater than anti-matter in that process, it's fantastic. Clearly one must proceed that way. Lightman: You have mentioned some of this already, but let me ask you what you consider to be the major outstanding problems in cosmology right now? Sciama: I suppose it depends a bit if you are more interested in astrophysics or fundamental physics. For your fundamental physics — and I'm only saying what everybody says — the essential vanishing of the cosmological constant, because the grand unified theory type of discussion will rather naturally throw out a cosmological constant of 10120 times bigger than any value you have astronomically. With the possible exception of last week's paper on superstrings, which attempts to claim that their particular model gives you a zero cosmological constant, it's completely not understood why that fine tuning occurs. So I think — and I agree with what everybody says — from the point of view of fundamental physical theory, the [problem in] cosmology that is the most glaringly obvious and outstanding is [the question of the vanishing of the cosmological constant]. If you think more astronomically, there is a clutch of problems. Some of them are quite old, like is the universe going to expand forever or collapse or what? That is clearly still not settled. The nature of the dark matter is not settled. The way galaxies form is not settled. We don't even know, observationally, the ultimate scale of [the universe]. I would have said all of those are important problems. Plus the problems that inflation aims to solve. I don't know that there is one outstanding problem. That whole group of problems would be high on everybody's list. In the case of the cosmological constant, one could say that fundamental physicists would feel that is the key. The fact that they can't explain as simple a thing as that means that their grandest theories are still hopelessly missing something, in spite of all the things they might do. But, astronomically speaking, this whole set of problems is about equal in importance. I think most people would say the same. Lightman: Let me end with a couple of philosophical questions. Here you might have to put some of your scientific caution aside a little bit. If you could design the universe any way that you wanted to, how would you do it? Sciama: Can I first answer evasively? I have a view, which I am giving a talk on here in Cambridge in a couple of weeks, and I talked about at a meeting on the anthropic principle. I have a view which by-passes that question. So let me explain it to you, very briefly. The problem of course, as the phrase anthropic principle indicates, is that the universe has to be very fine-tuned to bring about the possibility of intelligent life and human beings, or if you like, myself. That is probably not controversial at all. The controversy is: what is the significance of that [statement]? Very rapidly, there seem to me three possibilities. The one I favor relates to your question. The first is just chance, which I think is really unpalatable. You can't disprove it. The second is purposiveness, or God or something. God exists and regards us as the highest point of creation. He wants us to come about, so he fine-tuned the universe to make jolly sure that we came about. And I find that unpalatable, although many people accept that. And then there is the third proposal, which I didn't invent, but I favor very much. Incidentally, Brandon Carter, when he was working with me, did one of his early, very influential things[43] on the anthropic principle. [According to this third proposal], there are many disjoint universes, where the laws and constants of nature are different from one to another. In fact, I would put it even stronger: any logically possible universe exists, not just for anthropic reasons. Of course the anthropic theory clearly [leads just to the type of universe] we're in. Lightman: Yes, the anthropic principle singles out the universe we're in. Sciama: And the whole problem is trivial. But there is another reason why I favor all these universes. People might say to me, "what about Ocam’s razor? You're crazy." But, on the other hand, I believe that [this third proposal] in a sense satisfies Ocam’s razor, because you want to minimize the arbitrary constraints which you place on the universe. Now, if you imagine all these logically possible universes, then you've got to think there is a committee, or maybe just a chairperson, who looks at this list and says "well, we're not going to have that one, and we won't have that one. We'll have that one, only that one." Now, that could have happened, but it seems to me a remarkable thing that that happened. It's much more satisfying to say that there is no constraint on the universe. All logically possible cases are realized, and we're in one of the few that allow us. So, that's not quite answering your question, but I prefer to say it that way. Lightman: That is an answer. Let me ask you this question: It could turn out, could it not, that when we find a theory of everything — if such a theory is possible — we will discover that there is only one way that the universe could have been formed, consistent with most general notions of relativity theory and quantum theory. That is a possibility, isn't it? Sciama: I would put it slightly differently. In my view, relativity wouldn't hold in some of these universes, or quantum theory wouldn't hold, as long as they're logically possible. Now there is a possibility, which is an extension of what you have asked and which I believe Spinoza advocated, which is that there is only one logically possible universe, period. Lightman: If that were the case, then one wouldn't have all these different branches involved with your third possibility. Sciama: That's correct. I mentioned that in an article I've written on my talk[44] at Venice, so I recognize that that would be a very attractive [possibility] in a way, and yet it doesn't solve this problem, because it's still puzzling why the one logically possible [world] should be just the one that has the fine-tuning that leads to us. That is still unexplained, although it is possible that there is this unique case, right? Lightman: Yes, so that would then go into the same as your first category: that [our universe] is an accident. Sciama: Yes, it's still an accident that the one logically possible case has this very remarkable structure — that doesn't seem to be part of what goes into showing that it's logically possible. Lightman: So you prefer the third possibility? I asked you which universe would you design. You would prefer the third case, where there are many different logically possible universes and there are no constraints, and we happened to be in one of those that allows life. Sciama: Could I add [something], in case you or anyone would think that this is an untestable proposal. It's not like Linde's chaotic inflation.[45] He has something a bit like that, but where [the regions with different physical properties] are all part of this universe. [In the possibility I have mentioned], these would really be disjoint universes. So people might say, "If it's disjoint and there is no way you get a message from it, what are you talking about? It's empty." Now, the whole point is it's not empty, and I make a prediction which is testable. So let me just explain this very rapidly to give some sort of [idea]. Lightman: Go ahead. I want to check the tape, but I have another, so talk as long as you wish. Sciama: Except that we ought to go for coffee at some point or I will fade out. Let's consider all the cases which do lead to me. Now we would not expect that we're in a very special one of those. All I know is that I exist, and I'm happy enough with that. If the universe is unique, however, you might expect a very special initial condition, and Roger Penrose and differently Steven Hawking have both made proposals[46] for the special initial conditions, which I'm sure you know. Lightman: Yes. Sciama: Now my view, or my prediction — and I'm very proud of this sentence which more or less ends my talk — my prediction is that Penrose is wrong and Hawking is wrong, because if there are these other universes, and ones very close to ours, equivalent to ours, then we should be in a generic universe of the set that could lead to me. Therefore, I would not expect a beautiful, elegant, mathematical ersatz, like the Penrose one or the Hawking one, to apply to the initial universe. The initial conditions would be messy, but not too messy, or I [life] wouldn't emerge. But a bit messy. Therefore, when you do a measurement, in principle, of the initial conditions — and in Roger's case you can even make it the isotropy of the background because his statement that the Weyl tensor vanishes at the origin of the universe makes the universe isotropic, and in Steve's case it may be a bit more complicated — I would predict them to be messy, and not describable by a simple, mathematical, elegant statement. Lightman: You would predict that [the initial conditions] would be as messy as possible and still allow life. Sciama: Of course, to make real sense of that you need a measure theory of metrics, and that measure theory is very difficult and hasn't yet been achieved, so I can't do a technical job on this at the moment, but the fact that I make a physical prediction means that there is physics in my proposal. It's not just empty metaphysics. Lightman: If you have a measure of what messiness is and uniqueness is and what a generic metric is, and all of that, if you can make some quantitative measure of that. Sciama: That's right. So if you measure the early anisotropy and it's so and so — delta T over T is some number — does that favor me or [Penrose]. Lightman: You would also have to know what range of anisotropy would allow life, to know whether you have the generic amount of anisotropy, which you are sort of in the middle. Let's suppose that at the Planck time, delta T over T has to be less than a certain value to allow life. You have to know what the value is. Sciama: That's right. Lightman: So you are saying that in principle, what you are saying is testable. Sciama: That's good enough for the moment. My proposal, therefore, is a proposal of physics. That's the idea. Lightman: There is a place in Steve Weinberg's book, The First Three Minutes, where he says that the more the universe seems comprehensible, the more it also seems pointless.[47] Sciama: I remember. Lightman: Have you ever thought about this question of whether the universe has a point? Sciama: I have thought about it, and I can't think of any point it has. It's the old question about why there is something rather than nothing. In fact, Sidney Coleman has written a recent paper[48] called “Why there is Nothing Rather than Something”, referring to the cosmological constant. If you're going to have some logically possible cases, even one, you ought to have the whole lot. But why have any? I find that quite inscrutable. Of course, the very concept of a meaning is perhaps too anthropomorphic. I don't know. But I have nothing to contribute to that. Obviously I have thought about it, but I have nothing to contribute. Lightman: Your explanation number two for your anthropic idea was not unrelated to this. Sciama: But it doesn't really explain. I'm allowing that when I talked in Venice, I permitted that as a conceivable explanation. In fact, it was a Jesuit astronomer who spoke after me, and he said "I am prepared to have all Sciama's universes. I don't mind that these days. But there is God in all of them." But as far as I'm concerned, I'm afraid — and I'm not a professional here — the word "God" is just a word. When this Jesuit spoke after me, he knew so much about God. It was amazing. God was a person, he said. So we have to say "he," "she" or "it," because those are the only personal pronouns in English — not just that God was some force that made the world, it was a person. How can he possibly know such things? It's ridiculous. As far as I'm concerned, it's just a word, and I sometimes argue with my friends and I jokingly say, "Suppose I asked you does the "spongula" exist?" In other words, using a word doesn't mean that there is something that correlates with it. If you had — and this is a schoolboy argument — if you had a concept of something that made the world, and it was needed in order that the world be made, then who made that person or thing or whatever it was, and so on. These are old, standard arguments, but they still have force as far as I'm concerned. It's true that people have, internally, a religious feeling, which they use the word God to express, but how a feeling inside of you can tell you that a thing made the whole universe? There is no relation between the two matters of concern. Therefore, while I'm prepared for and I can't rule out that there is another order of structure than ordinary matter, I know nothing about that order. There could be many orders, and so on. Therefore, the word God just doesn't denote any structure. Lightman: That's a good place to end the interview.
1098	dbpedia	2	78	https://www.daytranslations.com/blog/farewell-stephen-hawking/	en	The World Bids Farewell to Prof. Stephen Hawking	https://www.daytranslati…hen-Hawking1.png	https://www.daytranslati…hen-Hawking1.png	[ "https://certify.alexametrics.com/atrk.gif?account=jAe2s1Y1Mn20Io", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/New-DT-blog-logo.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/New-DT-blog-logo.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/New-DT-blog-logo.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/New-DT-blog-logo.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/New-DT-blog-logo.png", "https://www.daytranslations.com/blog/wp-content/uploads/2018/03/The-World-Bids-Farewell-to-Prof.-Stephen-Hawking1.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/DT-favicon-icon.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/DT-favicon-icon.png", "https://www.daytranslations.com/blog/wp-content/uploads/2018/03/Importance-of-Localization-Terminology-Management-to-LSPs.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/07/Copy-of-Copy-of-Copy-of-Copy-of-TEMPLATE-BLOG-POST-THUMBNAIL-2-300x169.png", "https://www.daytranslations.com/blog/wp-content/uploads/2017/05/Check-Out-These-7-Hilarious-Translation-Fails-300x169.png", "https://www.daytranslations.com/blog/wp-content/uploads/2015/12/Celebrating-HANUKKAH-the-Jewish-Festival-of-Lights-300x169.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/ebook-localization-image-1.png", "https://www.daytranslations.com/blog/wp-content/themes/bridge-child/images/newsletter-email.svg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/forbes-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/entrepreneur-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/lifehack-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/fox-news-company-logo-gray.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/Inc-company-white-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/huffpost-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/lifehack-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/Inc-company-white-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/huffpost-company-logo.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/fox-news-company-logo-gray.jpg", "https://www.daytranslations.com/blog/wp-content/uploads/2021/08/footer-logo.png", "https://www.daytranslations.com/blog/wp-includes/images/rss.png", "https://www.daytranslations.com/blog/wp-content/uploads/2021/06/protected-footer-logo.jpg" ]	[]	[]	[ "" ]	null	[ "Day Translations", "Seldean Smith", "www.facebook.com" ]	2018-03-15T09:23:39-05:00	The world lost another great mind, a great physicist. Prof. Stephen Hawking died on March 14, 2018, which is also known as Pi Day.	en	https://www.daytranslati…favicon-icon.png	Day Translations Blog	https://www.daytranslations.com/blog/farewell-stephen-hawking/	Cambridge University Professor Stephen William Hawking CH CBE FRS FRSA died peacefully in his sleep on March 14, 2018 at the age of 76. Incidentally, the day is also known as Pi Day. Prof. Hawking, a well-known cosmologist, theoretical physicist and author, was very interested in the universe’s origin and the nature of gravity. He was a symbol of curiosity and human determination. He was given only a few months to live when he was diagnosed with amyotrophic lateral sclerosis (ALS) at age 22. Also known as Lou Gehrig’s disease, it is characterized by the death of motor neurons that control the voluntary muscles. A person with ALS will have muscles decreasing in size. The person will also experience muscle twitching and still muscles, making it difficult for the person to swallow, speak and eventually, breathe. The Ice Bucket Challenge that was started in 2014 increased awareness about the disease. Prof. Hawking was confined to a special motorized wheelchair and spoke using a device that generates speech (voice synthesizer). He used to hold the switch to the synthesizer but later controlled it by using a single muscle in his cheek. Education Stephen Hawking’s education from grade school, high school and college was almost uneventful and he even felt inadequate, despite the fact that studying came easy to him. He later discovered an aptitude for science and decided to take up mathematics. He was mostly bored during his undergraduate years because he found it too easy. Taking his doctoral studies was also difficult for him. He wanted to be assigned to Fred Hoyle, a famous astronomer. Instead he was assigned to Dennis William Sciama, who was one of modern cosmology’s founders. He felt that his studies in mathematics were inadequate for cosmology and general relativity. He got depressed when he was diagnosed with ALS although the disease was slow to progress he felt that it would be a waste of time. But Sciama encouraged him to continue his studies and he later developed a new sense of brashness and brilliance. Much debate was going on about the Steady State and Big Bang theories during the time that he was going for graduate studies and he wrote his thesis based on the ”theorem of a space-time singularity in the centre of black holes” [sic] by Roger Penrose. Inspiration to many Prof. Hawking roamed the cosmos within the confines of his wheelchair. As a scientist, he captured the public imagination like Albert Einstein, according to theoretical physics professor Michio Kaku of the City University of New York. Millions adored him after the publication of his book in 1988. “A Brief History of Time: From the Big Bang to Black Holes” sold over 10 million copies. It inspired Errol Morris to create a documentary film and the award-winning feature film, “The Theory of Everything” was inspired by his personal story. Scientific legacy Professor Hawking will be remembered by the scientific community and the public for his discovery that the black hole is no longer black after it explodes. He was a leader in exploring the black holes’ properties as well as gravitational exploration. The brilliant cosmologist discovered in 1973 that black holes are not actually black. He also discovered that those mysterious and befuddling black holes fizzle out in time. In so doing, the black holes would leak particles and radiation. Eventually they explode and disappear. The cosmologist said that he did not initially believe that the particles would originate from black holes. He added that he was not looking for that but tripped on that discovery and that annoyed him. The calculation, which became known as the Hawking radiation, was included in the thesis published in the Nature journal. It was titled “Black Hole Explosions?” Scientists called it the first landmark in the difficult search to come up one theory of nature that connects quantum mechanics and gravity. It somehow demystified the aura surrounding black holes, explaining that they were recyclers and creators instead of destroyers. His thesis allowed other scientists to focus on new directions in the study of the universe and black holes. Pushing the limits in all aspects of his life In all aspects of his life, Dr. Hawking pushed the limits. He traveled everywhere and attended scientific meetings. He married twice and had three children. His first wife was a linguistics student. He appeared in movies and TV shows and wrote best-selling books. He went up on a hot air balloon to mark his 60th birthday. He even broke his leg because he crashed his electric-powered wheelchair in the campus of Cambridge. He went aboard the specially equipped Boeing 727 to experience zero gravity flight. He was aiming to have a space trip aboard the SpaceShipTwo of Virgin Galactic, a company owned by Sir Richard Branson. He was experiencing many things that even fully functional people cannot experience. When asked why he was taking such risks despite his condition, he said the he wanted people to see that physical handicaps should not limit them in doing things normal people do as long as their spirit is not disabled. Dr. Hawking was truly exceptional and inspirational. As Martin Rees, a fellow cosmologist and Cambridge colleague aptly put it, Dr. Hawking’s life is a triumph. Despite being handicapped he had so many achievements, which is a demonstration of his incredible determination and will power. Due to his debilitating illness, he had difficulty writing, much less speaking. He relied on other people to write the long equations and properly code them into the right math language. Dr. Stephen William Hawking may have left this earth, but his scientific legacy will live on. As many researchers put it, they are just beginning to understand black holes better, thanks to the discoveries of Dr. Hawking. His theories will be their jump off point to further study the theory of relativity and the existence of black holes, now that they know that those enigmatic cosmic formations actually fade after they explode.
1098	dbpedia	3	63	https://whatelseisonnow.com/2014/11/20/a-look-at-the-theory-of-everything/	en	A Look at The Theory of Everything	https://whatelseisonnow.…ing-spinning.jpg	https://whatelseisonnow.…ing-spinning.jpg	[ "https://whatelseisonnow.com/wp-content/uploads/2014/07/cropped-alex-ross.jpg", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-poster.jpg?w=202&h=300", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-biking.jpg?w=300&h=200", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-jane-and-stephen-talk-at-party.jpg?w=300&h=199", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-with-professor-dennis-sciama-played-by-david-thewlis.jpg?w=300&h=157", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-gala.jpg?w=300&h=212", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-and-jane-play-croquet.jpg?w=300&h=199", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-first-child.jpg?w=300&h=168", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-plays-with-kids.jpg?w=300&h=168", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-marriage.jpg?w=300&h=210", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-spinning.jpg?w=300&h=167", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-speaks-through-device.jpg?w=300&h=177", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-works-on-his-theory.jpg?w=300&h=199", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-eddie-redmayne-as-stephen-hawking.jpg?w=300&h=199", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-felicity-jones-as-jane-wilde.jpg?w=300&h=152", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-stephen-and-jane-in-bed.jpg?w=300&h=193", "https://whatelseisonnow.com/wp-content/uploads/2014/11/the-theory-of-everything-wedding.jpg?w=300&h=154", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-11-20T00:00:00	The Theory of Everything looks at the lives and relationship of Jane and Stephen Hawking. It spans years after the two year death sentence that Hawking had been given after his accident that would eventually confine him to a wheelchair for the rest of his life. Based off of a book written by Jane Wilde…	en	https://s1.wp.com/i/favicon.ico	What Else is on Now?	https://whatelseisonnow.com/2014/11/20/a-look-at-the-theory-of-everything/	The Theory of Everything looks at the lives and relationship of Jane and Stephen Hawking. It spans years after the two year death sentence that Hawking had been given after his accident that would eventually confine him to a wheelchair for the rest of his life. Based off of a book written by Jane Wilde Hawking herself, the film takes care with its subjects and gives us a close at how their relationship developed as Stephen’s condition worsened. The film focuses more time on the family man as opposed to the physicist and shows how, despite not feeling whole, we still find hope in our lives. The film begins in Cambridge, England, 1963. We’re introduced to two pals biking to a party: Brian, played by Harry Lloyd, and our protagonist, Stephen Hawking, played by Eddie Redmayne. Also at the party is Jane Wilde, played by Felicity Jones. From a friend, she learns that this Hawking is strange, but very clever. Jane and Stephen talk. He tells her that she’s a cosmologist and is looking for that one equation that explains everything in the universe. Sounds like a simple enough task. We get a look at the busy life of Mr. Hawking. The next day, he and his colleagues are given a 10 question exam by professor and advisor, Dennis Sciama, played by David Thewlis. Stephen is also a member of the university’s rowing club as well. At a pub that night, Stephen considers calling Jane, but no need for that since she’s just a few seats over. He plucks up the courage to talk to her and asks if she plays croquet. Typical pick-up lines. When Brian returns to their dorm, he finds that Stephen hasn’t been working on the exam. Stephen has bigger things in mind: he’s applied for a PhD in Physics. He soon gets to work on the questions. He soon returns to class, but was only able to get through nine of the questions. Professor Sciama takes Stephen into a room once occupied by greats like J.J. Thomson and Ernest Rutherford. It’s a room full of possibility and Stephen looks on in wonder at what he sees. Professor Sciama has a great opportunity for Stephen: travel with him to see Roger Penrose speak. Elsewhere, Jane leaves church and finds Stephen waiting for her. It’s time to meet Stephen’s parents: Isobel, played by Abigail Cruttenden, and Frank, played by Simon McBurney. The parents ask about Jane’s passion- she loves art. More than that, she’s studying Spanish poetry. Jane and Stephen are also very different. After all, she goes to church, but Stephen doesn’t believe in that sort of higher authority. A physicist cannot allow his belief to be molded in the supernatural. Later that evening, they attend a gala. Stephen is not a dancer, but he is very observant. For example, he tells Jane to take a good look at the men’s shirts. They’re glowing in the light. The reason for that is due to Tide. As the two discuss their lives, Jane tells Stephen that she chose to major in Spanish poetry because she loves to travel. Soon, she refers to the creation of the Heaven and the Earth by quoting the first few scriptures of Genesis. The two join hands and dance. Professor Sciama and Stephen attend Roger Penrose’s lecture on black holes. Penrose, played by Christian McKay, tells his audience that black holes are created when stars collapse. There’s no light whatsoever in a black hole and the stars become denser and denser. The end result is a space-time singularity. When he returns, Stephen then relays this lecture to Jane, but with one change: what if you applied the theory of singularity to the entire universe? What if you reversed the process to see the beginning of time? It would be like winding back a clock. Stephen gets to work on his equation, with Professor Sciama advising him on the mathematics. Stephen is flying high right now, but as he leaves class and makes his way across campus, he trips and hits his head hard on the pavement. Stephen is brought to a doctor for examination. The impact is immediate: Stephen has little to no movement in his legs and is unable to push in when the doctor asks him to. Then Stephen learns: he has a motor-neuron disease that destroys the cells that control the muscles, breathing and anything related to movement. In time, his muscles will begin to decay and he’ll have no voluntary movement. His life expectancy is two years and the doctor, unfortunately, cannot help. Stephen asks if his brain will be affected, and it won’t be, but soon, no one will know his thoughts. Brian learns of Stephen’s disease when he returns to their dorm and Stephen tells him about Lou Gherig’s disease, though Brian isn’t up to date on baseball. Since Stephen isn’t taking Jane’s calls, she first learns about it when she runs into Brian at a pub. She comes to his dorm again- as he’d hidden from her the first time she stopped by- and tells him how much she missed him. He doesn’t discuss his condition, though. In fact, he wants her gone. Jane doesn’t leave that easily, though. She still owes him a game of croquet. If he doesn’t come, she’ll never come back. The two play, though Stephen’s movement is inhibited due to the fall. His feet drag and he’s not as mobile as he had been. Croquet comes to a quick end. Stephen returns to his dorm and begins to wreck it. He still wants Jane gone, as he needs to work. Stephen is still able to attend class, but now with the assistance of a cane. Stephen’s father tells Jane that she doesn’t realize what lies ahead. She has the weight of science against her and this is a huge defeat for everyone. Jane is defiant. Everyone thinks that she doesn’t look strong, but if there’s still love, she and Stephen can and will fight this. They do. The two are soon married following this, have a child and even move in together. Stephen now uses two canes to get around and must shuffle himself down the stairs at home. However, some good news comes when he comes before Professor Sciama and two other professors who have been looking over his theory. There are holes and unanswered questions in a few chapters. But the section regarding black holes is just brilliant. Well done, Dr. Stephen Hawking. So what’s next for Dr. Hawking? Prove that time has a meaning. At a celebratory dinner, everyone is ecstatic at Stephen being the first in his family to receive a doctorate. More problems arise. It’s hard enough for Stephen to eat, but now his hearing begins to go. Not feeling so hungry anymore, he excuses himself and struggles to make his way up the stairs. The next day, Jane presents Stephen with a wheelchair. He makes his way into the chair and it does make moving around a lot smoother. That evening, as Jane is helping him with his sweater, he finds inspiration as he stares into the fireplace. Following this, Stephen speaks with Professor Sciama about his revelation: what if a black hole wasn’t black at all, but just heat radiation. Once a star becomes a black hole, the hole itself will soon vanish. Jane and Stephen eventually move up too an electric wheelchair, but the care begins to take its toll on Jane as she must contend with Stephen and not one, but now two children. Despite Stephen’s occasional issues, he wants no doctors. Frustration is clear in her tone, but she doesn’t let it consume her. Jane’s mother suggests that she return to church since she used to love singing. She does and begins a friendship with the choir director, Jonathan Jones, played by Charlie Cox. Stephen’s work continues. He has a new project: disprove his own PhD and show that the Earth itself has no boundaries or beginning. Therefore, God must die. And on that note, we’ll stop. Telling a story based on a real life figure can be challenging. You want to be respectful of the original source and people, but also not just tell what could be explained in a documentary. You also want to stay as close to the person’s life and not add in unnecessary drama for the same of tension. That’s the big problem I had with Jimi: All is By My Side. In concept, it sounds like an interesting film, but on-screen, the history was far from flawless. Stephen Hawking has been around for a long time and is still alive. There have been films made about his life already- none of which I have seen- and if The Theory of Everything just told us the same story, there’d be no point to trying to tell us a story we’ve already seen before. We know Stephen Hawking is a physicist. We know that he had been diagnosed with a motor neuron disease and confined to a wheelchair. However, there’s a lot more in-between that. What was his personal life like, before and after his accident? What drives him? The film doesn’t answer all of these questions, but it does give us a look at how Hawking and his family dealt with the disease that took more and more control of his body. Some folks say that the movie comes off too much like a melodrama instead of a close examination of Stephen Hawking, the physicist. Others say too little time is spent on Hawking’s life before his accident. I understand these perspectives, but I feel this movie is less about Hawking the physicist and more about his relationship with Jane Wilde. Screenwriter Anthony McCarter and director James Marsh based this film primarily off of Jane Wilde Hawking’s book: Travelling to Infinity: My Life with Stephen Hawking. Stephen Hawking himself has called the film “broadly true” and while there are some changes between fact and fiction, most of them don’t change my opinion of the movie. I repeat, most of them. For example, Jane first met Jonathan while caroling, not at a church. She felt that any wrong move could impact her marriage with Stephen. In the book, Jane and Stephen’s differences over religion and science started off as not a major problem, as was the case in the film, but over time, they became contentious. These changes aren’t too big of a deal to me personally. A lot of the film’s messages and themes are handled very well. The movie examines how we overcome massive obstacles in our lives- obstacles that completely change us. It deals with the pain of loss, both physically and mentally, as seen through Stephen’s deteriorating condition and Jane’s growing frustration at having to be there for him while putting her life on hold. Though Stephen worsens over time, I never felt that the film treated him like a victim. We see a glimpse of his rage early on when he initially doesn’t want to see Jane anymore after he receives his diagnosis, but even as his condition worsens, he trudges on with his work. Much of what he wants and desires must be conveyed through facial expressions, which is where Eddie Redmayne’s performance shines. It also comes through in the direction, where some scenes are even set up and filmed like math equations- this comes at the hands of cinematographer Benoit Delhomme, who also worked on A Most Wanted Man earlier this year. Faith is also another central theme. Hawking believes in science and not, as he puts it, in a celestial dictatorial premise. He acknowledges that we are all different and, at one point, dose mention God in one of his works, but for the most part, he is a man of science, not religion. His helps come from those around him, but also through his own willpower. For example, during a family outing, Jane and Stephen’s father insist that he seek medical attention, but Stephen wants no doctors. Sure, I found it odd for a moment that a man of science wouldn’t trust modern medicine, but this is all a part of his struggle. He has challenges, but he never lets them deter him. The same applies to Jane, who does believe in a higher authority. Her faith pushes her, but also because she wants to prove, as she stated early on, that love and marriage could persevere, despite Stephen’s condition. So while I agree with the criticism that the movie doesn’t spend a lot of time on the actual science and mathematics behind Stephen’s theory, I find that this movie is more about his personal life. If people come into this expecting a deep look at Hawking’s philosophies and theories, this movie is not for them. But if they’re looking for a film in which an actor transforms himself into Stephen Hawking with such an uncanny resemblance, look no further than the fantastic job done by Eddie Redmayne. It’s scary how Redmayne embodies Hawking. When Hawking is confined to a wheelchair and must army crawl his way up stairs, you can tell what he’s feeling and going through just by watching Redmayne’s facial expressions. Whether it’s the slightest twitch of his lip or the way his lead limps to the side when in a wheelchair, Redmayne isn’t just playing Stephen Hawking- he becomes him. Even before the accident, Redmayne’s eyes are full of wonder and possibility when he explains and works on his black hole theory. When he and Professor Sciama walk through a laboratory, Redmayne looks like a kid in a candy store, but instead of wanting to play with everything, he wants to pull it all apart to see what makes it work. There’s so much wonder and fascination when he talks about the universe that I felt Hawking would be fine spending the rest of his days exploring the wonders of the universe. Having never seen the other films about Stephen Hawking, I won’t try to compare Redmayne’s performance to them, but this was a very strong portrayal. And just as powerful in her performance is Felicity Jones as Jane Hawking. She’s not reduced to being a common housewife and she doesn’t have any sort of unnecessary angst or anger toward Hawking after having to help him so much. Jones shows a lot through her facial expressions and I could feel Jane’s growing frustration at having to put her life on hold. There’s a great scene near the middle where Jane is doing housework while Stephen and the kids play around. It’s brief, but she has a look on a face that defines what her life has become: a life put on hold. Jane has aspirations and wants to make something in her life, but she has to put that on hold and go at a slower pace because she has to be there for Stephen. Stephen, though his movement is limited, doesn’t stop with his studies and theories. By contrast, Jane has to care for him, meaning she must devote less time to her own life and needs. But what’s great about Jones’ performance is that she never lets Jane be consumed by the growing dissatisfaction in her life. When we first meet Jane, she’s fully confident about who she is and what she believes. She maintains her devotion to her faith and to Stephen, despite his illness, and never feels like she’s made the wrong choice in marrying him. This is both a strike for and against the film, but I’ll address that in a bit. I like the fact that Jane doesn’t see Stephen as the typical nerd because he’s into physics and she never looks down upon or thinks differently of him because of his devotion to science. In fact, it’s their differences that make them such a good fit for one another. Yes, their dance under the fireworks feels a bit cheesy and Hallmark for my taste, especially since they had not known each other for that long, but for the purpose of getting them together before Stephen’s accident, I’m fine with it. Once the two are married, however, Jane almost becomes a background character, only there to help Stephen when he needs it. He doesn’t treat her like a servant and we know that he didn’t want any doctors, so it’s up to her to be there for him. She’s struggling, but I never got the sense that she was overwhelmed. As burdensome as it may be, Jane never treats Stephen like a burden. She made a choice to marry him and she’s going to stick with him…for as long as the narrative allows. Now I don’t have too many issues with the film, but I do want to address a few qualms. I do agree that this film kind of skips over a lot of events too fast. Whether that’s for the sake of moving the plot along or the film just wanted to focus more on Jane and Stephen’s relationship, I don’t know. Yes, this is based off of a book written by Jane Hawking, but we never really get that much into Stephen’s head. Where did his interest in physics come from and how did he become so intelligent? That’s probably asking the film to start a lot earlier than it did, and that’s not necessary, but I do wish we got to learn more about Stephen Hawking: the physicist alongside Stephen Hawking: the married man. A lot of his theories and the discussions on black holes are limited to a few scenes, but we never spend an extensive amount of time with him developing his theories. When Professor Sciama and his colleagues review Stephen’s theory, they tell him that parts of it are full of holes and unanswered questions. Okay, so what happened? As soon as we learn that they think his black hole theory is brilliant, the scene moves on and the story continues. The point I’m trying to make is that I wish the film had a bit more focus on his passion for physics. As is, we only get glimpses of it. Now I argue against this because the film’s focus seems to be on Jane and Stephen’s relationship, but given how impactful Stephen’s research became throughout the course of the film, I wish we saw he came to came up with these theories and what the public thought of them. The few times we see Stephen discussing his work, it’s during a group presentation. Smaller scenes of Stephen just working would have been nice. I also feel that the filmmakers chose to take the safe route when it came to Jane and Stephen’s relationship. Again, to go back to Wilde’s book, Jane and Stephen’s relationship sometimes became a power struggle. Those sorts of struggles were toned down for the film and anything that could have been serious or damaging to their marriage is handled like a delicate glass sculpture. Jane develops feelings for Jonathan, but the most we see her do is approach his tent during an outdoors trip while Stephen is elsewhere. Stephen also develops a friendship with a caretaker, Elaine Mason, played by Maxine Peake, but this happens so late in the film that any fallout feels inconsequential. Having to put your life on hold while taking care of your significant other is sure to cause tension at some point, but the film doesn’t touch on that. In fact, Jane and Stephen seem to weather their relationship almost too much like a fairy tale. During their wedding, the ceremony is filmed like a home movie, for example. The two rarely argue or go to bed angry at one another. At most, Jane blows off some steam, but she doesn’t explode. I’m not saying the two needed to be at each other’s throats, but a little tension would have been nice because I can’t imagine Jane enduring all of this without the slightest issue. As I mentioned, Jane never feels like she made the wrong choice. I’m glad she’s showed commitment, a bit of friction would have made this marriage a bit more interesting. What we got is still good, but their love is far from perfect and I wanted the film to explore both the positives and negatives in more detail. These strikes do not detract from my enjoyment of the film. The biggest strength of The Theory of Everything comes through the amazing chemistry and believability of Eddie Redmayne and Felicity Jones as Stephen and Jane Hawking. Redmayne in particular becomes Hawking and instead of just playing the man, he embodies him. Despite Stephen’s accident and Jane having to sidetrack her life, their devotion to one another exemplifies what Hawking meant when he tells an audience that there is no boundary to human endeavors. A minor setback is not the end of the world. We adjust and keep on moving forward.
1098	dbpedia	3	0	https://www.aip.org/history-programs/niels-bohr-library/oral-histories/4871	en	American Institute of Physics	https://www.aip.org/sites/default/files/favicon_1.ico	https://www.aip.org/sites/default/files/favicon_1.ico	[ "https://www.aip.org/sites/default/files/aip-logo-180.png", "https://www.aip.org/sites/default/files/styles/large/public/2022-01/esva-image-not-available.jpg?itok=09xDxOQh", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/aip-logo-fullname-400.png", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/1383075471_twitter.png" ]	[]	[]	[ "" ]	null	[]	2021-09-24T10:08:33-04:00	Weart: I'm interested in background things. I have here from WHO'S WHO that you were born in Manchester in 1926, but I don't know anything else about your family, Who were your parents, what did they do? Sciama: My father was a business man who was also born in Manchester, and his father was born in Manchester, and his father came from Aleppo in the Middle East, in Syria.	en	/sites/default/files/favicon_1.ico		https://www.aip.org/history-programs/niels-bohr-library/oral-histories/4871	Weart: I'm interested in background things. I have here from WHO'S WHO that you were born in Manchester in 1926, but I don't know anything else about your family, Who were your parents, what did they do? Sciama: My father was a business man who was also born in Manchester, and his father was born in Manchester, and his father came from Aleppo in the Middle East, in Syria. Weart: I was wondering what sort of a name Sciama was. Sciama: In fact it was spelled "Shama"; when my people came to Manchester they Europeanized the spelling, and happened to choose that form, My mother was born in Cairo. Weart: What sort of education did your parents have, then? Sciama: My mother was educated in Egypt, and my father was educated in Manchester, He went to Manchester Grammar School, which is a famous school in England, but he left at the age of fourteen because his father died and he had to earn a living. Weart: By the way, did you have any brothers or sisters? Sciama: I had a brother who died a few years ago. Weart: Older? Sciama: Yes, three years older. Weart: I see, I just like to ask these questionaire things. Tell me, did you read a lot in your childhood? Were there any particular science books that may have influenced you? Sciama: I did read a lot, I was the sort who would read on all possible occasions, including when getting dressed. Not specially science books when I was small, just books, But with the English system of education being what it is, I already knew at the age of twelve that I was on the mathematical side of things, because I sat for a scholarship to a public school (in the English sense; a private school you'd call it here). You either did a difficult math paper or you did the Greek paper, and I already knew then that I was going to do the math paper and not the Greek paper. Weart: I see, What school was that? Sciama: It was called Malvern College. Reasonably well known but not one of the greatest, not an Eton or a Harrow or a Winchester, but very good at a lower level. Weart: I see. Before that was your schooling done mainly at school, or partly at home also? Sciama: No, I went to a prep school in Manchester. And then I went to Malvern. Weart: And what sort of an education did you receive there, particularly in science? Sciama: Well, it was very good. Weart: This was a boarding school, you weren't at home? Sciama: A boarding school, yes, I was away from home, The teachers were very high calibre, the point being that these private schools had the means to employ fine teachers. For instance, the man who mainly taught me maths bad obtained a First Class in all three parts of the Mathematical Tripos at Cambridge, which of course in England dominates mathematics very much, The kind of man who wouldn't in fact become a school teacher, these days, with those credentials - the highest you can get. And there was a good physicist, from Cambridge; he had been at Trinity College and it was partly through him, through the fame of Trinity as a physics college, that I later entered Cambridge at Trinity. So I was prepared, and won a minor scholarship in mathematics at Trinity, really through the very good teaching I obtained. Sciama: Yes, In fact, I thought of myself as becoming a mathematician rather than a physicist. This was during the (second world) war, and I was deferred from joining up on the understanding that I would do physics at Cambridge; they allowed me to do some maths and I did some physics. My first year was in maths, and then I switched over and did what's called the Natural Sciences Tripos, meaning physics in finals. Weart: Somehow they didn't regard mathematics as being useful, or what? Sciama: Right. Physics was more direct use, they thought, to the war effort; a training purely in mathematics was considered less effective. Weart: Do you think that diverted you from what otherwise would have been a career in mathematics? Sciama: I think it was very good, because it's quite clear from my subsequent career that what talents I have are more along the physics line than the mathematics line, I'm not a powerful formal mathematician, and I have a bit of feeling for physics. I'm sure it was good for me to go in that direction. Weart: I see, So there may have already been some feeling on your part at that time? Sciama: I didn't realize at the time; I did it because the government requested it. Weart: I see, I didn't realize they did this systematically - you were not a special case but this was a general thing? Sciama: I imagine, I dust don't Imow how many people would at that stage have said they wantedto read maths rather than rhysics. But I agree, it's the presumption that I was not the only one they said that to. Weart: your early home life, what sort of feeling did people have about science? I mean your general impression of science? Sciama: None really, because there was no academic atmosphere in my home life. My father in many ways had a very fine brain indeed, For instance, he was a very good bridge player, and he was very able with business, and very able in understanding and assessing the world political situation. But perhaps through leaving school at fourteen he had no feeling for akademismus or universities or anything of that kind. He was very upset that I rejected the business which be wanted me to go in. Weart: Which was, by the way? Sciama: He was in the cloth trade, the cotton trade, Over one period it was a source of great friction between us, He had a very powerful personality. It was extremely unpleasant. Weart: Was this before you went up to Cambridge, or subsequently? Sciama: Also subsequently, because my determination to remain in science and do research kept developing as I was at Cambridge. Weart: This didn't enter when you were thinking of going to Cambridge, this came along afterward? Sciama: As far as I can recall, up to about the age of fourteen I would say I was going into the business, I can remember how pleased my father was because I wrote an imaginary letter as if I were in business and I invented a new color to dye a cloth, called "bleen", you see, it was a mixture of blue and green, The suggestion that this showed a little bit of initiative pleased him tremendously, So of course it was very upsetting for him when he realized I rejected his whole life's work to do something that he had no empathy for, Science meant nothing to him, Despite his fine brain it was entirely canalized in other directions. Weart: So it was the influence, perhaps, of these teachers? Sciama: I don't suppose so, because I had a particular passion, especially for understanding fundamental physics and astronomy. It's something very deep in me, Of course it's deep in many other people too, but it's not something, I think, that I simply learned. The teachers were gifted at actually teaching the maths needed at that period of one's life it wasn't research level material, I think it's just some very deep thing in me. Weart: Do you have any idea of where it may have come from? This is quite clear in your work, that you have followed this line more than most other people. Sciama: I sometimes used to laugh at myself, saying it's an emotional insecurity. You see, I probably like to control reality, and one can't control it very much in practice, the way things are stacked up against one, So I substitute controlling it intellectually. The best way to control it is to understand it, and the deepest understanding comes at the most fundamental level. Weart: That's very interesting. By the way, did you have any formal religious training when you were a child? Sciama: No, We're Jewish, but we were never Jewish in the religious, orthodox sense, if I ever believed in God I stopped believing in it very young. I can remember my father telling me he didn't believe in God, how we didn't observe the Jewish orthodox practices. So in any practical sense there was no religious term to what I did or was interested in. Weart: I see, Can you tell me a little bit about being at Trinity. Of course it was during the war, so I suppose it wasn't a very typical time to be there. Sciama: The college was smaller than normal, which was probably why I managed to get on the football team, My main concerns were my work and my friends. The war ended while I was still there, I was an under graduate from 1944 until 1947. Weart: Were there any of your fellow students that you kept up contact with later on, for example as scientific colleagues? Sciama: Oh yes. I'm still close friends with some of the people i met as an undergraduate. Weart: Whom, for example? Sciama: There was a friend called Kenneth Alberman who lives in London. Of course I don't see him very often now, for geographical reasons. Another one Cyril Rashbass. Weart: These were people who went on with the sciences? Sciama: They were both at Trinity. Kenneth did chemistry for a bit and then he joined his father's firm, a cosmetics firm, Cyril went into physiology, and he remains a research worker doing that, But I see him very rarely now. Weart: You say you read for the Natural Sciences Tripos. Sciama: I read mathematics for one year, and then I switched over to physics. And because of the point at which I took physics, because it wasn't a first year any more, I only did physics whereas if you did the Natural Sciences Tripos from the beginning you did other branches of science as well. Weart: Did you study anything else at this time? For example, did you have much of an interest in formal philosophy? Sciama: I did, a little, In fact, I did something which turned out very useful in Oxford: in my first year I attended a whole course of lectures that Wittgenstein gave. He was at Trinity at the time, and lectured in his own rooms in college rather than a lecture room. Weart: That must have restricted the number of people. Sciama: There were about half a dozen of us, I think, I sat through the whole term of lectures, Now I dine off that in Oxford, because Oxford is full of philosophers; Wittgenstein is their great hero, so the fact that I attended the course, and indeed he often invited comments and reacted to those comments — I said things which he had to react to this goes down very well. Weart: He was very quick in his personal communications? Sciama: Not quick in a sense, He'd sometimes sit for several minutes in silence, thinking out what to say next, He had mannerisms of that kind, which other people started imitating, but I think they were pretty genuine with him. He was a very remarkable man. Weart: Were the other people undergraduates also? Sciama: They weren't entirely undergraduates. There was one lady there who I realized later was Miss Anscombe who is now in fact a professor of philosophy at Cambridge, after having been at Oxford for some while, But as far as I recall most of the people there were students; she was a bit older. Weart: Were there other courses that you attended, or teachers, that had a particular impression on you, scientific or nonscientific? Sciama: The courses one went to were more or less dictated, except for an extra like the Wittgenstein one, I'm not quite sure how to answer that, Weart: Were there any that made a particularly strong impression on you? Sciama: Dirac gave a superb course which I went to in my third year, which was basically his book, But he is a very good lecturer indeed and he was wonderful, Of course be was a legend then, as well as later, So that made a big impression on me. Weart: That's quite difficult actually for someone at that stage. Sciama: I'm not saying I understood it all, but he is a very lucid lecturer and the fact that his standing was so high almost a mythical figure as it were .., I got to know him later, because as I'll elain if we do discuss that, in the second half of my being a research student I became a student of Dirac's, But I didn't realize at the time that was going to happen, so for me it was a great prophet speaking. Weart: We will get to that, So by the time you graduated you had already been exposed both to quantum mechanics and relativity, and they were quite deep. Sciama: Hot much relativity. In fact I was really selftaught, I did go as a research student to a course on cosmology that Bondi gave, But you see, in those days very few people did relativity; it's not like in later years. I think Bondi occasionally gave a course in it at that time; I didn't attend one, I simply learned the subject by reading the basic books, I remember reading Eddington's mathematical book and so forth, So in that sense, I was to some extent self-taught in relativity. Weart: Had you had much up until the time when, say, you were a research student, after you got your B.A.? Sciama: In fact my exam results were very poor in finals, and I had to leave Cambridge, and there was still consciption although it was after the war, I spent two years in the army immediately after graduating. But after six months I got transferred to a government research place which had done a lot of radar work during the war, called the Telecommunications Research Establishment, T.R.E. Through having met Professor Hartree in my last year as an undergraduate - while he couldn't keep me on to do research because of my poor degree, he helped to get me transferred to T.R.E, So while I was still officially in the army earning my five bob a day, I was working on the quantum mechanics of photoconductive materials which were of interest for the purpose of detecting enemy airplanes, And through internal reports I wrote on the quantum mechanics and group theory of these things, I was accepted as a research student back at Cambridge, So I returned to Cambridge two years later, in 1949. Weart: First I wanted to ask, before you left Cambridge the first time, had you much contact with astronomy? Bondi's course that you took was after that? Sciama: That's right. No, no special contact, In fact I started research — this is jumping ahead — my first topic in research was in statistical mechanics. Weart: Then the story starts for you when you came back to Cambridge, You came back as whose student? Sciama: Temperley was his name. This was my own choice of subject, While reading up on solid state physics and so forth at T.R.E I came across a paper by Wannier in REVEWS OF MODERN PHYSICS on cooperative phenomena, the I sing problem and things of that sort, and I found the discussion rather attractive. So I said I'd like to do research on cooperative phenomena. Weart: At what point did you decide to make your career in physics? Sciama: I suppose by then I'd been diverted from my original thought of doing mathematics, I think it may have emerged in my studies in Cambridge, that my formal mathematical powers were not as strong as they might've been, and that probably I was better doing theoretical physics. Although, of course, theoretical physics can be done in a whole spectrum of ways from very formal to less formal, Pure mathematics you have to do formally. Weart: Of course Cambridge was the natural place for you to go, to study physics. Sciama: Oh yes, because it's strong in math and physics, and as it later turned out, astronomy, But my mind had no astronomy needs at that time, I told Hartree that I would like to do work on statistical mechanics, and I was allocated Temperley as my research supervisor; I was given a desk, not in the Mond Laboratory, but in an office in the main old part of the Cavendish belong to the Mond. For a year or eighteen months or so I was working on cooperative phenomena, and then I switched over to relativity at that point. Weart: how were you supported during this period? Sciama: I didn't get a grant, because of my poor exam results, so I was supported by father, I recall making an appeal to the Cavendish Lab for support, and they found money in a fund called the Scott Fund, which gave me twenty pounds for the year; that didn't carry very far. I confess that I relied on my father, I say that because I don't really approve of my students relying on family means, I wouldn't refuse them on that account, but I feel that if they're good enough to do research, the institution ought to look after them financially. Weart: I see, So this was the period when there was the difficulty as to how your future career would go? Sciama: Of course it was awkward, being supported by my father while I was betraying him, But my dedication to science was already very great, although I hadn't yet developed the interests that I later showed in cosmology and astronomy and so forth. Weart: What part did your mother play in this, by the way? Did she take any stand on all of this? Sciama: Not very strong, My father was much the stronger personality. She supported me a little bit in a weak way, but not specially effectively, It was simply my own will, My father was extremely dominating, and would no doubt always win against me on anything that I hadn't absolutely set my heart on, but in this case my will was so strong that I won, although it was a very bitter fight. Weart: I see, So then when you left statistical mechanics for relativity, was when you started to work under Dirac? Sciama: No, that was a conseauence, I started thinking about gravitational theories and Mach's Principle and so on, I knew already then, very slightly, Hermann Bondi and Tommy Gold, and I talked to them a bit about these things, I remember I asked Bondi to tea one day and told him the thoughts I'd had and I said, "Are they rubbish? What should I do?" He said, "Why not go on thinking about them?" I think that was very good of him, because I'm quite sure in retrospect it was rubbish what I said, as I was very immature at that time, Maybe it was merely my initiative and enterprise that Bondi recognized, But with that encouragement I went on thinking about it, At a certain point it became evident to the authorities that I wasn't working on statistical mechanics any more, and so after some thought they changed my supervisor and they gave me Dirac. Weart: I see, I'm very interested in this transition, Was this after or before you took Bondi's course in cosmology? Sciama: I can't remember the relative placing of taking the course and the formal step of Dirac being appointed my supervisor. Weart: In terms of your interest, for example, in Mach's Principle and that sort of thing. Sciama: Actually, it's curious to recall my first attempt to do something in gravitational theory which incidentally I sent to Einstein, and got a letter back from him about. Weart: We could find it in the Einstein papers. Sciama: Yes, indeed, I got a letter from John Stachel* telling me some details about that; I was amazed to find that he found in the files a complete longhand version of that letter, that was then typed. As I'll tell you later, I had a long conversation with Einstein a week before he died, which is something that may be of interest historically. Weart: You'll have to remind me when we get to that part. Sciama: At any rate, I can't recall precisely the relative timings. I think Dirac was made my supervisor when I'd already been working at least a year on this. I was saying that my first essay in gravitation came out with a result that was not in agreement with Mach's Principle. Just as an aside, in an article I wrote but never tried to publish, the one I sent to Einstein, I mentioned that "this doesn't seem to agree with Mach," and I didn't mind at the time. Then, a little later, I was bit by the thought that the Mach Principle point of view was right and one ought to develop a theory agreeing with it, And that was the theory I wrote up for the thesis when I got my Ph.D. But I'd already developed it quite a lot by the time Dirac was made my supervisor; it was no fault of his, but he didn't particularly help me, owing to this history. Weart: Wow, Steady State was in the air at this time? Sciama: It was, and indeed it does play a part in my thesis. Weart: Yes, I wondered when you first heard of Steady State? Sciama: Well, Steady State was proposed in 1948. Weart: Yes, You were there Sciama: I got my Ph.D. in 1953 and my Fellowship at Trinity in 1952, So Steady State was fairly new. Weart: I just wondered if you remember when you first heard of this notion? Sciama: No, that I can't remember. Weart: I see. It would have been already there when you came. Sciama: But since I got to know Bondi and Gold personally they were both at Trinity then - it must have been a bit in the air, but I don't remember when I first heard of it. Weart: I see, Then you must have become familiar with all of these things, the various cosmologies and so forth during that period. * Editor of the Einstein papers in 1977 - SW. Sciama: Yes. I knew Hoyle slightly. Be was older than Bondi and Gold, and I was perhaps on a slightly friendlier basis with Bondi and Gold. But certainly there is a chapter in my thesis where Steady State ideas do come in. Weart: Tell me about working under Dirac, then. Sciama: Well under, of course, is misleading, as I've explained, because I'd already prepared my draft quite a bit. I have one or two Dirac stories that date from then, but I don't know whether they're of interest, Weart: Tell me at least one Dirac story. Sciama: There's one quick one and there's one that takes rather long. The quick one is that I went to him one day with some enthusiasm and said, "Professor Dirac, I've just thought of a way of relating the formation of stars to cosmological questions, shall I tell you about it?" And Dirac said, "No," So I went away, So that's one Dirac story. (Laughter) Weart: That's interesting, because it shows already some interests of yours. Sciama: By then, yes, surely. There's another one that's amusing, but it takes too long to tell. Weart: Please do, Go ahead. Sciama: Well, once I saw him and I told him what I was doing, and then he said, "Shall I tell you what I am doing?" So, very flattered but rather nervous, I said, "Yes." At that time, it must have been around 1951 or '52, he was working on one of the various versions of a classical theory of electrons which he was playing with at that time, And in particular it was a sort of fluid theory, on the grounds that the particle was a quantum phenomenon and that if you discussed electrons classically at all they ought to be fluids. And he told me that he developed such a theory (I think I'd seen his paper) and he said that the form the theory took was such that the flow in the classical electron fluid was irrotational, but that Gabor had told him that in actual electron tubes one could get electron- streams with vorticity. So, he said, "I've generalized the theory to include this vorticity effect, and this is how I've done it," And he proceeded to tell me, I understood very little, but obviously I had to say something at the end: I racked my brain for something safe to say. So when he finished I said, "Is that the most general way of doing it?" He said, "I don't know," And I went away. A few weeks later notices went up that Professor Dirac would give a seminar, It was less true perhaps right at the end of his career, but at that time people still flocked to hear the great man talk. The room was absolutely packed. He gives this talk about classical electron fluid, irrotational and Gabor said and all the story, and "Therefore I generalize my theory in the following way," and then he suddenly said, "At this point Mr. Sciama made a most important remark to me: that that was not the most general way of doing it, And therefore I have done the following." I went absolutely puce; the floor could have opened up and I could have sunk in it. What a false position to be ml But it was funny. Weart: That gives me a picture, How much did you work with him then you would discuss your work with him? Sciama: A little bit but not very much, Not through his inattention or carelessness, but I was, I suppose, fairly independent. Weart: I see. Pretty much doing it on your own. Sciama: Yes. Weart: With whom would you discuss your work then? Sciama: Q uite a bit with Tommy Gold, whom I'm close friends with ever since. Perhaps even more than with Bondi, because Gold was very interested in Mach's Principle and had a clearer picture than I, at first, about it. Of course once I worked on it nonstop I eventually developed my own views. But I found his criticisms and quickness of mind very helpful. Weart: I'm not quite sure about the relation between the Steady State theory and your work on the origin of inertia, There's a certain philosophical common ground. I wonder, would you say by that time you pretty much believed in Steady State? Sciama: I think that came a bit later, There isn't a clear connection, and certainly my theory didn't lead automatically to Steady State, though certain features of it were suggestive of that, I was predisposed, I suppose, as I developed my work postdoctoraily, to get sucked into the Steady State view, But then I found that very attractive for a number of reasons unrelated to Mach, On the other hand, in the Steady State paper of Bondi and Gold there is a long discussion of the Mach Principle. So the ideas have a certain congeniality, but they have no extremely close logical connection, just a natural similarity in texture, in a certain sense. Weart: The three of you were discussing these things, so it would be natural for you to share their philosophical concerns. Sciama: Right. Weart: Tell me a little more on the origin of the inertia. This was your thesis? Sciama: Yes. Weart: You used 4-vectors and so forth, and you said, "A more complete, but necessarily more complicated theory will be described in another paper,??* The fact it didn't happen until 1969,** I was wondering what happened. Sciama: Oh, I found it too difficult to make adequate progress. What I discovered, which had been discovered independently by a number of people, is that the theory had to be very closely similar to general relativity. If you took a tensor theory instead of a vector theory, and you recognized that the gravitational energy itself had to be a source of gravitation (which Einstein had recognized originally in proposing his theory there were various was of it in the theory * MONTHlY NOTICES OF THE ROYAL ASTRONOMICAL SOCIETY 113 (1953) : 34. ** (with Waylen and Gilman) PHYSICAL REVIEW 187 (1969) : 1762. which showed that even if you started, as an approximation, with a wave equation for a tensor potential, by the time you coupled in, as a source, the gravitational energy itself - which you had to, because everything had to be courled to gravitation then the only set of field equations you would arrive at, from that point of view, were Einstein's own field equations of general relativity. Therefore after some while I realized that I couldn't solve the problem by proposing any other field equation that would do better, And I came to realize that since Einstein's equations are differential equations, it was in the boundary conditions that one would have to find the selection principle for those cases that were to be compatible with Mach's Principle. And that's technically very difficult to handle, as the equations are nonlinear, It was only later through discussions, in particular with Donald Lynden-Bell, that (along with a student of mine that I then joined forces with, and an American who was working on similar lines, a student of John Wheeler) we saw technically how to proceed. Weart: That was Gilman? Sciama: That's right. Gilman was a student of Wheeler who became interested in Mach's Principle, I think through my own writings. Weart: So this was a problem that you just kept sort of in the back of your mind all this time? Sciama: That's right. But we didn't solve it in 1969, We took a step forward by a technical device that I won't go into, but there were still remaining technical problems. It was a later research student of mine, Derek Raine, who went a fair distance in solving them - in fact, by getting the result I mentioned in my talk today,* that if the universe is homogeneous and it's Machian according to our boundary conditions, then it has neither vorticity nor shear. The boundary conditions that seem to do the trick were really discovered by him, and the mathematics by then had got very complicated. Weart: It seems to get more and more complicated. Sciama: I'm afraid so, but I feel forced by the physics to be that complicated. The Maine paper only came out in 1975, Weart: I see, You still have hopes for this — Sciama: I still have hopes, but there are still problems. Weart: So you're not committed to that sort of an approach? Sciama: I don't know that it's the final answer, but I've been very struck by the development I was speaking about today. The precision with which (we know) the universe does not rotate relative to absolute space, you see: only over the last few years can we say that's a very high precision. And that's most impressive. Weart: And similarly for the shear. Similarly for the shear. * At meeting of Northeast section of American Physical Society, Wesleyan University - SW. Weart: So you're forced into this mathematics, so to speak. Sciama: In fact we did the mathematics before some of the analysis I was talking about today, but not before some of the other ones. Weart: Right, I mean philosophically. Sciama: Oh yes. Sure. Weart: I see, You did a paper in 1960 on the Einstein-Schroedinger unified field theory,* I wonder whether you ever had much interest in unified field theory? Sciama: I did for a little while, but I then stumbled on something which has recently become very popular, which seemed to me to be the real content of what Einstein and Schrdinger were doing, In their work they'd taken the affine connection of relativity and given it a skew-symmetric part which they thought had to do with the electromagnetic field, since that's described by a skew tensor; whereas I believe I showed (and independently Tom Kibble) that it had to do with spin. If a material system had spin, it seemed to give rise to this skew part of the affine connection, which Carton had discovered in differential geometry called the torsion, In recent years this study of torsion has become quite popular. But it's not related to unified field theory any more. Weart: I see. So this was just something that you took up temporarily. Sciama: Yes, As a matter of fact, originally to find the equations that would naturally give rise to the Steady State universe, That was the original motivation. Weart: I see. Sciama: So the things were linked in the beginning. But then I found it had nothing much to say about Steady State, but it threw out this interesting feature relating to spin. Weart: I want to get back to Steady State, but first I want to ask about what happened after you did your thesis. In the first place, did you get any scientific echoes from this? Sciama: I'm not quite sure what you mean by echoes. Weart: Did you get much interest in it? Sciama: Oh, people were interested in some of the physical parts, The mathematical theory I produced, this vector theory that you mentioned, was very crude by modern standards relativity is now a very highly professional activity extremely crude. Weart: But this was a sort of thing there hadn't been much of. Sciama: There hadn't been much at that time, And the physical ideas, one or two of them were quite cute, and very interesting. So when I told, say visitors to Cambridge, my line of thought, I often got a good response * JOURNAL OF MATESMATICAL PHYSICS 2 (1961) : 472. because some of the physical ideas were very nice, But the main thing, which was important for my career, is that I did succeed in getting a junior research fellowship at Trinity College, Cambridge, on the strength of that thesis. Weart: Yes, I wanted to ask about that, You didn't sit for exams or anything like that. Sciama: No, By then they had ceased to have exams for these Trinity fellowships. It was purely on the thesis. Weart: Who decides then? Sciama: The College sets up a committee, and the way the system works is, you have to be a member of the college to be a candidate, and each candidate has one member of the committee who looks after his interests, and he selects two external referees who will report on the thesis, And then they fight it out in the committee. Weart: I see. Who was it on the committee on your behalf? Sciama: Nicholas hemmer, who succeeded Max Born as professor at Edinburgh later, I can remember, incidentally — explaining about my father's attitude — my father had so driven me into a corner, saying, "There is no point in your doing this research if you're not very good at it, then you should certainly come into the business," So we had decided (it shows that I had given in a bit) that if I got a fellowship to Trinity it would demonstrate that I had a capacity that would justify going on with research (because I explained to my father the significance of a fellowship at Trinity, which has a lot of prestige in England), and if I didn't get one, then I would give up research and go into the business. That was a very foolish thing to do, because of course you're competing not only with other mathematicians and physicists but with historians and all the rest of them, It's a very chancy business, who succeeds, But I had in fact made that commitment, and then the miracle happened and I succeeded. Weart: By the way, what were your relations with Boyle at this time? Sciama: I knew him much more slightly. I remember goin to him once and telling him that I had a theory that overlapred with his interests, Things he'd written over the previous few years had influenced certain sections of my thesis, but I didn't know him personally as well as I knew Bondi and Gold. Weart: Okay, now I have a few questions about those years when you were at Trinity. It interests me because Cambridge was really the only place that had what one might call a school of cosmology, or more than one cosmologist in one place. Where would people get together to discuss this sort of thing, or with whom did you get together to discuss these things? Sciama: Well, not with that many people, because at that time there was no Department of Applied Mathematics and Theoretical Physics that was later founded, and no Institute of Theoretical Astronomy that was later founded. There was the quartet, of which we haven't mentioned Ray Lyttleton, the fourth one, There was Bondi, Gold, Boyle, and Lyttleton, who were famous as a group who worked closely together and were very irreverent, overthrowing the establishment and all that kind of thing. They were the clamor ingroup in this sense, They met a lot and talked together, But I was younger than them; although I talked a little bit marticularly to Tommy Gold, just him and me as it were, I wasn't one of that group because I was too junior. Simply the fact that they were pushing this kind of idea had its influence on me, I got friendly with a chap called Felix Pirani who was a student of Alfred Schild of Toronto, He came to Cambridge to do a second Ph.D., and we talked relativity together. But there were not many people then to talk to about these things, it wasn't like later times. Weart: I see. There wasn't some pub or whatever where everyone would get together? Sciama: There was no everyone. There were one or two of us, I had fellow research students whom I was personally very friendly with, whom I beat over the head and told about Mach's Principle, but they would be mainly working in things like statistical mechanics and so on, because these were the colleagues who had shared my office when I had started in statistical mechanics. Weart: I see, Were there any important seminars or journal clubs or anything like that, in which these sorts of things would be discussed? Sciama: Occasionally. There's a club called the Del Squared V Club, which you may have heard of. Weart: Yes, I've heard of it from various people. Sciama: It's fairly important within Cambridge. It was as a matter of fact, I believe, historically the first group where Eddington reported the successful measurement of the bending of light at the eclipse of 1919, That met once every fortnight to discuss problems of various kinds and there were talks, I gave a talk once on Mach's Principle and so forth, Yes, there were opportunities to discuss, but there weren't the large numbers of people in the game that developed later. Weart: I see. At this time you were one can't say you were in the physics group did you relate much with the physicists? That is, there were people there that were formally physicists and people there that were formally astronomers, and inbetween people, and I wondered about relations with the physicists and with the astronomers and between them? Sciama: Of course I had moved from being within the physics camp to being more concerned with these relativity matters. Through the meetings of the Del Squared V Club and there was another club called the Kapitza Club, which you may have heard of, which met alternatively when the Del Squared V didn't meet, It was named in honor of Kapitza and was supposed to be more on the experimental side, where Del Squared V was meant to be more, as its name implies, on the theoretical side. They met alternative weeks and many of the same people came to both. There were vigorous discussions, I'm not sure this is quite answering your question. Weart: I think so. Would both the astronomers and physicists be there, and perhaps mathematicians? Sciama: When you say astronomers - I don't think the observational astronomers came much to those things, it was more the Hoyle and Bondi kind of astronomers who came. Weart: What about the radio people, did they attend these things? Sciama: Not, I think, in large numbers, but I became conscious of them a little bit later, That's not completely true, It's another matter, the whole business of the relation between the radio astronomers and the theoretical astronomers in Cambridge is a very complicated subject which may or may not be interesting. A whole book has been written about it, which I'm sure you know well,* Weart: Yes, I know it, You mentioned that you'd been interviewed by Woody Sullivan also about that, so I think we really won't need to get into the Ryle-Hoyle-etc. row. Sciama: But I did know about their existence, because I do remember in 1951 I attended a conference in London. Let me just mention this point about it, then perhaps we need not discuss it any more, but just to show that I was beginning to realize they existed already by 1951. If you remember, in 1951 the radio sources that had by then been discovered, the discrete ones, had not been identified optically. And Martin Ryle took the view very strongly that they were all objects in our own galaxy, and that it was their integrated effect that produced the galactic diffuse background, because the synchrotron theory had not come in yet. And I remember - it's certainly on the record of the conference — both Hoyle and Gold suggesting that it was at least equally likely that many of these sources were extragalactic, the point being they were more or less iso- tropically distributed around us, so either they were very close and didn't delineate the shape of the galaxy, or very far, And there was no reason why they shouldn't be very far, I do remember Hoyle getting up and saying, "The theorists as usual have misunderstood the nature of the observational evidence; there is no doubt that they're in the galaxy." And of course in 1954 Cygnus A was identified as an extragalactic object, it was all different, But that means I was aware both that there were radio astronomers getting interesting results, and a bit of incompatability and confrontation between them and the theoretical group already by 1951. Weart: I wanted to talk a bit, then, about Steady State, I'm not sure what we should talk about first, There are two things which I guess would represent your first real jump into the Steady State with both feet; one is your model for the formation of galaxies, and the other is your paper with Bondi and Gold on the Stebbins-Whitford effect,** I don't know which comes first chronologically. Sciama: The one that was published first, if I remember right, was the one on the Stebbins-Whitford effect. Weart: Okay, let's talk about the Stebbins-Whitford effect, the problem of excess reddening. Was this a serious concern to you and Bondi and Gold, were you really concerned about it? Sciama: It was a matter of serious concern at the time, but it later turned out that the observers withdrew the effect. We were slightly * D. Edge and M. Mulkay, ASTRONOMY TRANSFORMED (New York: Wiley, 1976) ** ASTROPHYSICAL JOURNAL 120 (1954) : 597. annoyed that it was withdrawn in a very obscure place— namely, the progress report of the appropriate observatory; Whitford and Code withdrew it, tucked away there rather than blazing it forth - since it had been used so strongly as a weapon against the Steady State theory. We had a certain little discussion of the thing and tried to remove the sting of it when we thought it was a real effect, but obviously when it was withdrawn our little note became obsolete and of no interest. The main thing is, the effect went away. Weart: But I'm curious about what happened, what sort of conversations did you have with people about it - was it very much a subject of concern, did you talk to people and say, you know, you can't really explain things that way, and so forth? Sciama: I think so, It is partly my nature to be a bit passionate, so once I decided I liked the Steady State theory, then even though we didn't know it was true — that was what we were discussing — I as it were wanted it to he true perhaps more than an ideal scientist would, I would get very worked up, particularly if the hostile evidence was rather weak, as at the time I believed it was, Later it mounted up, and we all recanted at different times at our own chosen moments as it were, But at that time the (counter) case was weak; it seemed to me too beautiful and desirable a theory to be defeated by weak arguments. So I would get a bit intense and argue eagerly and so forth. Weart: Aside from the source count controversy, at this time, that is in the early 50's, was the Stebbins-Whitford effect the main argument that people came up with against Steady State? Sciama: It was really, yes, as far as I recall, Also there were statements by people like Baade that they, being great observational astronomers, knew the ages of galaxies, and all galaxies had the same age, whereas in the Steady State theory you'd expect a spread of ages. That was used as an argument against, which was of course pretty implausible just said like that, But the main argument, I think, at that period, was the Stebbins-Whitford effect, so we had to take it very seriously. Weart: Were there particular sorts of people who would defend you or attack you on this, were there lines of division that you could see? Sciama: I often tried to correlate the psychology of people with whether they supported or decried the Stead State theory or were just neutral, I'm not sure I ever got very far doing that, I couldn't help thinking that on the whole the more imaginative people seemed to like the theory, not necessarily think it was true, but at least were sympathetic. Of course David Edge discusses in his book the attitudes of the Cambridge and Jodrell (Bank) radio astronomers, and as groups how they reacted to the theory. Weart: That's still rather specific, Were there other particular places that seemed to be very much for or against the Steady State? Sciama: I can't recall, There were places; there were individuals who were snpathetic, like Roger Penrose, whom become very friendly with by then, and other people who never believed it for a moment, and of course in the end were quite right although not necessarily... Weart: Not for the right reasons. Sciama: Well, they may or may not, I don't think that's an answerable question, quite honestly, I think many people quite rightly felt reluctant to change a basic law of physics just to have a nice beautiful largescale structure, And that instinct may have been correct, It's a difficult thing, No, I don't think there were specific places; there were probably groups, like Ryle's group, that weren't sympathetic. But why they weren't whether that was a personality thing because of the antipathy with Fred Hoyle rather than direct scientific feelings is a very complicated question. I don't think I know the answer to that. Weart: Let's get on then to the modal for the formation of galaxies, I first note it in IAU Symposium#2 (1953) at Cambridge, and then it was published a couple of years later in 1955. How did you come to that? This is a very unique way of looking at something, that the structure of something should he determined simply by the fact that it's in a Steady State. Sciama: Yes, Incidentally, you're reminding me now that there was some thing published on it in 1953, That makes it earlier than our discussion of the Stebbins-Whitford effect, which was 1957. Weart: Right these things were going on at the same time? Sciama: Yes, they were already going on, It was a question of when one felt that it was worth rublishing. Yes, the idea of the galaxy formation paper* was one of these nice ideas that turned out wrong simply because the whole theory is wrong. Weart: It's a beautiful idea, I'm interested in where ideas came from; after all, the selection of which ones are correct may happen a hundred years later, The interesting thing is where it comes from. Sciama: Yes, I suppose it struck me that it was difficult to make galaxies in a universe that didn' t originally have them, And that remains true today; we still don't know how the galaxies formed, and it's a big problem, Bhereas clearly, any single galaxy in the Steady State theory would form in a universe full of them, so why not use the preexisting ones to perturb the intergalactic gas and do the job for you? Then when I played with that, I noticed there were signs that you could make a scheme whereby the Steady State condition alone was enough to determine all the properties of the system. I was quite pleased with that. Weart: I see, so it flowed out of the work itself. Sciama: Yes. It wasn't the original idea; it emerged as the work went on. Weart: How did this relate to your conviction that the Steady State theory was a good theory? Did it reinforce it, had you already believed it by that time? MONTHLY NOTICES R.A.S 115 (1955) : 3. Weart: I see. What about Lyttleton, how did he fit into that? Sciama: Lyttleton really virtually didn't — with one exception later, when he wrote the paper with Bondi that was quite interesting in its way about the charge on the electron and protron not being quite equal — with that one excertion he didn't write on cosmology. But he joined with the others in writing on astrophysical topics. He was the original member of the whole group in astronomy; he got Hoyle into astronomy from theoretical physics through their friendship that occurred through their joint interest in cricket, So he was a key member of the quartet, but more in astrophysical matters than cosmological ones. Weart: I see. Why was it that there were all these people at that one place interested in cosmology? As you describe it, in your own case you just happened to be interested in cosmology and happened to be there, and then all of these other people also. Sciama: Neil, Hoyle, Gold and Bondi met during the war working on radar. That doesn't quite answer your question, I think behind your question is something that I've always found mysterious, which is the way groups of people with certain kinds of talent join forces, or have a school in a place, Often it works in the arts, doesn't it, I mean the Renaissance in Italy, or Vienna at a certain period, had a terrific flowering of some kind of thing or a group of things, as would be true in Vienna, To me it's a mystery how that operates. Weart: Nothing in the air at Cambridge, nothing particularly in the institutions there? Sciama: Well, there's a tradition in England for interest in cosmology. You see Eddington, who died in 1944 or at the latest in eaaly 1945, had worked in cosmology and relativity as well as astrophysics. Weart: Was Eddington's shadow felt, so to speak? Sciama: I don't think so, not at least in the negative sense. Because from the early 50's on there began this fantastic development in astronomy which introduced so many new processes and concepts that were not known to Eddington, His successful work in earlier generations in this kind of imaginative field where relativity, astronomy and cosmology get all mixed up, that encouraged people to work on those things; but the actual texture of the ideas was different because of the fantastic developments that took place first through radio astronomy. Weart: By the way, were you learning astronomy, formal astronomy, at all during this period? Sciama: I suppose once I got interested in the Steady State theory I started learning both astronomy and some of the pnysics that one needs to know, like atomic physics, studying the way eases behave in inter galactic space or something of that kind. But again it was mostly self taught, High-energy astrophysics was just being developed then, so there were no courses really. Weart: So you learned from the Journals? Sciama: The Journals, and the books, and talking to people. Weart: I suppose there were always people coming through and giving talks. Sciama: To some extent, although not as much as later when the Department and the Institute were set up. Weart: Okay. Well, then in 1956 your fellowship was finished, and I have here a number of locations that you were at over the next few years. I'm not quite sure of all the things, In 1954-55 you were at the Institute for Advanced Study at Princeton, 1955-56 you were an Agassiz Fellow at Harvard (this is still while you had your fellowship). Sciama: Well yes, it's not very interesting, but since you asked me: the fellowship is for four years but they allowed you to take off two years in the middle, if they were consecutive years where they wouldn't pay you, and then you could take two more years at the end, So when I was in the States for two years at Princeton and Harvard I was not paid by Trinity. And when I came back they took me on again, so that in fact I stretched my time out to 1958. Weart: I see, And is that when you went to King's College (London)? Sciama: Then I went to King's College, where by that time Bondi had been made professor of applied mathematics. He had a grant from the United States Air Force to do work on gravity, and I was one of the people he invited to spend a couple of years there, on his contract. Weart: Why did he have a grant from the United States Air Force to study gravity? gas this ARPA? Sciama: No, it was the U.S. Air Force. That period, if you cast your mind back — it was later all changed — but in the early days the Navy, the Army and the Air Force all supported fundamental research, some of which quite clearly had no bearing on defense, Their purpose being, I suppose, at the very least to keep scientists trained so that they could always be used for other purposes if necessary. Later on that practice rather tended to peter out, And they would even support work not in America. Weart: That's very interesting. By the way, did you ever do any defense work? Sciama: No. Except I did of course at T.R.E. Weart: Let's see, and then I have, in '60-61 professor at Cornell. Sciama: That was on Tommy Gold's invitation, sor at Cornell, * advanced research Projects Agency (Dept. of Defense). Weart: I see. This was while you were still at king's College? Sciama: I had two years at King's, and then that was the end of that aprointment, I had at that stage deliberately not even sought a teaching post, because I wanted to spend all my time doing research. So when I was invited to Cornell I gladly accepted. Weart: To do research, in fact? Sciama: To go on with research, yes. Weart: By the way, in the meantime you married. Sciama: That's right. Weart: To Lidia Dina, in 1959. I noticed this latest paper that you sent me a copy of, you dedicated to your father-in-law. Sciama: Yes, He died last year. Weart: I see. Tell me, a question I always ask people: what was your wife's backround education when you met? Did she have a separate career? Sciama: I met her in Jerusalem where she was studying English, She started studying at the University in Venice; she comes from Venice, and she started studying there, But she's also Jewish, and she moved to Israel and she continued her studies at the Hebrew University; she'd been there for two years when we met. Not long after we met we got married, and she came to join me in London where I still am at King's. Weart: Has she had any separate career? Sciama: Yes, when we went to Cornell she did her Master's degree in English, and then later in Cambridge she started doing social anthropology, after the children. There was a gap with the children being born. When we moved to Oxford she did first a diploma and then a B.Litt., and now this year she is teaching at Mount Molyoke, where we've been for the year. Weart: Tell me, how do you think that the fact that you're a scientist has affected your marriage, your children? Sciama: Well, my children are no good at science, but I don't think that's because I've put them off it exactly, it's just that they're no good at it. I think I'm one of those who rather works hard, rather dedicated to science, so that puts a strain on the family. Weart: But no different from if you'd been a hard worker in business, or something like that? Sciama: I suprose not, Businessmen go away a lot just as scientists do, who visit to give lectures and so on. Weart: Let's see, I suppose next you were a fellow at Peterhouse. Sciama: Oh, that was later. What happened at Cornell, I applied for a lectureship in mathematics in Cambridge. By then the Department of Applied Mathematics and Theoretical Physics had been set up. That's perhaps just a detail, but it meant that there was a departmental structure, so when this lectureship was advertised I applied for it, and I got it. So in 1961 we moved back to Cambridge (my wife hadn't been there before), And it was about two years later that I got the fellowship at Peterhouse. That was not a teaching fellowship. I didn't want to do more teaching than my lecturing, and so I refused to be a teaching fellow, but after a couple of years Peterhouse offered me a non-teaching, a non-stipendiary, fellowship, That was of not special importance, the important thing was that I had a lectureship. Weart: I see, And you taught what, physics, astronomy? Sciama: My main lectures were mathematics, Being in the math department, I had to teach dynamics and mathematical methods and so forth, for the Math Tripos in other words. Weart: Okay, To get back to your scientific work then — In 1960, it's quite interesting, you said, 'Despite several recent attempts, it is still not possible to decide whether the Universe is in a steady state or whether it has evolved from a much denser configuration... Despite the great difficulties, the next decade promises to be an exciting one for observational cosmology — one in which the correct model of the universe may at last be determined,"* I'm interested, if you can cast your mind back to that time, did you expect, in fact, that it would be determined to be steady state? You were rather noncommittal (in print), where you very optimistic about cosmology at that period? Sciama: I was optimistic, but I think my position always was that the model was so attractive that I wished it were true, and I would fight to make it true as long as I didn't distort the evidence, but I had no feeling that it had to be true or that I knew that it was true, So i think being noncommittal in that statement was fair enourh, Weart: Did you have a preference for Steady State? If you could design a universe, would you make it one way or another? Sciama: Oh, very much. Weart: Would you make it steady state? Sciama: Yes. Weart: why? Sciama: In fact I have some quotation in an article in the SCIENTIFIC AMERICAN, something about this beautiful model, the great architecture of the universe — I can't remember now — but anyway some crack as though God had bungled things. Partly, I think, because it's the only model in which it seems evident that life will continue somewhere, On the conventional view, if the universe recollapses we'll all get crushed, and if it expands forever, then everything dies out when all the fuel is spent, So life is a very transitory thing, whereas on the Steady State theory, even if our galaxy ages and dies out, there will always be new, young galaxies where life will presumably develop. * "Observational Aspects of Cosmology," VISTAS IN ASTRONOMY 3 (1960 : 311) And therefore the torch keeps being carried forward, I think that was probably the most important item for me. Weart: Do you think this played a role in the thinking of other people also? Sciama: I think it must have done. Weart: You would have discussed these things with Bondi, Gold, whatever? Sciama: Oh yes. And also my colleagues working in other subjects; we would obviously discuss each others' work and views. It wasn't only that; also, the general beauty of having a Steady State was rather attractive. But if you ask me for the one single thing that dominated, it was probably that life would always exist some way. Weart: That's very interesting. I used to be a fan of Steady State myself. Sciama: I suspected it from the way you were asking me questions. Weart: Tell me now about this other thing, about how rapidly the correct model of the universe may be determined. How has your thinking changed? In 1960 you wrote that there was a chance that in the next decade it would be determined, and I wondered how your thinking has evolved, about how possible it is to come up with a correct model, What would you say now about the next decade? Sciama: Well, as between Steady State and Big Bang, I was right, although I'm not claiming anything for that, If you now mean between the different Big Bang models in particular we still don't know whether the universe will recollapse or will expand forever Weart: Yes, I particularly mean that. Sciama: I think that there is a good chance we'll resolve that proolem in the next ten years, partly through the Space Telescope. Weart: Do you have any preference for that? Sciama: Sometimes I've had a preference for the universe that just expands forever with the velocity tending to zero, the Einstein-de Sitter model, I once hoped, but that hope has not been realized in our work up to date, that Mach's Principle would lead to the unique model of the Universe, and then the hone was that it would be the one I've just described, But the work we've done so far has shown that all these highly symmetrical models, the Robertson-Walker models, seem to be Machian. Which may be a weakness of our Mach Princinle still. Weart: I see. There's a hope that can be determined by these general considerations? Sciama: Oh no, let it be determined observationally by all means, And I would perhaps hope it would be, You see, if you take these Newtonian analogues of Milne and McCrea, the Einstein-de Sitter model is the one where the total energy of the universe is zero, the kinetic energy and the negative gravitational potential energy just balancing. Well, if you think that kinetic energy manifesting inertia is due to gravitation, then you might intuit that the most Machian way of having one made by the other would be if there's equal amount of energy, which would give you uniquely the Einstein-de Sitter model, I still have a secret hope that that might turn out so, but it may well not. Weart: Aside from these general things, in terms of whether you would prefer, for example, a universe that oscillates, that bounces and starts over again? Sciama: There's no bounce; this is a misrepresentation in some of the earlier books and so on, Because of the singularity theorems, which had not been proved at the earlier times we were talking about, but that we now know to be so, if you take the existing theory, there is no bounce. If the Universe recollapses into a singularity, the theory breaks down at that point. Modern work would say that by quantizing gravity one might eliminate the singularity, but one doesn't know whether that is so or not, Perhaps we'll talk later about modern work on black hole dynamics, but at any rate quantum gravity may well play a role in removing the singularity. But in the best theory we have to date, there is no bounce. Weart: But there might be. Sciama: There might be; there might be a bounce in nature, and there might be a bounce in our next theory. Weart: But in terms of whether you would prefer to live in a Universe that reconstitutes itself, or not? Sciama: You mean because there might be life in each cycle or something? Weart: Or something like that. Sciama: I think I would need to know the theory a bit better. Because even with a bounce you'd think that the entropy made each time survives till the next bounce, say the entropy in starlight. So each bounce is a little bit different from the previous one. You see, in the old days some people said, it's a kind of Steady State theory to have an oscillating universe; if each bounce is identical to the previous one, then in a certain global sense you've got a steady state, But if the Second Law of Thermodynamics works the conventional way we think it does, then after each bounce there's a bit more radiation present because of all the extra starlight made in that oscillation. So the character of the universe does change from bounce to bounce, and no doubt eventually gets so hot that life is not possible or something. I think perhaps on the grounds of a possible link with Mach's Principle I would prefer a Universe that only just expands forever, but the present evidence is rather against that, the denterium and so forth. Weart: Let me pause, by the way, to ask about the time. (Short pause) Let's try and go through some of these earlier things fairly quickly. I did want to ask you about advanced and retarded potentials and Maxwell theory, you did some work on that and I found it quite interesting. Did you approach this also as means of checking on Steady State, was it very much tied in with Steady State ideas? Sciama: At that time already it bad been suggested by other people that the Steady State theory seemed to be the one that fitted a full discussion of advanced and retarded potentials. This was the work of (J.E.) Hogarth. And to some extent of Boyle and Narlikar, although I can't quite remember whether their work came after mine, But Bogarth certainly was before me, So I looked into it from a particular technical point of view, using the Kirchoff integral representation. I think I came to the conclusion that it didn't particularly support the Steady State theory. Weart: That's right. You came up with the conclusion that it would work within the Steady State theory but that it could also work within a Big Bang. Sciama: Yes, I felt that other people working on the problem had not paid sufficient attention to the role of the surface integral in the discussion. Weart: I see, But you were not so committed to Steady State that you felt that this was a pity or whatever? Sciama: I can't remember whether I thought it was a pity or not, but I suppose I wasn't prerared to fudge the discussion. Weart: I think the next important story is getting on to your business with flees about the quasars. This is what you were referring to earlier? Sciama: No, I really meant that some of the work that some of my students did, I think, is the most important work I've had any relation to; they essentially did it, but perhaps they wouldn't have done it if they hadn't actually been my students. The particular work with Rees on the quasar distribution was the piece of work that in point of fact made me drop the Steady State theory, so it has a personal interest for me, but perhaps not for anyone else. Weart: I'm not sure who your students were, That's not easy for me to find out by looking through your papers, so maybe you should tell me which particular pieces of work you mean. Sciama: I was thinking of Stephen Hawking and Brandon Carter and Martin Rees, primarily, and George Ellis, who did some of his work with Stephen Hawking, I had quite a number of other research students who have done significant work, and their total accumulated effort is very considerable in the general area of relativistic astrophysics. But the most brilliant work was done by the ones I've mentioned. Weart: Let's get to them, But first I do want to ask about this business with Rees, Of course, in 1963 you had challenged Ryle's conclusion from the source counts; we won't get into that in detail, but you had suggested that there were local effects, Then in early 1966 you tried to extend this to quasars and also you used it against the microwave background, A lot of things were coming along at this time, and you already wrote that "the demonstration that the microwave background consists of black body radiation ... would almost certainly enable the steady-state model to be ruled out." And if your rather risky model for the distribution of local quasars, I'm quoting, "falls," you said, "it looks as though the steadystate theory of the universe falls with it ." So it appears from the published papers that even before you and Rees did the redshift intensity plot for quasars, you must have been feeling that the Steady State theory was getting hard to defend because of the microwave background? Sciama: That's certainly true, yes. It was getting a bit shaky, but I wasn't prepared to abandon it at that stage, because the blackbody character hadn't been sufficiently well established at that time and one could find these slightly artificial models of the discrete population of radio sources, Although slightly artificial, I felt the price wasn't too high for the virtues of the Steady State theory, as judged at that time. Weart: But it was getting perhaps more and more ad hoc. Sciama: Oh yes. I was preparing my mind for the trauma that came along. When I'd looked at the distribution of quasars a bit and the local population and all that business, then I started plotting out this redshift distribution, At first, as a matter of fact, I thought it was coming out to favor the Steady State prediction. But Martin Rees, to whom I showed these data, gave them a critical look and said be thought it was coming out the other way, hostile, So we did some more on it together, and it seemed quite clear that he was right and it was hostile, We were the first, in fact, to publish analysis of the kind that Maerten Schmidt in particular did later, with much more detail, much better data, But we were the first to point out that this distribution was hostile to the Steady States theory. Weart: I see, So what Rees did was not so much to suggest a different way of looking at the data as saying, come back and look at it again, Sciama: In effect, I was plotting it out in a certain way and it looked good to me in terms of the theoretical prediction of Steady State, That's no doubt an example of the mind wanting a certain result, And while he had worked with me on other aspects of Steady State a little bit at that time, he had no particularly great investment of emotion in the matter, Looking at the plot I was making, he felt that I hadn't made a good story of it and that in fact if you looked at the plot the right way, the argument went the opposite. Then we looked at it more closely together and found that he was right. Weart: You said "trauma"; did this in fact cause you much dismay? Sciama: Yes, I had a bad month. Weart: Worrying over it? Sciama: Oh yes, feeling very upset not I think because I had been shown to be wrong, because I never said I thought the theory was right, there was no grounds for thinking it was right, as it were, if you see what I mean; it was rather that one would like it to be right for these other reasons, I was upset that it wasn't right. Weart: You were upset that we were not looking at a Steady State Universe? NATURE 211 (1966) : 277; 210: 351. Sciama: Yes. Weart: I see, So then of course you came out publicly very definitely against Steady State, I'm curious as to what effect this may have had on your relations with Hoyle, Bondi, Gold, Surbidge and so forth? Sciama: Oh, none particularly. Weart: Because they were more or less still... Sciama: Well, Hoyle was complicated because he first recanted before I did and then unrecanted his recantation, so the details were a bit complicated. But it certainly didn't affect my relationship. We may have had arguments, of course, of various kinds according to the way our views were going, but it didn't make any problems. Weart: There's one other thing that may have played a role here, I'm not certain about the chronology at the time, but you published the redshift flux density thing in the September NATURE and in the August one you and Rees published a paper on the inverse Compton effect in quasars, showing that quasars could be at cosmological distances, which was contrary to the results of Hoyle, Burbidge and Sargent, who had thought the inverse Compton effect losses might rule out quasars at great distances. I wondered if this particular wrinkle might have layed some role in your thinking at that point? Sciama: I think the point was that one had to take a view as to where the quasars were, because if you thought the quasars were local, you could also get out of the radio source count, You could say the radio source count (slope) being steep might be due to quasars, and if the quasars were local then the steepness was not cosmological. Sciama: But I was rather reluctant; that is, one of my earlier models had said that there might be a class of quasars that is local but one whose redshifts hadn't been measured; I never wanted to say that if a quasar had a large redshift it was still local. Weart: I see, That's a little difficult to take. Sciama: Yes, We know that Hoyle and Burbidge tried that for many years, but to me that was pushing too hard to keep the Steady State theory. So I never took that view. The inverse Compton discussion related to questions of how distant the quasars were, and I think our analysis showed that you could have the quasars at a cosmological distance, I somehow wanted that to be so; otherwise it was just too much of a good thing. Weart: Okay, now, you mentioned Martin Rees as a student, and I wondered what other things you might want to say about him as a student and also the other students that you had at Cambridge. Sciama: I suppose my most brilliant student in astrophysics was Martin Bees, and in relativity were Stephen Hawking and Brandon Carter and George Ellis. NATURE 211 (1966) : 805, 1283. Weart: Were they also at — Sciama: They were all at Cambridge. Weart: I see. What was the order? Rees was first? Sciama: No, George Ellis was in fact the first research student I ever had. Weart: I see, How did that come about? Sciama: When I took up my lectureship he'd already been accepted as a research student by the system; I wasn't there to play a part in this issue. He wanted to work on relativity, so he worked with me. He got to know Hawking when Hawking became a student of mine, and then they published this wonderful book together, THE LARGE SCALE STRUCTURE OF THE UNIVERSE. Weart: Tell me a little more about that, How did they come to these problems? I'm particularly interested in Hawking and this whole business. I don't know myself, because I'm not close to these things, but everyone seems to feel that Hawking's results have been extremely important. Tell me about Hawking. Sciama: Well, Hawking was a special case also because of his physical disability, which was only beginning to show itself at the time that he came to me. Weart: So it was quite a normal relationship at that point. Sciama: He knew that he had a degenerative disease, but we didn't know what the prognoses would be, and I'm afraid it just did get worse and worse pretty steadily. It became evident by his third year that he was exceptionally able, What he did then was to take a piece of work of Roger Penrose, who's another very able relativist, who proved the first singularity theorem for collapsing stars in 1965, and Stephen Hawking for the last chapter of his thesis adapted those methods to the case of the whole universe, But it wasn't a straightforward adaptation; he also contributed a lot of his own. Weart: Yes, it's quite a difficult problem. Sciama: That's right. Weart: I wonder, what role did you play in this? Sciama: I encouraged him, I was a close personal friend of Roger Penrose and therefore I knew about his work, I can't remember whether Stephen first saw it from a lecture or a paper or my telling him, But at any rate, all my contribution really was, was to create the ambience at Cambridge that these problems were discussed, But hawking decided to adapt the discussion to cosmology and I encouraged him, but it was all his own work. Weart: I was impressed, and still am impressed, by this way of thinking about the universe, this dealing with metrics on a large scale and so forth. How natural do you think it was at that time, was this a new this entire way of looking at things? Sciama: Well, it was natural to Roger Penrose, because he was a pure mathematician by training. He did a thesis on algebraic geometry under Bill Hodge at Cambridge, and when we got friendly personally, my interests in relativity infected him a bit and he came over to do relativity. Weart: But then this extension to cosmology also? Sciama: I was going to add, in Hawking's case he only discovered that he was gifted at topology in the process of working on these ideas. Then he found that he could do them with relative facility. So a lot of his work after that became global generalizing. Weart: I see, simply because that was a talent of his? Sciama: And the problems were important. Weart: Right. And then of course the other development which is connected is the bringing in of quantum theory and thermodynamics. Sciama: That came much later. Weart: Yes, but perhaps you can tell me how that all came in. I can't ask Hawking. Sciama: Well, first of all there was work on black boles. His first major work was a variety of singularity theorems which he continued doing after his thesis, And then he started getting interested in black holes and producing very good black hole theorems. We're now talking about the very early '70's. And there was floating around the idea that thermodynamics had to do with black holes, although Hawking himself was a bit skeptical. Weart: I see. This was a problem people were talking about? Sciama: Well, in 1973 Bekenstein suggested that you could call the surface gravity of a black hole its temperature, and the area of its horizon its entropy. Hawking at that time thought this was going much too far, because there were certain analogies to thermodynamic behavior, but they were very limited, One thing a black hole couldn't do was to radiate, so it couldn't get into equilibrium with black body radiation that had the same temperature as the alleged temperature of the black hole, So I remember him being rather skeptical of Bekenstein's suggestion, for good reason of course; although in the end it turned out differently, at the time he was right, you see, Then I remember him saying one day that he was going to look at the connection between quantum theory and gravity. Weart: It just came to him that this would be an interesting problem? Sciama: People had tried to do this before, and he'd never gone into that before. Weart: You say between quantum theory and gravity, not specificaily black holes at that time? Sciama: I can't remember at what point he said, let's apply it to a black hole, But since a black hole shows such extreme general relativity behavior, as it were, it would not be an unnatural place to start looking. Given that so much work on black holes had been done, particularly at Cambridge and particularly by him and other colleagues like Brandon Carter, who had obtained a very important result on the uniqueness theorem for rotating black holes. We were full of black holes, whereas early people who had combined quantum theory and gravity that was all done before the great explosion of interest in black holes. I can remember when I first heard of his results, I visited Cambridge once and I met Martin Rees and he was so agitated; he said, "Have you heard, have you heard what Stephen's discovered, it changes everything." And that was the radiating black hole, This showed, you see, against what he criticized Bekenstein for before, that in fact the surface gravity really was the temperature, because a black hole does radiate and can get into equilibrium with black body radiation, That's a work of genius, in my opinion, that discovery. Weart: It's one of those things that one can even understand; even someone who doesn't go through all the mathematics can physically see it, Does Hawking have a sort of physical intuition? Does he physically see his way to it or does it come out of the mathematics? Sciama: I think both, I think he has a very deep understanding of physics and he has a powerful mathematical technique as well. Weart: And in this case the results surprised him, so to speak? Sciama: Yes, It's a result that no one else could believe at first, it looked so outrageous. And on the whole those of us who couldn't of course instantly master the technique because it involves quantum field theory and so on, a very specialized business - on the whole we were prepared to believe it I think just because the answer was so thermodynamic, Because at least some of us, including Einstein incidentally, had great faith in the universal power of thermodynamics. Weart: Oh, you were going to tell me about your last conversation with Einstein. Sciama: Well, the only one I had with him took place at the end of my year at the Princeton Institute, April 1955, I wanted to see him of course, and I plucked up courage only at the end of the year to go and see him, It was literally a week before he died, and I was with him for over an hour and a half, That was a great experience for me. Weart: What did you talk about? Sciama: I started out a bit nervous of course. I'd read that he had a hearty laugh and a simple sense of humor, so I thought I' d start out in the following way. Originally, of course, the very phrase Mach's Principle was Einstein's own phrase for that idea, And he'd used the principle as the guiding light for constructing general relativity, But he later came to feel that the principle wasn't so important, and in the autobiographical notes which he wrote for that Schilpp volume he had said that he came to disown Mach's Principle. So knowing that, I went to see him and I said, "Professor Einstein, I've come to talk about Mach's PrincipIce and I've come to defend your former self * ALBERT EINSTEIN, PHILOSOPHER-SCIENTIST, Paul Schilpp, ed. (Evanston, Ill. : Library of Living Philosophers, 1949). against your later self." And it worked: he said, "Ho, ho, ho, that is gut, Ja!" Like that, really laughed. So that put me a bit at my ease, So then I talked about my way of doing Mach's Principle and he talked about his work and his doubts about quantum theory and so on, It was a wonderful experience. Weart: Tell me now about going to Oxford. How did you come to go to Oxford, and what did you find there? I don't know much about astronomy at Oxford in this period and I'm quite curious. Sciama: Well, there wasn't very much theoretical astronomy there, The reason I did (go) was that I had a heavy lecturing load in Cambridge and a lot of research students by then. I had about nine or ten, I found that load was very heavy. So when All Souls College advertised a senior research fellowship including mathematics in the subjects that you could do - not believing I would succeed, because they had no tradition in science at All Souls, they had one scientist at that time as part of a fellowship of 65 — still they included mathematics in the list of subjects, so on the off chance I applied. Because there were no duties at All Souls at all, you just do what you like, I mean you have to be in Oxford, but you don't have any teaching duties, So I did apply and I was successful, So I moved to Oxford in 1970. Weart: And what was the scene there for theoretical astronomy? Sciama: There was a reader in the theoretical physics department, Dickter Haar, who had one or two students at the time. That was the only activity. But I made a deal with the professor of astrophysics, who wanted a theoretical group in his department but the university had never given him the funds for a post. So when I said I would build him up a theoretical group of the kind I used to have in Cambridge, he was quite pleased that that should be. That was nothing to do with All Souls as it were, I joined the astrophysics department. Weart: Who was that by the way? Sciama: Donald Blackwell; he is still the professor now, We got money from the Radcliffe Trust to put a small building up, a wooden hut (it is quite comfortable actually) on the lawn in front of the main building, and that's where my theoretical group worked. Sciama: Students, and I have post-doc and senior visitors. And also Roger Penrose, a little after I moved to Oxford, got the chair that E.A. Milne had originally, and he has a relativity group at the Mathematical institute, which we have close contact with. Weart: So you have considerable relationships with the mathematicians? Sciama: And also ter Haar has built up his group in theoretical physics, and we have rood relations with them too. Weart: I see, What are the feelings amongst all these people, specifically about cosmologists? I think one could fairly say that you're a cosmologist; I wonder how people feel about that as a specialism? Sciama: which people do you mean? Weart: The physicists, the mathematicians, and particularly other astronomers that you meet. Sciama: I think that with the recent observational developments of quasars and the three-degree black body background, cosmology is taken much more seriously now than it used to be, Also, my work is as much relativity as cosmology, and I've done some work on black holes myself and their thermodynamics. And that development is exciting to physicists as well as to astronomers, and so the fact that I do that kind of thing you see, you're right to ask, in the sense that when I was originally doing cosmology, it was considered not a respectable part of physics, and therefore one was a bit liable to be disregarded or written off on that account. That's much less true today, for the reasons I just mentioned about the observational developments, but also the black hole work has physicists' respect. So if one is associated with working in that field, one isn't any longer considered as very much on the sidelines. Weart: I see, Do you feel that the fact that during your early career you were particularly in cosmology had an effect on your career? Sciama: Not I think on my career, because I got positions of the kinds I wanted, I got a lectureship in math at Cambridge, and then I got a senior research fellowship at All Souls - I don't know how much you know about All Souls, but in England it has a very particular prestige. And the fact that I was one of the few scientists there (there are only one or two of us) in a sense is a prestigious thing. So although on one hand my being a cosmologist must have made many people feel I was very much on the sidelines if not an actual crank, on the other hand I can't say it had any bad effect on my career at all. Weart: This was simply a feeling that you had from talking to people perhaps? Sciama: Oh, I certainly did in the early years, yes, (A) being a cosmologist, and (B) supporting Steady State. Because as I explained, there were a variety of reactions to Steady State, but for many people, it wasn't respectable to suppose matter could be continuously created. On top of cosmology anyway not being respectable. So things have changed since those early days. Weart: I just had one other question. you've written a number of popular articles, SCENTITIC AMERICAN and COMMENTARY, and you did a book, THE UNITY OF THE UNIVERSE, popularizing, and I wondered why you did this sort of thing? Sciama: Well, I think it's very important to do it, The community as it were pays a few of its members to study these problems, the results of which are of consequence for all people. If I don't sound too grandiose, I think my way of looking at it is the following. None of us can understand why there's a Universe at all, why anything should exist; that's the ultimate question. But while we cannot answer that question, we can at least make progress with the next simpler one, of what the Universe as a whole is like. Everybody must care about that one way or another, more or less, A few of us devote our time to find out, supported financially and spiritually by the whole community. Garden City, N.Y. : Doubleday, 1959. results of our findings or our musings. And therefore one ought to give popular lectures, ite articles and books of a popular kind, as one's return to the community. Weart: How do your colleagues feel about this? Do you feel that many astronomers support you? Sciama: On the whole, yes. There was a time when writing popular books was looked at with disdain; I don't think that's so true today. Weart: How do your colleagues feel about this? Do you feel that many astronomers support you? Sciama: I wouldn't like to say when the climate changed. Of course, it depends a bit on how much one does of that compared to how much technical work one does. One has to get the balance right. If you do nothing but write popular articles, you will be suspected of trying to make money. But if you do technical work and discharge your responsibilities that way, that's now quite acceptable. The particle physicists have discovered that they ought to do it. Weart: Do you feel there's a connection between this sort of thing and fundraising? Sciama: Indeed, If you want to be cynical, you can say you should do it for fundraising purposes. Obviously that's an element in it, that I wouldn't deny for a moment, but I really take seriously this feeling i have that we owe it to the community to tell them our results. And they're interested in the results, as you can see by the fact that good popular books sell well, good popular talks are usually packed out, I've had these Luce lectures in Mount Holyoke and we've had three or four hundred people coming essentially every week for eight weeks. Weart: Do you feel that there's been a change in the attitude towards these things? Sciama: No, I wouldn't say that, I think there's always been, I remember a remark that G.M. Hardy made in his "Mathematician's Apology," when he went to a British Association meeting in Leeds in the '20's, and there was a talk on textile science to which ten people came; there was a talk by Eddington on the origin of the Universe that 500 people went to. No, I think the public have always been interested. There's always been people, as Eddington and Jeans in their time, who believed it was important to popularize, It's just that I would feel that in very recent years it's become more widely recognized that it's a very respectable and worthy thing to do. Weart: I want to switch to one other topic, you're in a very good position to comment, if you would, on the differences between the British and the American astronomical communities, because you've spent a lot of time back and forth in both of them, I wondered what differences you notice? Sciama: I think the main difference is that for some curious reason (a point we did touch on earlier) the British have a tradition of taking very seriously this rather speculative work that I have admittedly spent most of my own life in. There aren't that many cosmologists in America, I'm not saying there aren't any, but somehow England is more strongly associated with that despite its small size, Certainly in the way of really innovative ideas, both in relativity and in cosmology, I would say we have a particularly strong tradition, In straight astrophysics, this country (USA) is very fine, and in the lead, We're also quite good in England but I wouldn't make the same remark. It's specifically in the more speculative parts that we have (a lead), which is curious in a way, because we have a great tradition for being empirical and pragmatic as well. Weart: Surposedly, yes. Is there anything in the structure or the way the departments are set up? Sciama: I think myself that one element in it is the system of junior research fellowships at colleges, particularly at Oxford and Cambridge. You see, these colleges are financially independent. It 's not like the colleges of Harvard or Yale, which are not financially independent. There are alternative sources of funding for bright young people; you don't only go to the Science Research Council, our equivalent to the NSF, where if they don't like your project because it's a bit way-out you've had it. There might be ten or fifteen colleges you can apply to, all looking for brilliant, exceptional young people even if they're a bit wild sometimes, and who will back a hunch. Over the years there's been a tradition that this exists, That must be important, because that encourages young people to work in these fields, because they know that they have more chance of getting a fellowship perhaps if they do something brilliant, even if it's a bit off-beat, than something very much in the center but a bit dull. Weart: That's very interesting. That applies to a certain extent to yourself, in a way. Sciama: I suppose it does, yes. And I think Britain's remarkable standing in the world of science, given its size, is due partly to this, in general; that' s apart from specific concentration on things like cosmology. The cosmology strength is one aspect of that more general thing. I don't think it can be only that, but I suspect that may have a lot to do with it. Weart: That's very interesting. That's an argument that I haven't encountered before which certainly makes sense, Well, I've run through my questions. I want to thank you very much.
1098	dbpedia	1	83	https://paldhous.github.io/six-degrees/	en	Six Degrees Of Stephen Hawking	https://paldhous.github.io/six-degrees/favicon.ico	https://paldhous.github.io/six-degrees/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null			favicon.ico		null	You probably know how to play the Kevin Bacon game: The goal is to connect Bacon to any other actor via the fewest shared movies. This is the scientific version, published as a tribute to the late Stephen Hawking, with him in the leading role. Each circle is a mathematician or physicist, and the arrows point from supervisor to PhD student – in this network, the degrees really are degrees. Our featured scientists appear as larger orange circles; other notables are highlighted by orange color alone. Select featured scientists using the drop-down menu; find others using the search box. Clicking or tapping a scientist will place them at the centre of the displayed network, and show two degrees up and down their academic family tree. Then find your way back to Hawking, following the most intense color for the shortest path. Best viewed in Chrome or Firefox on a larger screen.
1098	dbpedia	0	20	https://www.cambridge.org/core/product/identifier/CBO9780511622724A021/type/book_part	en	Anisotropic and inhomogeneous cosmologies (Chapter 14)	https://www.cambridge.or…hare_600x600.jpg	https://www.cambridge.or…hare_600x600.jpg	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://assets.cambridge.org/97805210/21081/cover/9780521021081.jpg", "https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg", "https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg", "https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[]	[]	[ "" ]	null	[ "George Ellis", "Antonio Lanza", "John Miller" ]	null	The Renaissance of General Relativity and Cosmology - November 1993	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/books/renaissance-of-general-relativity-and-cosmology/anisotropic-and-inhomogeneous-cosmologies/ED2EF4FD60D31EA418176CB309CCC39B	INTRODUCTION My first impressions of Dennis Sciama came from a short introductory astrophysics course he gave to undergraduates in 1964. Then in 1966-7 I took his Cambridge Part III course in relativity, in which he charitably ignored my inadvertent use of Euclidean signature in the examination (an error I spotted just at the very end of the allowed time) and gave me a good mark. In both these courses he showed the qualities of enthusiasm and encouragement of students with which I was to become more familiar later in 1967 when I began as a research student. A project on stellar structure had taught me that I did not want to work on that, and I began under Dennis with the idea of looking at galaxy formation. However, by sharing an office with John Stewart I came to read John's paper with George Ellis (Stewart and Ellis, 1968) and its antecedent (Ellis, 1967) and developed an interest in relativistic cosmological models, which led to George becoming my second supervisor. I was still in Sciama's group, and I learnt a lot from the tea-table conversations, which seemed to cover all of general relativity and astrophysics. Dennis taught us by example that the field should not be sub—divided into mathematics and physics, or cosmological and galactic and stellar, but that one needed to know about all those things to do really good work.
1098	dbpedia	2	39	https://www.port.ac.uk/research/institute-of-cosmology-and-gravitation	en	Institute of Cosmology and Gravitation	https://www.port.ac.uk/themes/custom/portsmouth/favicon.ico	https://www.port.ac.uk/themes/custom/portsmouth/favicon.ico	[ "https://www.port.ac.uk/themes/custom/portsmouth/logo.svg", "https://www.port.ac.uk/themes/custom/portsmouth//images/logo-mobile.png", "https://www.port.ac.uk/sites/default/files/styles/hero_mobile/public/media/images/shutterstock_1608969370.jpeg?h=6b4d5f6d&itok=mOWUJt2n", "https://www.port.ac.uk/sites/default/files/styles/card_mobile/public/media/images/webimage-CF928527-C27C-4C31-9BA1EE1EE4D753BA.jpg?itok=1ro_r1NZ", "https://www.port.ac.uk/sites/default/files/styles/card_mobile/public/media/images/webimage-6A2D832F-C241-4646-80E0E81F2AB58396.jpg?itok=N582-ybg", "https://www.port.ac.uk/sites/default/files/styles/card_mobile/public/media/images/shutterstock_1608969370.jpeg?h=6b4d5f6d&itok=yTQ5bB6m", "https://www.port.ac.uk/sites/default/files/styles/card_mobile/public/media/images/webimage-7F7F849F-60D7-4503-85E86907C62221F8.jpg?itok=rfcDWbu2", "https://www.port.ac.uk/sites/default/files/styles/statement_mobile/public/media/images/webimage-0330AE65-19D6-4D72-94E05A4E3872D202.jpg?itok=UJ5EJgqQ", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/IMG_2565-Pano%20small.jpg?itok=9Y6RnT7U", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/Enrique%20Gaztanaga.jpg?itok=i7EnkMjf", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/Untitled%203%20%281%29.png?itok=4c-bpAVN", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/earth-1756274_1280.jpg?itok=zJMD2BA8", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/albert-einstein-1933340_1280.jpg?itok=9zNj6zhW", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/webimage-C1EF6E7A-EE4A-4802-A194861675B9B820.jpg?itok=f3O9TXaj", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/moon-1859616_1280_0.jpg?itok=18JjMhVP", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/black%20hole_0.jpg?itok=DARUNWlD", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/Nut_Wallis1904_0.jpg?itok=zKLxJSkD", "https://www.port.ac.uk/sites/default/files/styles/mini_listing_desktop/public/media/images/planet-volumes-awYEQyYdHVE-unsplash.jpg?itok=pNiqdY5T", "https://www.port.ac.uk/sites/default/files/styles/people_profile_small/public/person-header-image/4eb14f58-8664-4807-90b6-c99025262fe3-DavidBacon.jpg?itok=fcmuXr-Y", "https://www.port.ac.uk/sites/default/files/styles/embedded_image_part_width_mobile/public/media/images/footer_map_0.png?itok=Y8EmpEti" ]	[]	[]	[ "" ]	null	[]	2024-08-05T12:00:00+00:00	Explore the University of Portsmouth's Institute of Cosmology and Gravitation, advancing understanding of cosmic phenomena and gravitational waves.	en	/themes/custom/portsmouth/favicon.ico	University of Portsmouth	https://www.port.ac.uk/research/institute-of-cosmology-and-gravitation	Isaac Physics In 2016 – 2018, the ICG hosted an Isaac Physics Fellow (Dr Nic Bonne) who ran physics problem solving sessions for students and CPD sessions for teachers. While the Isaac Physics Fellow scheme is no longer running you can still access the free online resources that Isaac Physics offer. Cosmic Stroll See the official Cosmic Stroll website for the app that allows you to take a virtual reality stroll through the cosmos. Galaxy Zoo Here is a custom version of Galaxy Zoo for Year 5 designed specifically for outreach sessions as part of our “A Visit from Space” offering to Primary Schools. Please note that clicks collected on that site are not used for research. To contribute to research you need to visit the real version of Galaxy Zoo. Build your own Universe The ‘Build your own Universe’ kit was provided by SEPnet and developed at Queen Mary University of London (QMUL). Alternatively you can download the instruction booklet from the link below. ‘Build your own Universe’ instruction booklet (pdf) Spectroscope You may have looked through a CD spectroscope at one of our public events and seen how sources of light split up into different colours. It is easy to make your own spectroscope at home using a CD and a cardboard container, the ones that we have on our stands tend to be made using cereal boxes or kitchen roll tubes. There are lots of websites with instructions for making a CD spectroscope. This video from Dr Andrew Steele shows you how to make a CD spectroscope that is similar to the ones that we have on display and this website shows lots of examples of the different types of spectra that you can see by looking at different types of light. In 2017, the Institute of Cosmology and Gravitation introduced a new strategic schools outreach programme, focusing our schools outreach (key stage 2–4) on working with three partner secondary schools in Portsmouth and their feeder primary/junior schools. The idea behind this change is to provide a coherent programme of events and activities that school pupils will participate in throughout their school career, with the goal of moving away from one-off interactions to a sustained programme of repeat engagements with the same pupils. This unfortunately means that we have limited capacity to work with other schools. Events that are open to schools outside of the schools outreach programme will be advertised and booked through the University of Portsmouth Recruitment and Outreach Team. However, if you have any questions about the schools outreach programme, or the ICG’s outreach and public engagement strategy, then please contact the ICG Public Engagement and Outreach Manager, Dr Jen Gupta (jennifer.gupta@port.ac.uk). ICG outreach activities are delivered both on campus at the university and on site at schools, by fully-trained members of the ICG and physics undergraduate students, and are free for the school. The ICG schools outreach programme is supported by the South East Physics Network (SEPnet) and The Ogden Trust.
1098	dbpedia	3	59	https://plus.maths.org/content/comment/reply/node/5636/comment_node_article	en	Add new comment	https://plus.maths.org/content/themes/custom/bootplus5/favicon.ico	https://plus.maths.org/content/themes/custom/bootplus5/favicon.ico	[ "https://plus.maths.org/content/themes/custom/bootplus5/pluslogo.svg", "https://plus.maths.org/content/sites/plus.maths.org/files/styles/small_square/public/abstractpics/5/10_jan_2012_-_1211/icon.jpg?itok=rLjD7IDw", "https://plus.maths.org/content/sites/plus.maths.org/files/articles/2012/Hawking70/hawking_1980.jpg", "https://plus.maths.org/content/sites/plus.maths.org/files/articles/2012/Hawking70/hawking2006.jpg", "https://plus.maths.org/content/sites/plus.maths.org/files/news/2012/hawking70/nasa_hawking_web.jpg", "https://plus.maths.org/content/sites/plus.maths.org/files/articles/2023/writingguide/adobe_homeworkdog_web.jpg", "https://plus.maths.org/content/themes/custom/bootplus5/cam-logo-small-trans.png" ]	[]	[]	[ "" ]	null	[]	2012-01-10T11:38:51+00:00		en	/content/themes/custom/bootplus5/favicon.ico		https://plus.maths.org/content/comment/reply/node/5636/comment_node_article	This is an excerpt from Stephen Hawking's address to his 70th birthday symposium which took place on 8th January 2012 in Cambridge. It is re-published here by permission. You can also listen to our podcast from the birthday symposium. Stephen Hawking in the 1980s Now that I reached three score years and ten, I hope you will forgive me for looking back over my life and how our understanding of the state of the Universe has changed. I will also try to look forward beyond the present horizon. In 1950 my father's place of work moved to the northern edge of London, so my family moved nearby to the cathedral city of St. Albans. My parents bought a large Victorian house of some character but St Albans proved to be a somewhat stodgy and conservative place compared with Highgate. In Highgate our family had seemed fairly normal, but in St. Albans I think we were definitely regarded as eccentric. My father felt we couldn't afford a new car, so he bought a pre-war London taxi, and he and I built a Nissen hut as a garage. The neighbours were outraged, but they couldn't stop us. Like most boys I was embarrassed by my parents. But it never worried them. I think I learnt something from them because, later in life, I have often come up with ideas that have outraged my colleagues. When we first moved to St. Albans, I was sent to the High School for Girls, which despite its name took boys up to the age of ten, but later I went to St. Albans School. I was never more than about halfway up the class. (It was a very bright class.) My classwork was very untidy, and my handwriting was the despair of my teachers. But my classmates gave me the nickname Einstein, so presumably they saw signs of something better. When I was twelve, one of my friends bet another friend a bag of sweets that I would never come to anything. I don't know if this bet was ever settled and, if so, which way it was decided. I was twenty in October 1962 when I arrived in Cambridge at DAMTP, the Department of Applied Mathematics and Theoretical Physics. I had applied to work with Fred Hoyle, the most famous British astronomer of the time. I say astronomer, because cosmology then was hardly recognised as a legitimate field. However, Hoyle had enough students already, so to my great disappointment, I was assigned to Dennis Sciama, of whom I had not heard. But it was just as well I hadn't been a student of Hoyle, because I would have been drawn into defending his steady state theory [which denies that there was a Big Bang], a task which would have been harder than saving the Euro. You can read about Stephen Hawking's rise to scientific fame and the areas he worked on in the talk he gave at his 60th birthday. We pick up his 70th birthday speech at the point he turns his attention to the future of cosmology. Stephen Hawking in 2006. More recently, I wrote a new book, The Grand Design, with Leonard Mlodninov, to try to address a few issues left unresolved in [my book] A Brief History of Time. You see the laws of science describe how the Universe behaves, but to understand the Universe at the deepest level, we also need to understand why. Why is there something rather than nothing? Why do we exist? Why this particular set of laws and not some other? I believe the answer to all these questions, is M-theory. M-theory is the only unified theory which has all the properties that we think the final theory ought to have. It is not a theory in the usual sense, but it is a whole family of different theories, each of which is a good description of observations only in some range of physical situations [find out more in the Plus articles Tying it all up and Stephen Hawking's 60 years in a nutshell]. M-theory predicts that a great many universes were created out of nothing. These multiple universes can arise naturally from physical law. Each universe has many possible histories and many possible states at later times, that is, at times like the present, long after their creation. Most of these states will be quite unlike the universe we observe and quite unsuitable for the existence of any form of life. Only a very few would allow creatures like us to exist. Thus our presence selects out from this vast array only those universes that are compatible with our existence. Although we are puny and insignificant on the scale of the Cosmos, this makes us in a sense lords of creation. There is still hope that we see the first evidence for M-theory at the LHC particle accelerator in Geneva. From an M-theory perspective, it only probes low energies, but we might be lucky and see a weaker signal of fundamental theory, such as supersymmetry. I think the discovery of supersymmetric partners for the known particles would revolutionise our understanding of the Universe. I don't feel the same way about the Higgs boson [see Particle hunting at the LHC and Hooray for Higgs] which is why I bet one hundred dollars that it would not be found at the LHC. Physics would be far more interesting if it wasn't found, but it now looks like I might lose another bet. Most recent advances in cosmology have been achieved from space where there are uninterrupted views of our vast and beautiful universe. But we must also continue to go into space for the future of humanity. I don't think we will survive another thousand years without escaping beyond our fragile planet. I therefore want to encourage public interest in space, and I've been getting my training in early. So let me finish by reflecting on the state of the Universe. It has been a glorious time to be alive, and doing research in theoretical physics. Our picture of the Universe has changed a great deal in the last 40 years, and I'm happy if I have made a small contribution. The fact that we humans who are ourselves mere collections of fundamental particles of nature have been able to come this close to an understanding of the laws governing us and our universe is a great triumph. I want to share my excitement and enthusiasm about this quest. So remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the Universe exist. Be curious. And however difficult life may seem, there is always something you can do, and succeed at. It matters that you don't just give up.
1098	dbpedia	2	42	http://backreaction.blogspot.com/2006/07/thoughts-on-anthropic-principle.html	en	Sabine Hossenfelder: Backreaction: Thoughts on the Anthropic Principle	http://backreaction.blogspot.com/favicon.ico	http://backreaction.blogspot.com/favicon.ico	[ "http://1.bp.blogspot.com/-N9QDX9zz1aE/XGuq12-EKSI/AAAAAAAAEgE/EuyipZCfAW8vKpgNLc1fh744VXTtai6ZQCK4BGAYYCw/s1600/br_banner_new06.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://3.bp.blogspot.com/_5WwYNr2qHXQ/SXqerc0lDbI/AAAAAAAABTw/AYvKRdPMqDc/S45-s35/m_jonquinn1.6.jpg", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mx3Y-BdLy5-oY8kYdElWxi_QzUSW4VV-ROA7NnC8FYlpbjPWwfNcFdBc8scGKlMRzAE_f0n5iI8TMoe1nNJ4AbczlmE5uB4vLC6epEjBjTt3iTWlPOaiOwDmmJ_JsWE/s45-c/OaD1tjM0_400x400.jpg", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://3.bp.blogspot.com/_5WwYNr2qHXQ/SXqerc0lDbI/AAAAAAAABTw/AYvKRdPMqDc/S45-s35/m_jonquinn1.6.jpg", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://3.bp.blogspot.com/_5WwYNr2qHXQ/SXqerc0lDbI/AAAAAAAABTw/AYvKRdPMqDc/S45-s35/m_jonquinn1.6.jpg", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://3.bp.blogspot.com/_5WwYNr2qHXQ/SXqerc0lDbI/AAAAAAAABTw/AYvKRdPMqDc/S45-s35/m_jonquinn1.6.jpg", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "http://2.bp.blogspot.com/-beyzC35nwQQ/VT_NX2rVuLI/AAAAAAAAAGg/OFHXigvrjYw/s35/", "http://2.bp.blogspot.com/-beyzC35nwQQ/VT_NX2rVuLI/AAAAAAAAAGg/OFHXigvrjYw/s35/", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyoWarF21mwEpN7iOr7SeOWmSinv_-5rY6JeJLfRANa2RyTzuCaaEJo9rz_51QAR1nWJyrkWINfX9RLN0OfqDZfX4nm4jYufxJhpv_2CMQnn8wEJVSEzt6KvkBii0h/s45-c/ProfileGreg.jpg", "https://m.media-amazon.com/images/I/71tsBCCS5rL._SY522_.jpg", "http://c44.statcounter.com/3649687/0/b81c9dc8/0/" ]	[]	[]	[ "" ]	null	[ "Sabine Hossenfelder" ]	null	Science News, Physics, Science, Philosophy, Philosophy of Science		http://backreaction.blogspot.com/favicon.ico		http://backreaction.blogspot.com/2006/07/thoughts-on-anthropic-principle.html
1098	dbpedia	3	18	https://www.sissa.it/ap/activity/sciama.php	en	Astrophysics and Cosmology			[ "https://www.sissa.it/ap/activity/images/bannerAPC.jpg", "https://www.sissa.it/ap/activity/images/logowhite.png", "https://www.sissa.it/ap/activity/images/sciama.jpg" ]	[]	[]	[ "astrophysics; cosmology; physics; SISSA" ]	null	[]	null	Astrophysics and Cosmology at SISSA				null	A short biography of Dennis Sciama Dennis Sciama was a research student of Paul Dirac in Cambridge just after the second world war, working on Mach's principle - the idea that the nature of local physical laws is affected by the state of the whole Universe. He became passionately involved with developments in cosmology and relativity theory, interacting particularly with Hermann Bondi, Thomas Gold, Fred Hoyle and Felix Pirani and becoming for a while a committed advocate of the Steady-State theory of the Universe until eventually abandoning it in the face of mounting contrary observational evidence and switching allegiance to the Big-Bang picture which then became standard. He then became a pioneer of investigating astrophysical processes in the evolving and expanding universe, making full use of his extremely broad knowledge of basic physics to make fruitful links between different areas. His interests spanned studies of anisotropies of the microwave background, the structure of radio sources and quasars, X-ray astronomy, the physics of the interstellar and intergalactic medium, astroparticle physics and the nature of dark matter. Perhaps most significant of all was his advocacy of relativistic astrophysics, the study of black holes and the interaction between quantum theory and general relativity. The group which he led in Cambridge in the 1960s (including George Ellis, Stephen Hawking, Martin Rees and Brandon Carter) and his links with Roger Penrose, were immensely influential in this. After Cambridge, he subsequently led groups in Oxford (1970s and early 1980s) and at SISSA (1980s and 1990s), carrying on the earlier traditions and creating an ever-expanding "family" of students and collaborators. Well-known students from these later years include John Barrow, James Binney, Philip Candelas and David Deutsch. He is remembered particularly for the excitement in doing physics which he communicated to those around him, for his charismatic lecturing and for his books ("The Unity of the Universe", "The Physical Foundations of General Relativity", "Modern Cosmology" and "Modern Cosmology and the Dark Matter Problem") which have been of great importance for introducing many people to these subjects. Here is a link to the Sciama Memorial Lecture webpage, where you can find a list of the past lectures, up to 2016. Starting from 2016, the Sciama lectures are part of the SISSA general colloquia.
1098	dbpedia	1	2	https://www.imdb.com/name/nm0778400/bio/	en	Dennis Sciama	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-6491806-1269813:QHB7S4PFDP3BNFDZJKRG$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DQHB7S4PFDP3BNFDZJKRG:0", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-6491806-1269813:QHB7S4PFDP3BNFDZJKRG$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DQHB7S4PFDP3BNFDZJKRG:0" ]	[]	[]	[ "Dennis Sciama", "Biography" ]	null	[ "IMDb" ]	null	Dennis Sciama. Self: Einsteins Universum. Dennis Sciama was born on 18 November 1926. He was married to Lydia. He died on 18 December 1999 in Oxford, England, UK.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm0778400/bio/	Some sources give his date of death as December 18, 1999, others as December 19, 1999. Astrophysicist and cosmologist who, at Cambridge and Oxford, taught a generation of students that became hugely influential in modern cosmological thought, among them John D. Barrow, George Ellis, David Deutsch, and Stephen Hawking. Since 1983, Director of the astrophysics section of the Scuola Internazionale Superiore di Studi Avanzati (SISSA) in Trieste, Italy. Recognized for his provocative theories on the role of neutrinos in cosmology and for his many-universes hypothesis.
1098	dbpedia	2	9	https://www.nrao.edu/archives/items/show/15172	en	Interview with Dennis W. Sciama · NRAO	https://www.nrao.edu/arc…7c5a83136e2d.png		[ "https://www.nrao.edu/archives/files/theme_uploads/458246d096ae9c931f7d7c5a83136e2d.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Begin Tape 84B Sullivan This is talking with Dennis Sciama on 25th, – 24th January 1978 at the University of Washington. So could you tell me just what your undergraduate and graduate training was in and when you first heard about radio astronomy? Sciama I read Maths and Physics as an undergraduate, which was towards the end of the War, and then I went into the Army. But during the later part of my Army period, I worked at a government research establishment, called TRE. Sullivan Ah, yes. Sciama Where much of the radar work was done during the War. And I worked on the lead sulfide class of protodetectors which were being studied because of the possibility of detecting enemy aircraft from the heat of - Sullivan Yes. Sciama And I worked on the quantum mechanics and group theory of the energy level distribution. And as a result of various memoranda I wrote then, I was accepted as a research student at Cambridge in 1949. Sullivan So this is a different TRE lab than the one that Ryle worked at. Sciama I can’t remember if he was actually at TRE – he said that he worked on radar during the War, but there was more than one place that did radar. There’s only one TRE. Sullivan I think he was. Sciama Yes, but that was in an earlier period. Sullivan So then you went to Cambridge as an undergraduate and graduate student also? Sciama Yes, I went back to Cambridge as a research student, and I started working actually in statistical mechanics, but in the middle of that I got interested in relativity and I got to know Herman Bond and Tommy Gold through that. I got my doctorate in 1953. Sullivan I see, and you’ve already mentioned to me that you were at this conference in 1951 held in University College in London. Sciama It was, I believe, yes. Sullivan Do you have any recollections as to what this field was at that time? Sciama Oh yes! I remember quite clearly because at that time there were already a number of discrete radio sources known, of course, but they hadn’t been identified. And there was much argument as to just where they were located, particularly whether they were nearby in our own galaxy, or were extragalactic. And there was an amusing argument where Martin Ryle took the view that on the basis of whatever details were known about their distribution and intensity and so on at that time, that they had to be in the galaxy. And that there were so many of them that their integrated radiation could be held responsible for the diffuse background. This was before the days of the synchrotron. Whereas I recall Fred Hoyle and Tommy Gold suggesting since the sources were distributed isotropically around us they could either be very close, and thereby not revealing the shape of the galaxy, or they could just as well be very distant and be extragalactic. And that there were some reasons for thinking that it was fruitful to consider them extragalactic. And so there was a conflict on that point. Sullivan Now were Hoyle and Gold already at that stage interested in the possibility of using this as a cosmological test? Sciama No, I don’t think the idea of counting radio sources and using the log-n/log-s was around at that time. I suppose too few sources were known. The first published discussion was the Ryle-Scheuer paper in 1955. That was a bit later. Sullivan So when did you personally get started in this whole bruha-ha that developed? Sciama Well, when I switched over to relativity, I got personally friendly with Bondi and Gold and because they helped to develop the steady-state theory, I got interested in those questions. Although I hadn’t worked on that theory; I think it came into my thesis in one place, but it wasn’t my main concern. I was working on Mach’s principle for my main thesis. But through knowing them, I got interested in all the astronomical aspects of cosmology. So already by 1951, which was before I finished as a student, I was interested enough to go to this conference. And then I started working on the steady state theory just after my thesis – I discussed, for instance, galaxy formation in the mid-fifties. So when hostile evidence began to emerge, I was interested in that. And by that time, I’d become attached to the theory for its esthetic virtues as I took them to be at the time. So when the hostile evidence began to come out, I tried to see whether that evidence could be refuted. So I got a bit involved in the discussions from then on. Sullivan So you became one of the camp of steady-state factors at that time. Is that fair to say? Sciama That’s certainly true. Sullivan All right. And so what was the main argument that you had against, let’s be careful about when, when the 2C results first came out as well as their analysis by Ryle and Scheuer, did you have arguments at that time about this interpretation? Sciama I don’t think I was involved, myself, until a bit later. Although, I followed what was going on. And it wasn’t many years after that that there was the (?) by Mills, which disagreed in detail in the region of overlap of the two surveys, they were quite different and it became evident that the Cambridge survey was confusion limited, and that their results were unreliable in the interesting region where there were many sources where the slope was in excess of what it ought to have been. And the Mills’ survey, as I recall, gave, in fact, essentially the Euclidian slope to within the - Sullivan 1.84 is what they came up with. Sciama Oh, that’s right. It was not 1.5, it was already 1.8 in 1958. But they said, I think, it’s 1.8 but not incompatible with 1.5, given the uncertainties. That was their position at that time. But we developed various ways of trying to deal with this hostile evidence. One was clearly to exploit the fact that there was this conflict between different sets of observers, and one view we took was simply, “Well, the observers can’t agree. We just keep quiet until they do agree, and then see what opposition is.” But it also began to be possible to make the following point: the nature of the alleged anomaly was that there were too many faint sources than could be accounted for by this very steady-state theory. But, of course, it could be accounted for by evolution in a Big Bang theory. But an alternative way of interpreting the same data would be to say that there were too few bright sources because it depends where you normalize the curve, so that makes a difference, because too few bright sources is something that one could accommodate by statistical fluctuation, or attempt to. Sullivan That was the argument as to whether that made it too special a location, wasn’t it? Sciama So it was a matter of detail how big, particularly if we were in a local hole as Hoyle and Narlikar discussed for an extragalactic distribution of sources, you try and make the parameters such that the hole is not too big, nor too isotropic – that was another problem because we shouldn’t be at the center of the hole. And there was much argument about how convincing that explanation was. Then, in the early sixties, I proposed ironically enough, a bit the model that Ryle had favored in 1951, namely, that there was a class, by then, of course, some of the sources had been identified and we knew they were extragalactic, Cygnus A and so forth. But many sources, even today, in what then became the 3C catalogue – which was superceding 2C – even today, many of those sources are not identified. Sullivan Sure. Sciama And, of course, even more were not identified then, and this was before quasars were discovered. Sullivan Oh, there must have been only 10% identified in the 3C survey in the beginning, at most. Sciama That’s right. So I investigated the possibility that there were two classes of radio source, this was before quasars, so I had a certain kind of prescience, although I’m not really claiming that seriously. So there were two classes of radio source – the extragalactic ones were kind of already known by then like Cygnus A, and another class invented ad hoc, I completely admit, to save the steady state theory, but they were galactic. The point being that then the size of the local hole, it was the galactic ones of course that gave the enormous slope and the idea was that we were in a local hole, so there was a shortage of bright sources for that reason. But the hole didn’t have to be all that large according to the parameters I could pick. And the distribution of those sources was rather similar to the distribution that Ryle had thought to exist in the galaxy in 1951. Sullivan (?) radio stars? Sciama Yes, it was integrated radiation made a lot of the background, and whose individual properties were similar to the one Ryle (?). But as I said, the size of the local hole was then, as far as I remember, something like 15 parsecs whereas Hoyle’s local hole was so many megaparsecs that it was already not small compared to cosmological distances – at least for the galaxy distribution. Sullivan And that paper was published when? Sciama I published two or three papers of that kind around 1962, 1963. But all the time, of course, the radio astronomers at Cambridge were getting better data and the isotropy was being improved. So there was a bit of a controversy between us as to whether the data could admit such an interpretation. And then the quasars were discovered, and that produced a curious twist because that could then have been my second population, except that they have large red shifts. But to complicate the matter, several people including Hoyle himself, took the view, and to some extent perhaps still does today, that the red shift might have had some other explanation than the Hubble effect. And they therefore might be in the galaxy but if so with gravitational red shifts. But I was a bit, I thought I was getting too ad hoc to pile that on to my own model, so I didn’t take the view that the quasar red shifts were (?), I mean, were not cosmological. I tried having two populations of objects – quasars with known red shifts which were extragalactic and another family of quasars that were in the galaxy. But, of course, it was getting rather less convincing by then, but when major questions were at stakes, you try a bit hard, and of course, you reach a point where your models are too artificial, but you don’t mind a little bit of artificiality at first while you’re playing around, but you don’t want to give in too easily. You don’t want to be obstinate and never give in, but you can’t give in the minute a piece of hostile evidence comes because it can always have some meaning you didn’t realize. Sullivan Or just be plain wrong. Sciama Or be plain wrong, so one therefore played with lots of these models and so on and it wasn’t until a little later that it became evident that the model couldn’t be sustained. But, as a matter of fact, the actual observation that led me to abandon the steady state theory was the following thing which I did in collaboration with Martin Reese who was then a student of mine. In fact, we were the first people to point out that Martin Schmidt did a much better job later, but if you just take the quasars of known red shifts, which you couldn’t do earlier because there wasn’t the data, and plot something equivalent to log-n, log-s, namely, the number red shift relation of the quasars in 3C. There were too many quasars of large red shifts for the steady state theory to be valid and we published that. We were, in fact, the first to publish that discussion. And that, since I didn’t want to have the quasars not cosmological, I really gave in at that point – even in a psychological sense inside myself, and then two or three years later Schmidt did a much more detailed job. Sullivan Did you have the v over v max - Sciama No, I was going to say, because we didn’t pay careful attention to all the selection effects, radio and optical and so on, which Schmidt did. And Schmidt had more data, his own data in fact, when he did his discussion. So his discussion certainly superceded ours. And he’s now always the one who’s quoted, which I don’t mind, but in fact, we were the first to publish the statement that - Sullivan So it sounds like that this was the, to you, the final nail in the coffin of the steady state, rather than the microwave background. Sciama Because at that time, it had only recently been discovered – I’m talking, I think it was 1966, when we did the n-z relation, and the microwave background was only a year old then, and indeed, I also made a model of that attributing it to the integrating effect of the discrete distribution of sources throughout the Universe. Which in 1966 one could just about do. Sullivan Two or three points of - Sciama That’s right. You wouldn’t want to simulate a whole class of black body, but the bit of ? squared, you could perhaps relate. And later though there was another argument against the high isotropy of the background you weren’t seeing (?) n-fluctuations and therefore there had to be a very large number of sources, but then again, the data didn’t exist in 1966. So I just, in the same spirit, I made a model of the background which I abandoned of course, a few years later when the data became much clearer. For that reason, therefore, it was the quasar distribution that actually made me recant. Sullivan I see. Now going back to the point where you said you could take the attitude when the Mills and Ryle survey existed side-by-side and so flatly disagreed with each other of just waiting and seeing – let them straighten it out. I would think it would be very frustrating to the cosmologist who had a decade or more developing to find this great disagreement. But is that all you could do – was just wait? Sciama Well, first of all, that always happens in science. Often there’s a conflict of data from different observers in any branch of experimental physics or observational astronomy, surely that is so. There’s nothing special - Sullivan Well, this is particularly striking example though, I think. Sciama Well, I’m sure if I dredged my memory, I could think of lots of cases of conflicts of evidence, which sometimes is settled rather rapidly – it didn’t take long in this case, actually, so that was not unusual. Sullivan It took almost a decade in this case, really. From the mid-fifties - Sciama By 1962, wasn’t it, there was the Scott and Ryle paper which - Sullivan Yes, that’s right. Sciama Which got 1.8 – so by then there was more essential agreement, I would say. Sullivan I guess there was still some feuding going on, but you’re right, certainly things were coming closer. Sciama So that wasn’t more than three or four years. As regards being frustrated – well, again, this is quite common in physics. If there’s conflicting evidence, unless the theorist himself understands very deeply the experiments and their technique. And he might privately favor one observer rather than another or something, but you know, as long as they are both reputable observers, there’s nothing much you can do except wait. You can go on theorizing, but otherwise, you have to wait until the data settles down. Sullivan And essentially, this (?) problem. Sciama Yes. Sullivan So now you mentioned that, I think the timing you gave me was 1958 or something like that, that it became clearer that you were confusion limited, but was it really that soon that it was so obvious that this was the problem with the 2C survey or is that a bit of hindsight coming in? Sciama I’m afraid I can’t now remember offhand when it became evident. Sullivan Scheuer had the P of D analysis, of course which, in a sense, could be interpreted as admitting they were confusion limited, but look, we can still do something with all our old bumps. Sciama That’s true, and of course, the results they got from that were rather similar to the modern results. I would have thought that was enough. But I think it became evident when the Ryle and Mills surveys were compared that the confusion was occurring because one group couldn’t see sources the other group could, and so on. And I think it became very soon evident that that was the reason. But I don’t, without looking in the literature, I don’t offhand remember the exact year in which the Cambridge people were quite clear that that was going on. Sullivan Okay, well. What about the P of D analysis – did this have much (?) with you? Sciama Oh yes. Because I was making models, you see, accepting a steep slope, I mean my models of the local hole meant that I accepted the steep slope but whether the steepness was one value or another was getting more into the details. There was an anomaly to be explained was what required the local hole business, so the P of D just emphasized that that was the situation, it didn’t really change it fundamentally. Sullivan And then when the Mills survey came along, I supposed the thing to say that, well then you wouldn’t have to work so hard on these models with a steep slope and you could - Sciama Well, the less steep the slope, of course, the smaller the local hole or something, the less alarming the model would be. Sullivan That’s right. That’s what I mean. So then you can sit back and say, “Ah-ha, well this is going more towards what we would have expected before if we had to predict something.” Sciama That’s right. And as Mills said, 1.8 with his errors was compatible to 1.5. But of course, even 1.5 is anomalous don’t forget. Sullivan Yes, right. Sciama Because we’ve got to make the red shift corrections, and you should really have even less than 1.5, so it’s not as though 1.5 resolved the problem. Sullivan But it’s not too much less than 1.5 on - Sciama It depends on the details, of course, depends on how far out you’re probing and so on, because the corrections are small for nearby objects – large for distant objects. Sullivan But in terms of what the sort of (?) people were putting in, I believe, the numbers were 1.3 and 1.4 – is this - Sciama Well, it’s not strictly speaking, a fixed slope, you see. It’s a slope that’s varying with the density, you see. Because at high intensity, you actually (?) at 1.5 because the red shift corrections are negligible on anyone’s theory, and for very distant objects, the corrections are important. But in any case, one intensity you’re seeing near-by and distant objects because of the spread - Sullivan The intrinsic luminosity is that you’re scaling your luminosity function with as to where you are on this continually changing slope. Sciama That’s right. Sullivan Okay. Well, we’ve concentrated on this particular issue. Before were there any other developments during the 1950s that you as a cosmologist saw in radio astronomy that related to cosmology? Sciama Well, of course, the discovery of quasars and the large red shifts. Sullivan That’s a little bit later. In the fifties, I’m thinking. Sciama Oh, I’m so sorry, you said the fifties. Excuse me. Sullivan For instance, the identification of Cygnus A – did you see this as being of import? Sciama Well, of course, that occurred before the Ryle-Scheuer accounts – that was in 1954. Sullivan Published in 1954, actually 1952. Sciama Was it? I remember the publication. And, of course, that’s what Ryle used then – I mean, then he had to accept the extragalactic picture and he realized immediately given that that since Cygnus A was the second brightest radio source in the sky and was already whatever it is, I forget the distance offhand. Sullivan It was a red shift of 18,000. Sciama Yes. So if an object that distant was the second brightest in the sky, one could clearly see radio galaxies, as they later called, so far away that optically they wouldn’t be visible even. And therefore, one could do accounts probing the Universe to much greater depths than the 200 inch telescopes could. So in fact, the identification of Cygnus A was the very development that led Ryles to realize that by counting radio sources, he could probe the Universe to great depths. But I think at that time if I recall correctly, that was the only cosmo-, strictly cosmological consequence of radio astronomy. There were lots of astrophysical consequences, like the processes going on in radio galaxies, but I think that was the only cosmological one. And various things came later, you had to have the quasars to do the Gunn-Peterson absorption business and intergalactic hydrogen, and the fact that quasars of large red shift meant you could look at red shifts of two, all that, as you say, came in 1965 with the first red shift of two. Sullivan I think that is right, now that I’m thinking myself. That – and you mentioned in the paper in Vistas in Astronomy in 1960 that perhaps the idea of very red shifted hydrogen line observations would be of great service to cosmology. Sciama That, as I recall, was on the basis of some - Sullivan Some erroneous evidence as it turned out, but I suppose the idea was that this may be a way to get red shifts, just technically, is the better way to get red shifts than optically. Was that really what you were thinking? Sciama Well, I’m not sure whether it’s better, but by being different, it’s likely to be informative. Of course, recently, it looks as though we’ve discovered cases of absorption at 21-cm in the spectra of distant quasars with a foreground galaxy containing the neutral hydrogen. Sullivan Right. Sciama So perhaps that’s beginning to come in after all. Sullivan But I think the thrust of what you were saying there was the object itself being redshifted (?) to the object itself and not intervening. Sciama Oh, sure, sure. I mean you’re detecting, what I now mean is that you detecting the red shift as the intervening galaxy by - Sullivan That’s true. Sciama - 21-cm. I’ve just seen an absorption emission, but that - Sullivan Trouble is that you can’t see these galaxies yet optically. Sciama There’s one case where you can. There’s a case, in fact, it’s very interesting for another reason is that the case of a quasar which contains an absorption line at 21-cm which has the same redshift as that of a galaxy which is known (?) optical redshift is known which lies nearly in the line of sight, and the line of sight passes within something like a hundred kiloparsecs of this galaxy. Sullivan Ah, yes. You’re talking about the one by Burke and company? Sciama But also, they have, Sargent and someone have now found calcium in absorption at the same red shift, which shows that the calcium in this galaxy a hundred kiloparsecs out which has all sorts of implications. Sullivan I see. I hadn’t heard about the optical part of it. Well, this is a matter of the idea of how much, what is the density of intergalactic matter – was this thought of at all in the fifties as possibly radio astronomy might - Sciama Oh, that’s true. There were limits on that from looking for, say 21-cm line in emission, not at of course, at the line, but integrated. And George Field, and others, looked at that. They looked for it both in absorption and in emission. Sullivan Right. Sciama And, as I recall, placed limits comparable with but not quite as good as the density that would be just leave it to close the Universe at that time. Sullivan Was - Sciama In fact, George Field was working on that, I think, when I shared an office with him in Harvard in 1955. Sullivan He was a graduate student, or was he - Sciama No, he was then a member of the Society of Fellows, he was a junior fellow – he’d been, I think, he got his Ph.D. at Princeton. Sullivan He’s on my list, but I haven’t gotten to him yet. Speaking of which, this is not directly related to history of radio astronomy, but it’s my reading of it that there does not seem to be the concern with the overall mean density of the Universe that is of such great concern now. You know, is the Universe open or closed? In the fifties, is this true? Sciama Well, I was very interested in intergalactic medium. And, in fact, I was one of the few people writing papers on that subject until it became popular later. And, indeed, I’m glad to say that, you know, with the Gunn-Peterson thing, not seeing the absorption trough and all that, one attributed that to a very hot gas, and I had in fact proposed for other reasons that the gas would be very hot through essentially things like cosmic ray heating, already a year or two the Gunn-Peterson effect was discovered. Sullivan But this lack of concern at this time, to what do you attribute this? Sciama For one thing, there was rather a lack of concern in cosmology at all, it was very much a fringe subject, and then there were some people who felt that it was speculative to say there was extra matter. I could never understand that point of view, it was as though God was parsimonious, you see, and would not make more “stuff” than you can actually see at that time, whereas I took the view that God could just as easily make as much matter as wouldn’t be detected, because you musn’t of course, break the upper limits. And if that’s an interesting form of matter and might lead to future detection, you ought to study its possible properties. So this is, of course, the difference between a rather conservative and a rather open, more adventurous, I don’t know what you call it, open-minded attitude which no doubt is a bit similar to why some people like the steady state theory and others didn’t. So I did a bit of work on the intergalactic medium in those years, but I was one of the very few people doing this. Sullivan Was this simply because of a lack of the observational capability, both optical and radio to probe = Sciama I suppose it was mainly that. Whereas I’m attracted to fundamental questions, and you can’t always wait to work on a problem only if something detectable emerges in a year from then. Sometimes you have to do rather more academic things. Sullivan Well, this is always a question of interest as to which leads which – the observations lead the theory or the theory leads the observations, and what you’re saying is that in this case, the observations needed to come first to spark the interest amongst the theorists. Sciama Well, among general interest, yes, but my belief is that it seemed rather obvious that it’s a two-way process, and one ought to… I don’t mean you study absolutely any problem however arcane or speculative it is, but since galaxies formed, always existed, it’s a natural question to say, “How efficient was the galaxy formation process, how much was left over between the galaxies?” That would then to discuss the astrophysics of that gas that was left over, and who knows what observational methods would emerge in future years, so you don’t wait till they’ve emerged to work on a subject, you prepare for that by working on that anyway. That’s if you’re in cosmology, but of course, at that time, there were very few cosmologies anyway, and perhaps most of those were more mathematicians interested in the geometry of space time and solutions of Einstein equations. Whereas I started working on the physical properties of the gas and many of the relativists are not in that sense physicists. Sullivan You alluded to something which you mentioned to me earlier today, namely, the difference in philosophical bent of one who would believe in steady state and one who might not. Could you, just for the record, say how you see them as being different? In terms of the sort of person who’s attracted to them? Sciama Well, ‘believe’ is too strong an expression; I would say be sympathetic with the steady state theory. Sullivan Well, that’s (?) fuzzy. Sciama No, I think a better word; no, because why should you believe it to be true if there’s no evidence for or against, which was the early situation – there was nothing to make you believe it to be true, the point is rather - Sullivan To favor. Sciama Yes, but what does favoring mean? I think the hard cash test if favoring means do you work on it? If you like the theory, you actually do calculations in it, or you defend it when hostile evidence begins to come, but you have to then debate it. So it effects how you actually work, the questions of literal belief I don’t think are relevant at that stage. Later they would be. Sullivan Sorry about that. Sciama No, I’m not trying to be pedantic about it; I think it’s an important point. Because there wasn’t sufficient reason to say it was true, but just that it was a very attractive theory, one tried to help to make it clear that it was in fact true, by working out its consequences and some of the problems that it gave rise to were very interesting theoretical problems anyway, and the link with observation. As to personal types, well, I once made a little joke that A believed in the steady state theory because he wasn’t religious and B believed it because he was. It’s an adaptation of the joke of Bertrand Russell. But I, you see, felt that the overall beauty of the model and the fact that life would always be possible somewhere in the steady state universe, was psychologically attractive to me. And that counterbalanced the unattractive feature that you have to change the laws of physics. Which, of course, you don’t do lightly. Whereas for other people those attractions weren’t so great and looming larger for them was the undesirability of changing the laws of physics. So that’s very much a personal matter. Sullivan So it would be a more conservative viewpoint in the fifties you would say, to not believe in the steady state theory. Sciama Oh, undoubtedly. Because it was saying the conservation of matter was false, and that was one of the keystones of physical theory. Sullivan On the other hand, in those histories that have been told and certainly the elementary textbooks, the two are always put up against each other as being equally likely and the evidence for one and the evidence for the other is not a matter of here comes this radical new theory – they’re sort of given equal weight, it seems to me. Sciama Well, this might be a question of purpose of exposition because I think if you counted heads, it was only a minority of people who were really sympathetic. And it certainly wasn’t on the same footing that it was a radical innovation saying this law of conservation which has been sacred for so long is wrong, and we must change physics. That can’t be on the same footing as not changing physics. Naturally, the, it wasn’t a ridiculous suggestion because the actual creation rate was far less than the accuracy of the observations, but nevertheless - Sullivan Which was an unappealing thing too, it could never be checked directly. Sciama No, but it could be checked by observational tests of steady state which as the proponents of the theory kept harping on, it’s a very vulnerable theory and that makes it very scientific. But I think it was more to clarify the exposition in popular books on cosmology that they were given, as it were, equal weight, but I don’t think that was a view of most physicists. Sullivan And as you said before, there’s also the great problem of the singularity in general relativity in the expanding universe, but that was only at least at one time, whereas you’re violating the laws of physics everywhere, and that was Einstein’s physics which had been around for fifty years and so that was not so bothersome. Would you say that’s fair? Sciama I think so, yes. As a matter of fact, I met Einstein when I was at Princeton in 1955 just a week before he died and I had quite a long talk with him, and I mentioned the steady state theory and he immediately said it’s not in agreement with the field equations. Which, of course, it wasn’t, without tampering with them, because of the conservation thing. So I told him the idea I had at the time about how to tamper with them, but of course, he wasn’t very sympathetic. Sullivan He tampered with his own, I guess. Sciama Yes, but not in quite such a dramatic way. Sullivan Okay, so and then you say quasars were the next thing and what was the power of the quasars – simply that they allowed you to probe that much further away? Sciama Well, we hoped they would. Because of their great brightness, they could be seen to larger red shifts, but then it emerged that when you plotted one thing against another that should have given a nice tight relation that would have perhaps solved the cosmological problem, that they were scatter diagram emerged and that was part of the controversy because Hoyle and Burbidge claimed that that showed that the quasars had to be local and other people said that it only meant there was a wide distribution in intrinsic brightness and so forth. Sullivan But even if that were true, however, some of them would allow you to probe very deeply (?) and if you could then come up with some other criterion for luminosity such as spectrum or something else - Sciama Well, but they’re beginning to try to do that only today. Sullivan Right, but am I reading you right then that what you’re saying is that as soon as the origin of the redshift was called into question, then the power of the quasars in terms of inciting cosmological questions, at that stage in the early and mid-sixties greatly decreased? Sciama No, no, that’s not quite the point I was making. What I was saying was that even granted the redshift is cosmological they weren’t useful in probing the Universe because the great spread in intrinsic properties of the quasars that were then implied by that interpretation - Sullivan At that time, you could not see any other hope of determining their luminosity – no other means of determining luminosity so you decided to give up? Sciama Well, I wouldn’t put it quite like that (?) one decided to give up as though that was foolish and one shouldn’t have given up. No method emerged of getting rid of the scatter in a way that they could be used for probing, so one couldn’t do anything. Sullivan And as you say, it’s taken a decade to - Sciama And even now, one is only beginning to perhaps be able to do that, so it wasn’t a voluntary decision not to do something which one might have not decided that way – one simply had no choice. Sullivan Okay, I think that’s all. Thank you very much. That ends the interview with Dennis Sciama on 24th January at University of Washington.
1098	dbpedia	2	8	https://www.amacad.org/person/dennis-william-sciama	en	Dennis William Sciama	https://www.amacad.org/profiles/contrib/lightning/favicon.ico	https://www.amacad.org/profiles/contrib/lightning/favicon.ico	[]	[]	[]	[ "" ]	null	[ "Dennis William Sciama" ]	2023-02-09T20:35:01-05:00		en	/profiles/contrib/lightning/favicon.ico	American Academy of Arts & Sciences	https://www.amacad.org/person/dennis-william-sciama	( 1926 – 1999 ) University of Texas at Austin ; Austin, TX Astrophysicist; Educator Area Mathematical and Physical Sciences Specialty Physics Elected 1982
1098	dbpedia	1	16	https://telescoper.blog/tag/dennis-sciama/	en	In the Dark	https://telescoper.blog/…778407.jpg?w=200	https://telescoper.blog/…778407.jpg?w=200	[ "https://telescoper.blog/wp-content/uploads/2022/01/vicent_perugia.jpg?w=450", "https://telescoper.blog/wp-content/uploads/2022/01/perugia_1.jpg?w=1024", "https://telescoper.blog/wp-content/uploads/2022/01/perugia_2.jpg?w=685", "https://telescoper.blog/wp-content/uploads/2022/01/perugia_3.jpg?w=678", "https://telescoper.blog/wp-content/uploads/2022/01/perugia_4.jpg?w=1024", "https://telescoper.blog/wp-content/uploads/2013/01/feyndir2.jpg", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/454664445_1201032747757515_4430264853523774306_n.webp?stp=dst-jpg&_nc_cat=102&ccb=1-7&_nc_sid=18de74&_nc_ohc=0iOVRj9igcsQ7kNvgF2arcT&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYBpw2kiWyqvXZcRfZVU3Spxrq39u2vfTDbrovDf70xTrg&oe=66BDC03C", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/451372901_1162934428330504_4884463404001156311_n.webp?stp=dst-jpg&_nc_cat=102&ccb=1-7&_nc_sid=18de74&_nc_ohc=XAEPRe0MNkgQ7kNvgFUk4fI&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYDNIN1krBzp-RW0_samJ-w9xhqdPS1JmI4F85EELnuoHg&oe=66BDA453", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/454515997_810296821286098_54569585294950364_n.webp?stp=dst-jpg&_nc_cat=110&ccb=1-7&_nc_sid=18de74&_nc_ohc=SGg1KGa2IHMQ7kNvgGG33IC&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYDYO_GF3iz8c_1c2W6hY4gBw5YHIQsNNJYDtcOb_PhXDA&oe=66BD9E0F", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/454422268_862369822618930_2608265698863365936_n.webp?stp=dst-jpg&_nc_cat=106&ccb=1-7&_nc_sid=18de74&_nc_ohc=gFHs6F8WbSsQ7kNvgFRgm1p&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYAqm53MSUG7Ga1VaqOQDptx8YrCF3wNaA7n9RbZoOPb_Q&oe=66BD9D28", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/453778332_866553968140966_8013045187197453299_n.webp?stp=dst-jpg&_nc_cat=105&ccb=1-7&_nc_sid=18de74&_nc_ohc=5Whm7AEppKgQ7kNvgEaLSia&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYAUQviydfvKsqanoOesuWn2VMn8PteLqmeH7seyy-ZCRA&oe=66BDBA81", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/451624383_403128782737101_3254072712187938000_n.webp?stp=dst-jpg&_nc_cat=104&ccb=1-7&_nc_sid=18de74&_nc_ohc=XoXevRElk0kQ7kNvgHlSP6Z&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYCFyApHuMrlI0GnGzddbHXkf-KQxR1bNvtTGlv4pvjJYA&oe=66BD9BDB", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/450363355_3280625635578058_3982909219162386665_n.webp?stp=dst-jpg&_nc_cat=110&ccb=1-7&_nc_sid=18de74&_nc_ohc=yCh5rgeoJJsQ7kNvgHaYhLS&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYD_HQJZjhVTkNRMnz1DsV5H5hDupMgPDDZoZ8-IGkuzfg&oe=66BD9BFE", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/449801509_855046846543609_1215168262055959567_n.webp?stp=dst-jpg&_nc_cat=102&ccb=1-7&_nc_sid=18de74&_nc_ohc=-Wt0La7-OpsQ7kNvgETHSwV&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYBra4WFqZHpbzIaGs8pXW5daBhe8tC_nyEU4-u6HuQ3zA&oe=66BD9B01", "https://scontent-dfw5-1.cdninstagram.com/v/t51.29350-15/449668431_2202138030120726_776468461504931607_n.webp?stp=dst-jpg&_nc_cat=101&ccb=1-7&_nc_sid=18de74&_nc_ohc=fCShGTooB1cQ7kNvgEkeuBe&_nc_ht=scontent-dfw5-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=00_AYAi81yfg3zbk55cZcfcb891vkckZ1EVHsWJWW0Hbv_gyg&oe=66BDA3A9", "https://telescoper.blog/i/rss/orange-medium.png", "https://telescoper.blog/i/rss/orange-medium.png", "https://telescoper.blog/wp-content/uploads/2020/05/wp-1590846778407.jpg?w=50", "https://telescoper.blog/wp-content/uploads/2020/05/wp-1590846778407.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Dennis Sciama written by telescoper	en	https://telescoper.blog/…6778407.jpg?w=32	In the Dark	https://telescoper.blog/tag/dennis-sciama/	My friend and colleague Vicent Martínez sent me this picture which dates from the spring of 1988. It took me a while to figure out where it was taken but I finally came to the conclusion that it was in Perugia (the University thereof) in Italy at a small workshop organized there by Silvio Bonometto. If memory serves that room was called the Aula Mussolini… I am on the far left (looking deranged) and talking to Alain Blanchard (with the long black hair). In between us is Vincent Icke. Further along the same row you can see Dennis Sciama, who is sadly no longer with us, and John Miller. In the middle looking at the camera is Rien van de Weijgaert. Just behind me is Bernard Jones. I guess Vicent must have taken the picture! You can find this and other pictures from this bygone era here. Yes, I know it’s very white and very male. Meetings tended to be like that in those days. Incidentally 1988 was the year that I finished my DPhil thesis so I was still a graduate student at the time of this meeting. I think I gave a talk but can’t remember what it was about! In fact I don’t remember much about that meeting except for the splendid lunch that happened at the end. We took a coach trip to a magnificent Castello in the country and were treated to a lavish banquet of many courses. As luck would have it I sat next to Dennis Sciama at the meal, which I enjoyed greatly. Dennis was my academic grandfather (i.e. he supervised my supervisor). He was a lovely gracious man as well as hugely knowledgeable about a wide range of things, wonderful to talk to, and very generous with his time. He was also teetotal, so when they came to fill up his glass he gave it to me so I had a double wine ration, and a single ration would have been a lot! If I recall correctly the coach trip also took in quick visits to the towns of Cortona and Arezzo. Anyway, seeing that picture sent me a bit down memory lane during which I opened up a box of old photographs to find some more of Perugia. That meeting in 1988 was the first time I’d visited that ancient and beautiful place but I’ve been back a few times since then and on one occasion took a few snaps as I wandered round. I thought black-and-white would capture the atmosphere of the place. You can decide whether I was right! The first picture is of the main square (Piazza IV Novembre) and the second the famous Etruscan Arch, which dates from pre-Roman times, emphasizing how ancient this place is! The town is perched on top of a steep-sided hill so it’s quite hard work getting around on foot but well worth exploring. Follow @telescoper Since getting rid of my telly a few weeks ago I’ve reverted to a previous incarnation as a bookworm, and have been tackling the backlog of unread volumes sitting on my coffee table at home. Over the last couple of days I’ve spent the evenings reading The Strangest Man by Graham Farmelo, a biography of the great theoretical physicist Paul Dirac. I’m actually quite ashamed that it has taken me so long to get around to reading this. I’ve had it for two years or more and really should have found time to do it before now. Dirac has long been one of my intellectual heroes, for his unique combination of imagination and mathematical rigour; the Dirac equation is one of the topics I most enjoy lecturing about to physics students. I am also immensely flattered to be one of his academic descendants: Paul Dirac was the PhD supervisor of Dennis Sciama, who supervised my supervisor John Barrow, making me (in a sense) his great-grandson. Not that I’ll ever achieve anything of the magnitude he did. The book is pretty long, and I suppose one of the factors putting me off reading it was that I thought it might be heavy going. That turned out to be far from the case. It’s wonderfully well written, never getting bogged down in details, and cleverly interweaving Dirac’s life and scientific career together against a vivid historical backdrop dominated by the rise of Nazism in Germany and the tragedy of World War 2. It also beautifully conveys the breathless sense of excitement as the new theory of quantum mechanics gradually fell into place. Altogether it’s a gripping story that had me hooked from the start, and I devoured the 400+ pages in just a couple of evenings (which is quick by my standards). I’ve never read a scientific biography so pacey and engaging before, so it’s definitely hats off to Graham Farmelo! Among the book’s highlights for me were the little thumbnail sketches of famous physicists I knew beforehand mostly only as names. Niels Bohr comes across as a splendidly warm and avuncular fellow, Werner Heisenberg as a very slippery customer of questionable political allegiance (likewise Erwin Schrödinger), Ernest Rutherford as blunt and irascible. I was already aware of the reputation of Wolfgang Pauli had for being an absolute git; this book does nothing to dispel that opinion. We tend to forget that the names we came to know through their association with physics also belonged to real people, with all that entails. I was also interested to learn that Dirac and his wife Manci spent their honeymoon in 1937, as the clouds of war gathered on the horizon, in Brighton, which Farmelo describes as ..a peculiarly raffish town., famous for its two Victorian piers jutting imperiously out to sea, for the pale green domes of its faux-oriential pavilions, its future-robot and a host of other tacky attractions. So in most respects it hasn’t changed much, although one of the two piers has since gone for a Burton. So what of Dirac himself? Most of what you’re likely to hear about him concerns his apparently cold and notoriously uncommunicative nature. I never met Dirac. He died in 1984. I was an undergraduate at Cambridge at the time, but he had moved to Florida many years before that. I have, however, over the years had occasion to talk to quite a few people who knew Dirac personally, including Dennis Sciama. All of them told me that he wasn’t really anything like the caricature that is usually drawn of him. While it’s true that he had no time for small talk and was deeply uncomfortable in many social settings, especially formal college occasions and the like, he very much enjoyed the company of people more extrovert than himself and was more than willing to talk if he felt he had anything to contribute. He got on rather well with Richard Feynman, for example, although they couldn’t have had more different personalities. This gives me the excuse to include this wonderful picture of Dirac and Feynman together, taken in 1962 – the body language tells you everything there is to know about these two remarkable characters: Feynman is also an intellectual hero of mine, because he was outrageously gifted not only at doing science but also at communicating it. On the other hand, I suspect (although I’ll obviously never know) that I might not have liked him very much at a personal level. He strikes me as the sort of chap who’s a lot of fun in small doses, but by all accounts he could be prickly and wearingly egotistical. On the other hand, the more I read The Strangest Man the more I came to think that I would have liked Dirac. He may have been taciturn, but at least that meant he was free from guile and artifice. It’s not true that he lacked empathy for other people, either. Perhaps he didn’t show it outwardly very much, but he held a great many people in very deep affection. It’s also clear from the quotations peppered throughout the book that people who worked closely with him didn’t just admire him for his scientific work; they also loved him as a person. A strange person, perhaps, but also a rather wonderful one. In the last Chapter, Farmelo touches on the question of whether Dirac may have displayed the symptoms of autism. I don’t know enough about autism to comment usefully on this possibility. I don’t even know whether the term autistic is defined with sufficient precision to be useful. There is such a wide and multidimensional spectrum of human personality that it’s inevitable that there will be some individuals who appear to be extreme in some aspect or other. Must everyone who is a bit different from the norm be labelled as having some form of disorder? The book opens with the following quote from John Stuart Mill’s On Liberty, which says it all. Eccentricity has always abounded when and where strength of character has abounded; and the amount of eccentricity in a society has generally been proportional to the amount of genius, mental vigor, and courage which it contained. That so few now dare to be eccentric, marks the chief danger of the time. Another thought occurred to me after I’d finished reading the book. Dirac’s heyday as a theoretical physicist was the period 1928-1932 or thereabouts. Comparatively speaking, his productivity declined significantly in later years; he produced fewer original results and became increasingly isolated from the mainstream. Eddington’s career followed a similar pattern: he did brilliant work when young, but subsequently retreated into the cul-de-sac of his Fundamental Theory. Fred Hoyle is another example – touched by greatness early in his career, but cantankerous and blinded by his own dogma later on. Even Albert Einstein, genius-of-geniuses, spent his later scientific life chasing shadows. I think there’s a tragic inevitability about the mid-life decline of these geniuses of theoretical physics, because the very same determination and intellectual courage that allowed them to break new ground also rendered them unwilling to be deflected by subsequent innovations elsewhere. And break new ground Dirac certainly did. The word genius is perhaps over-used, but it certainly applies to Paul Dirac. We need more like him. Follow @telescoper
1098	dbpedia	2	14	https://www.timeshighereducation.com/features/close-to-greatness	en	What it’s like to work with the academic greats	https://www.timeshighere…tatue-leshan.jpg	https://www.timeshighere…tatue-leshan.jpg	[ "https://www.timeshighereducation.com/sites/default/files/styles/the_breaking_news_image_style/public/person-standing-on-big-toe-of-sitting-buddha-statue-leshan.jpg?itok=W1YKecHV", "https://www.timeshighereducation.com/sites/default/files/dennis-sciama-1926-1999.jpg", "https://www.timeshighereducation.com/sites/default/files/elizabeth-anscombe-cambridge-1990.jpg", "https://www.timeshighereducation.com/sites/default/files/malcolm-bradbury-1985.jpg", "https://www.timeshighereducation.com/sites/default/files/dorothy-hodgkin-london-1973.jpg", "https://www.timeshighereducation.com/sites/default/files/philip-larkin-011015.jpg", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/didier_queloz.jpg?itok=d4grq0QA", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/konstantin.png?itok=Y3-R05Rh", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/man_using_google_translate_to_read_chinese_letters_at_people_square_shanghai_china.jpg?itok=e9yY_s8Y", "https://www.timeshighereducation.com/sites/default/files/styles/teaser_standard/public/web-the_180724_p26_vallance_reuters.jpg?itok=ddecJv6H", "https://dmp.adform.net/dmp/profile/?pid=10648&sg=DeUr-8da6f5e5", "https://track.adform.net/Serving/TrackPoint/?pm=711826" ]	[]	[]	[ "" ]	null	[ "Contributors" ]	2015-10-01T12:00:00	Five contributors recall friendships and encounters with preeminent scientists, writers and philosophers	en	https://www.timeshighereducation.com/sites/default/themes/custom/the_responsive/favicon.ico	Times Higher Education (THE)	https://www.timeshighereducation.com/features/close-to-greatness	The physicist Dennis Sciama (1926-1999) is considered one of the fathers of modern cosmology. Martin Rees was one of his PhD students at the University of Cambridge in the 1960s. The film The Theory of Everything portrays Stephen and Jane Hawking superbly. But the scientific backdrop fares less well. In particular, the film distorts the personality and style of Dennis Sciama – a crucial supporter of Stephen’s early career, and a mentor to many others. Dennis inspired his research group with his infectious enthusiasm; he followed developments in theory and observation along a broad front and was a fine judge of where the scientific opportunities lay. This year, we are celebrating the centenary of Einstein’s theory of general relativity. But this theory was somewhat sidelined from the mainstream of physics, until the situation changed dramatically in the 1960s. This was partly because astronomers discovered neutron stars, quasars, black holes and the Big Bang – contexts in which Einstein’s theory is crucial, rather than just a tiny correction to Newtonian gravity. But it stemmed also from advances in the theory. Here, the pioneering figure was the mathematician Roger Penrose, and Dennis – his friend and near-contemporary – persuaded him to transfer his interests to relativity. Penrose’s insights led to a deeper appreciation of what Einstein’s theory actually implied. Dennis encouraged his students (several of whom became major figures in the subject) to attend a lecture series that Penrose was giving in London. When I enrolled as a graduate student at the University of Cambridge (two years after Stephen Hawking), it was my good luck to be allocated to Dennis. I was initially unsure whether doing astrophysics was a sensible choice – in fact, I’d seriously thought of shifting to economics. But Dennis created a “buzz” that swept me along. My own research was guided into a less mathematical topic: trying to interpret new observations of quasars. Dennis was “plugged in” to these developments too. He encouraged his students and postdocs to interact and to learn from each other. He eagerly shared new preprints, correspondence, news of conferences, and so forth – and of course, in those pre-internet days, being on networks and mailing lists gave one a crucial head start. In the late 1940s, Fred Hoyle, Thomas Gold and Hermann Bondi proposed the steady state cosmology, according to which the universe, although expanding, had existed in the same state from everlasting to everlasting. This theory never acquired much traction in the US (and still less in the Soviet Union). But its three advocates were vocal and articulate: and in the UK, the theory was widely publicised and discussed. Dennis extolled its aesthetic qualities in his book The Unity of the Universe (1959) – and described himself as its most fervent advocate apart from its three inventors. The steady state theory made definite predictions that everything was the same, everywhere and at all times. But in the 1960s astronomers were, for the first time, able to probe deep enough into space (and therefore, because of light’s finite speed, far enough back into the past) to test it – and it hit the buffers. Dennis’ disappointment was deep, but short-lived. He was quickly reconciled to the Big Bang – indeed he espoused it with the enthusiasm of the newly converted. The 1960s worldwide renaissance in relativity and “high energy astrophysics” was centred on three “schools”: those inspired by John Wheeler (Princeton University), Yakov Zeldovich (Institute for Physical Problems) – and Dennis in the UK. The interactions among them (even though those between East and West were sadly restricted) were cooperative and friendly, to an extent that isn’t always the case in fast-moving scientific fields. Although a superb teacher, Dennis had never enjoyed his routine lecturing or supervision in Cambridge. He left in 1971 to become a senior research fellow of All Souls College, Oxford (being one of the first scientists to breach the walls of that institution). In Oxford, he again mentored an outstanding generation of young scientists. He then moved to the recently established International School for Advanced Studies (SISSA) in Trieste, Italy, where he did it all again for a third time. He was a distinguished and original researcher, but he achieved even more as a “coach” than as a “player”. Martin Rees is emeritus professor of cosmology and astrophysics, fellow of Trinity College, Cambridge, and astronomer royal. Elizabeth Anscombe (1919-2001) was a British analytic philosopher who has been described as “the undoubted giant among women philosophers”. Roger Teichmann knew her since childhood and is author of The Philosophy of Elizabeth Anscombe (2008). Elizabeth Anscombe was one of the most important philosophers of the second half of the 20th century. Renowned for her English translations of the writings of Wittgenstein, whose friend and pupil she was, she was also a bold and original thinker in her own right. I got to know Anscombe as a child: my mother had been taught by Anscombe in the 1950s at the University of Oxford, and they kept up the friendship after they had both come to the University of Cambridge. It was by sitting in on philosophical conversations between the adults that I first caught the philosophy bug. I’ve remained infected ever since. As I grew older, and as a friend of the family, I increasingly took part in those domestic conversations, so that when as an undergraduate I came to attend Anscombe’s lectures, the experience was familiar and at the same time strangely novel. Like Wittgenstein, she lectured more or less without notes. Again like Wittgenstein, she had both intellectual honesty and philosophical stamina, both necessary when it comes to resisting the charms of system-building. If your name is associated with some “-ism”, it can be tempting to spend the rest of your career just defending and elaborating. Anscombe was immune to this common temptation. It was only after I had graduated that I came slowly to appreciate the depth and fecundity of Anscombe’s thought. When I was offered the editorship of a collection of essays in her honour that had got “stuck”, I gladly accepted. At my request, she sent me a photocopy of one of her unpublished essays for inclusion, written in an elegant hand on what appeared to be foolscap paper. There are many anecdotes told about Anscombe, and many are apocryphal. But the non-apocryphal anecdotes are quite good enough. Her independence of spirit coupled with a mischievous and sometimes slightly surreal sense of humour account for many of these. Taken to a restaurant in the US during one of her visits there, she was told by the doorman that ladies in trousers were not admitted (she always wore slacks). Her host was mortified, but she insisted that he shouldn’t worry. She then removed her trousers, beneath which she wore a slip, and they gained entry to the fastidious establishment. I myself remember her at a stand-up drinks reception, when everyone was applauding some worthy speech, putting her glass on her head so as to clap since there were no tables nearby. The experiment failed. In her lifetime, Anscombe trod on many toes, being forthright in her views and in how she expressed them. But she could be as encouraging to her students as she was infuriating to some of her colleagues. She was one of the least hierarchical people I have known. Her complete seriousness and lack of interest in anything glib or merely fashionable was obvious to anyone who knew her, and went back to her childhood and youth. An early manifestation of her independent-mindedness was her teenage announcement to her horrified parents of her conversion to Roman Catholicism. Later in Oxford, she protested against the proposal to award President Truman an honorary degree, a man she described on the occasion as having “a couple of massacres to his name” (at Hiroshima and Nagasaki). The vote went against her, unsurprisingly. Anscombe’s philosophical range was wide. Especially influential has been what she wrote about intention, action and ethics. My own work has been hugely influenced by Anscombe; she together with Wittgenstein taught me how to tackle a philosophical problem. Her star is very much in the ascendant these days, and that can only be for the good. System-builders beware. Roger Teichmann is a lecturer in philosophy at the University of Oxford. The author Malcolm Bradbury (1932-2000), best known for his comic novels about academic life, worked at the universities of Hull, Birmingham and East Anglia. Christopher Bigsby met him in 1966 when he was a lecturer at the University of Wales, Aberwystwyth. What to say of Malcolm Bradbury, academic, comic novelist, television scriptwriter, knighted for services to literature, and my reason for teaching at the University of East Anglia, a university that he helped to shape? As soon as he moved to Norwich I decided to follow. After all, his interests were mine – creative writing and American studies. We had both studied and taught in the US. Thereafter, he would become my model, mentor and best of friends. In 1958, Malcolm underwent major heart surgery, without which he would not have survived to the age of 50. Typically, while in hospital he wrote a comic novel, Eating People is Wrong. Having sidestepped an early death, he threw himself into life and was always writing. If invited to lecture, be a literary judge, write a piece for The New York Times, his answer would always be “yes”, unless his wife answered the phone, in which case it would always be “no”. Over the years we would travel together for the British Council or to conferences. In Moscow, a dash across the airport ended in Malcolm, always a better writer than runner, being treated with oxygen. In Tenerife, the professor who had invited us to a conference was in hiding from terrorists, so we had to introduce and then thank ourselves profusely. He had an eye for a pretty face but also a terror of heights so that I once watched as on a mountain drive he chatted up the young female driver but then grew whiter and more silent as the altitude rose. In the mid-1970s, he was asked to write a Play for Today set in a new university for BBC television, but having just published The History Man felt that he needed a new angle and asked me to co-write. I was very much the junior partner but had a track record of sorts. As an undergraduate I had written satirical scripts for Granada TV, admittedly for a puppet and admittedly appalling. I had also gone the usual student route of writing and performing in a revue at the Edinburgh fringe. The play turned on a manipulative vice-chancellor (our own, we subsequently discovered, anaesthetising himself with a bottle of wine as he watched in trepidation) and a young professor of organisational studies. At the time, there was no such academic discipline. Now there is. He was in contention with that familiar Malcolm figure, the well-meaning but disordered liberal. The line of which I was most proud was, “If God had been a liberal we wouldn’t have had the Ten Commandments, we would have had the Ten Suggestions.” We then wrote a science fiction play for BBC Two, but finding ourselves in contention with the producer, adopted the pseudonym Malcolm Christopher. The Daily Mail review began, “A new play by Malcolm Christopher is always an event.” Malcolm had the ability to write brilliantly funny novels that caught the zeitgeist. In that respect he was the twin of his friend David Lodge and, like David, was an astute and deeply intellectual critic who wrote with a clarity that I admired and aspired to. Politically conservative, he was morally and in every other way liberal, a master of so much but prone to phone his wife from the station asking her where he was supposed to be going. Pipe Smoker of the Year in 1997, he lived in fear that they would take the award away when he was finally forced to stop smoking. When he was dying (although not aware of such) we were writing a speculative new television series set in a failing post-92 university. One of my last memories of him was his laughing at his own jokes behind the oxygen mask he was required to wear. There are worse ways to go. I miss him greatly. Christopher Bigsby is director of the Arthur Miller Centre and professor of American studies at the University of East Anglia. Dorothy Hodgkin (1910-1994) won the Nobel Prize in Chemistry in 1964 for her work on the structures of vitamin B12 and penicillin and remains the only British woman to have won a Nobel prize in science. I was a very young postgraduate when I went to see Dorothy Hodgkin at the University of Oxford one summer to discuss the possibility of my doing a DPhil. I had just completed a BSc in chemistry at the University of Bristol and she was incredibly kind to accept me with a plan to work on the neutron study of insulin. Dorothy was in the process of finishing novel research on the neutron diffraction of vitamin B12 with my co-supervisor, Terry Willis of the Atomic Energy Research Establishment, Harwell. It was very unusual at that time to study such large structures by neutron diffraction, and the doctorate offered a huge but exciting challenge. I joined Somerville College two years after she had been awarded the Nobel prize and was in complete awe, but I had no preconceptions about how it would be in Oxford working with such a famous person – I just knew that I was very lucky to be there. Dorothy never made us feel inadequate about our lack of knowledge or inexperience in the subject and always seemed to have time for her students and members of the research group. Although I spent most of my time working on experiments at Harwell, it seemed that I had plenty of opportunity to be with Dorothy in her rooms in the chemistry department to discuss our results. She sometimes seemed to go into her own world in the middle of some discussion we were having and I wondered if I should slip away quietly and leave her to more serious scientific matters, but then she would return from her reverie and continue our conversation quite cheerfully. I don’t think I realised at the time just how many famous names in crystallography came through Oxford in those years. It was a truly enriching period of my early career and the influence of Dorothy and the Oxford labs stayed with me for ever and directed my future career. Dorothy was a very gentle person in many ways, but she was not without enormous presence. When she felt strongly about something, she was direct in giving an opinion on matters within and beyond science. Less than two years after I had left Oxford to take up a postdoctoral position at Bristol, Dorothy became the chancellor of the University of Bristol in 1971. This was wonderful for me as I could continue to see her regularly and we could talk about science rather than university politics. When Dorothy retired formally from Oxford, she spent more time at her home in the Cotswolds. I lived nearby and became a frequent visitor to her home at Crab Mill. Later, when I moved to Durham, my route back to the South West took me past her house and I would call in regularly to see her and her family. She was by then increasingly frail but always enjoyed hearing about science and discussing the latest results. Dorothy was extremely bright and had the ability to concentrate completely when working on a difficult problem, refusing to give up even when the task was long and complicated. Her seminal work on the structure of insulin spanned almost 35 years. It was a tour de force and ran alongside other major projects for which she was awarded the Nobel prize in 1964. She very cleverly chose to study the most important biological systems of the time, as well as tackling extremely interesting scientific challenges using the then-new technique of X-ray crystallography. One of her many skills was an incredible ability to interpret correctly complicated electron density maps that she calculated herself from the X-ray diffraction photographs, and with tremendous insight and tenacity she solved extremely important and complex molecular structures. These are facts, but her “greatness” was so much more a part of her character and her gentle ability to inspire and encourage others. Her empathy with scientists in parts of the world where life was more complicated and difficult scientifically was amazing, and Dorothy gave a great deal of her time to help aspiring young people. Her example lives on through those who worked with her and whom she taught and inspired. Judith Howard is professor of chemistry at Durham University. The poet Philip Larkin (1922-1985) worked as university librarian at the University of Hull for 30 years. James Booth worked in Hull’s English department from 1968 to 2011, so was for 17 years a distant colleague. “Of course it will all be up if any of the committee has read Toads,” Larkin wrote on being invited for interview at the University of Hull in 1954: “Why should I let the toad work/Squat on my life? […]/Six days of the week it soils/With its sickening poison-/Just for paying a few bills!/That’s out of proportion.” His luck held, and he was offered the post of librarian at the age of 32. A quarter-century after his death, in 2010, 25 brightly decorated toads adorned the streets of Hull. Today Larkin’s toad is part of Hull’s cultural “brand”. This, then, is no conventional account of academic influence. My contacts with Larkin were slight. He was a poet who never gave readings; I was an academic specialising in postcolonial literature. Larkin saw his work in the university as the nine-to-five “day job” that gave him the time to write poems. Nevertheless, his librarianship alone would preserve his memory. He presided over two rebuildings (completed in 1961 and 1970), creating, with vice-chancellor Sir Brynmor Jones, one of the finest post-war university libraries in Britain. After his death the Library Association published a volume of essays in his honour. Larkin’s Library remained unaltered until the magnificent £28 million renewal under his successor, Richard Heseltine, which was officially opened by the Poet Laureate last month. The new Reading Room preserves the original design of lighting, and with it, for all the computer terminals, much of the atmosphere of Larkin’s time. I arrived in Hull five years after the Robbins report, in 1968, a record year for staff appointments. With his background in the austere 1950s, the arrogance and sense of entitlement of the younger generation sharpened Larkin’s reactionary persona: “the place is full of replicas of Che Guevara & John Lennon, muttering away and plotting treason”. On the other hand, lunching in the staff refectory with my poet colleague Angela Leighton, he would envy the life of Riley we male academics must be enjoying among the female students. In 1973, The Guardian revealed that Reckitt and Colman, in which the university held a large investment, were paying black workers in their South African subsidiary below the official United Nations poverty wage. Knocking on doors, I signed up half the university staff to a petition to the university council requesting disinvestment. Asked about this in the bar over lunch, Larkin replied: “He’s performing a valuable function. It will be handy to have a complete list of all the pricks in the university.” But beyond all this are the poems. In the 1970s, I would spend Sunday afternoons in Loten Hall of Residence, watching the sky darken over the rugby pitch and listening to the familiar music of Larkin’s voice on the vinyl records of The Less Deceived and The Whitsun Weddings: “And past the poppies bluish neutral distance/Ends the land suddenly beyond a beach/Of shapes and shingle. Here is unfenced existence:/Facing the sun, untalkative, out of reach.” In those days, Larkin was a guilty passion; he was too parochial, not modernist enough. But new enthusiastic generations of readers have followed to prove this a mistake. His work does not “date”. By the 1990s, I was teaching a Larkin option and supervising PhDs on his work. I recall my last glimpse. A few months before he died, in 1985, I saw him standing outside Grandways supermarket holding a plastic carrier bag. He acknowledged me with a wan grimace, round-shouldered, defeated, bound for “the total emptiness forever,/The sure extinction that we travel to/And shall be lost in always”.
1098	dbpedia	3	58	https://www.thenakedscientists.com/articles/interviews/martin-rees-early-life	en	Martin Rees: Early life	https://www.thenakedscie…pg?itok=st4X6qf4	https://www.thenakedscie…pg?itok=st4X6qf4	[ "https://www.thenakedscientists.com/sites/default/files/styles/featured_image/public/media/media/54e1d7444d52a814f6da8c7dda7930791439dbed534c704c7c267edc974ec55c_1280.jpg?itok=rXqKzk7K", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/images/bee-535247_1920.jpg?itok=6iJqTqDM", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/images/image0.jpeg?itok=ZSIExHK0", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/55e0dd4a4351ad14f6da8c7dda7930791439dbed534c704f752e7ed09149c25e_1280.jpg?itok=6t7nK69i", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/RAINDROPS-ON-LEAF.png?itok=t5gAtHZ_", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/55e7d24b4c51a514f6da8c7dda7930791439dbed534c704c72277fd49049cc5e_960.jpg?itok=ypPtOQ01", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/photo-1631824683860-9a7aa1fe0713.jpg?itok=LJ19snNQ", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/Lobster_noaa.jpg?itok=rH0_obCn", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/PETER-LIES-Photo.JPG?itok=FGjHtlwy", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/ea30b1092ffc033ed1584d05fb1d4191e271e7dd19ac104490f0c37aa2e5b1b0_960.jpg?itok=TvYtdDVF", "https://www.thenakedscientists.com/sites/default/files/styles/media_thumbnail/public/media/media/ga3f8a7f99e3993217a78fe5979fa39fe134b4a4c1716ff20059c3d0d6a907e12229cb003ecb20ee03877b9a09538202229431d7e62854ed3d319cd2589ebe50f_1280.jpg?itok=q-p_oFYU", "https://www.thenakedscientists.com/sites/default/files/media/media/cambridge_logo_footer.png" ]	[]	[]	[ "martin rees", "hawking", "quasar discovery", "black holes", "Astronomer Royal" ]	null	[ "Martin Rees", "en-gb.facebook.com" ]	2024-01-16T15:26:00	Martin - Well, I was very lucky because I grew up in this village in the South Shropshire Hills - beautiful natural world. My parents were teachers and I was sent away to boarding school (which wasn't quite so happy) when I was 13. But I was very well taught and I did get into Cambridge and I read mathematics. I wish actually I'd done a broader curriculum at university	en	https://www.thenakedscientists.com/favicon.ico		https://www.thenakedscientists.com/articles/interviews/martin-rees-early-life	Chris Smith met up with Martin Rees at his Cambridge home to hear about his life's work... Martin - Well, I was very lucky because I grew up in this village in the South Shropshire Hills - beautiful natural world. My parents were teachers and I was sent away to boarding school (which wasn't quite so happy) when I was 13. But I was very well taught and I did get into Cambridge and I read mathematics. I wish actually I'd done a broader curriculum at university because, when I got to university, I realised I wasn't quite the same as other geeky people doing mathematics in that I like to think in a more synthetic or synoptic way. I became a research student in 1964, and that's when quasars had just been discovered, the evidence for the Big Bang from the radiation, the so-called afterglow of creation and lots of other exciting things and theoretical work by Hawking and Penrose on Black Holes was being done. Advice I would still give to any young person starting is, if you pick a subject, pick something where new things are happening and then the experience of the old guys is at a heavy discount and you can immediately make an impact. Don't go into some sterile subject because then you'll be trying to do the problems the old guys got stuck on. Chris - Do you think then you got lucky with the subject? Did you have some foresight? Because you've said to me, go and pick something that's an exciting, emerging, evolving area. That is current. Don't get stuck on the old stuff. Did it find you or did you already have that view and therefore you were seeking out that kind of thing and you were able to say - well, I'm good at maths. I've got the kind of mind that would suit this, that's where I'm headed. Martin - It was really just luck rather than careful planning. I had decided I didn't really want to pursue mathematics as a career. I liked the idea of something academic. I thought quite seriously about economics because I had some good friends who had defected from maths to economics and did very well as economists. I might have tried to follow that route and I might have been happy if I'd done that too, but I was very lucky to get a place as a graduate student in Dennis Sciama's group. And it was luck because some other person who'd got the job in preference to me dropped out, and so I just managed to get my position as a graduate student. Chris - What was going on in Dennis Sciama's domain that really drew you in and what did you think were the areas that were going to be the exciting ones to pursue? Martin - Well, I realised that I liked a style of thinking where you try to make sense of something from limited information rather than doing complicated deductive reasoning like in mathematics - a bit like engineering where you try to make something that works from given specifications. We had these objects that are very bright, flashing away, which we now think are massive black holes in the centre of galaxies, which are called quasars, and I wrote some papers trying to understand that sort of thing and also to understand the expanding universe where the idea of an evolving universe was a fairly new one. I think it was a style of thinking that I quite enjoyed. I mentioned Dennis Sciama. He was very plugged into what was going on in all these fields, and he'd come in excitedly every day with some new preprint for the new paper he'd been sent and circulated. He had students like Stephen Hawking, who was two years ahead of me, and he told those students to go and listen to Roger Penrose in London who had exciting new ideas. They duly did and followed them up spectacularly. He was someone who exemplified that you can be a great coach without being a great player. He didn't do any amazing science himself, but he was an enthusiast and he inspired us all, a whole group in Cambridge, and then he moved to Oxford in the 1970s where, again, he had an equally strong stable of students there.
1098	dbpedia	1	41	https://www.sciencemediacentre.org/expert-reaction-to-nobel-prize-for-physics/	en	expert reaction to Nobel prize for physics			[ "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/HeaderLogo_Out.svg", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/HeaderLogo_Over.svg", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/rss.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/rss_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/twitter.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/twitter_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/blogger.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social/blogger_over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_RoundUps_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_RoundUps_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Briefings_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Briefings_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Headlines_Out.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/Home_Headlines_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterLogo.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/email-footer.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/social_transparent.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterNode.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/FooterNode_Over.png", "https://www.sciencemediacentre.org/wp-content/themes/SMC/images/mythic-beasts-logo.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.sciencemediacentre.org/expert-reaction-to-nobel-prize-for-physics/	The 2020 Nobel Prize in Physics, has been half awarded to Prof Roger Penrose for his discovery that black hole formation is a prediction of the general theory of relativity, and the other half of the award was jointly received by Prof Reinhard Genzel and Prof Andrea Ghez for the discovery of a black hole at the centre of our galaxy. Dr Marco Bruni, Reader in Cosmology and Gravitation at the University of Portsmouth, said: “In its best tradition, the Nobel Prize physics committee has assigned this year’s prize on results that have now been well established for a while, on the existence of black holes. It is remarkable that half the prize is going to Roger Penrose for his theoretical work in the 60s on the inevitability of black hole formation, with the other half going to Reinhard Genzel and Andrea Ghez for their astronomical observations in the 90s providing evidence for the existence of a super-massive black hole in the centre of our galaxy, the Milky Way. Physics advances through the interplay between theory and experiments, and this year’s prize, really recognise the importance of this interchange. It is also great to see a woman becoming a Nobel Laureate in physics – she is only the fourth since 1901 – so it is good to see the physics committee breaking away from a mostly men-only tradition. “It is particularly great to see Roger Penrose awarded the Nobel prize in physics for his theoretical work on the inevitability of black holes formation. Penrose is no-doubt a genius, and he was inspired to work on physics problems by Dennis Sciama. Several of us at the University of Portsmouth’s Institute of Cosmology and Gravitation have a direct connection with Sciama, as we did our PhDs with some of the many of Sciama’s students. Sciama established a school in astrophysics in the 60s in Cambridge, when Penrose met him, and later in Oxford in the 70s and in Trieste (Italy) in the 80s. Many in Sciama’s school have worked on black hole’s physics and in cosmology, and in a sense the prize to Penrose is a recognition of this great legacy.” Dr Laura Nuttall, Senior Lecturer in Gravitational Waves at the University of Portsmouth, said: “It’s great to see Penrose, Ghez and Genzel recognised with the Nobel prize. Penrose is synonymous with black holes. His work in proving how black holes form, as well as their centre being a singularity, has opened so many fields, including that of searching for gravitational waves. Ghez and Genzel’s work has also inspired many, such as the Event Horizon Telescope who only released an image of a supermassive black hole last year. It’s wonderful, that their work is very much taken as a given today – of course black holes form from the collapse of matter and of course there’s a black hole at the centre of the galaxy. It’s easy to forget that this has not always been the case!” Professor David Wands, Professor of Cosmology at the University of Portsmouth, said: “Roger Penrose is a brilliant and original thinker: he brought a unique geometrical insight and applied it to physical theories to derive remarkable and profund results. His work established the inevitability of singularities in Einstein’s General Theory of Relativity, including his famous work with Stephen Hawking on the nature of the Big Bang singularity. It is great to see the Nobel committee recognise his exceptional contributions in mathematical physics.” Prof Jerome Gauntlett, Imperial College London, Professor of Theoretical Physics: “I’m absolutely delighted with today’s announcement of the Nobel Prize for Physics! “Black holes are structures in the very fabric of space and time and are amongst the most extraordinary structures that are known to exist in the universe. Within General Relativity, Einstein’s theory of gravity, they have the remarkable property that once one passes through the event horizon there is no way back. It is necessarily a one way journey to something called a spacetime singularity, where the current laws of physics break down. Black hole solutions to Einstein’s equations were first found shortly after Einstein formulated his theory in 1915, but it was decades before their properties were properly understood and it started to become accepted that they might actually exist in nature. “Roger Penrose laid the foundations for our modern understanding of black holes in the 1960s. In a highly original and profound development he introduced new mathematical methods to study Einstein’s equations. His work revealed that in certain situations the formation of a black hole in the gravitational collapse of a star is essentially inevitable and this is when black holes started to be taken more seriously. Furthermore, his work showed that inside every black hole there must be a spacetime singularity. This is in fact a wonderful opportunity for fundamental physics: if one wants to understand the laws of physics that takes us beyond Einstein’s theory and the laws of quantum mechanics, we should think about black holes! “We now know through the work of Ghez and Genzel that there is a supermassive black hole in the centre of our galaxy. Over the past few years we have also seen spectacular confirmation of the existence of black holes via the gravitational waves that they emit when they merge with each other. We are certainly living in a very exciting era for black hole science.” Oliver Jennrich, ESA scientist working on LISA, said: “Black holes play a fundamental role both in our understanding of the Universe and the formation of the structures that we see today, such as galaxies and groups of galaxies. The discovery of a black hole in the center of our galaxy through the observation of the orbit of stars not only confirms our understanding of General Relativity, it also raises many more new questions e.g. on the history of such massive objects and their influence on their environments. The planned ESA mission LISA, a mission to observe gravitational waves will be able to detect mergers of such massive black holes essentially everywhere in the Universe and will be able to shed light on the questions on how the massive black in the centers of galaxies form and about their role in the formation of the large-scale structures in the Universe.” Dr. Matteo Guainazzi, ESA scientist working on Athena, said: “The Nobel Prize to Prof. Genzel and Ghez constitutes the culmination of a decade-long endeavor to find unquestionable observational evidence of the existence of astrophysical black holes. This stream of investigation was triggered by the theoretical insight that black holes are an inevitable consequence of Einstein’s General Relativity as prof. Penrose’s investigation brilliantly showed”. Erik Kuulkers, ESA scientist working on INTEGRAL, said: “The work by Penrose, Genzel & Ghez has been seminal, which culminated, into the first image of a black hole captured last year. We are now able to not only understand, but also see the most extreme physics in the universe at play.” Dr Venki Ramakrishnan, President of the Royal Society, said: “It is a pleasure to see this year’s Nobel Prize in Physics recognise three outstanding scientists, and their teams, for ground-breaking work on black holes which simultaneously transformed our understanding of the universe and captured the imaginations of millions. “Professor Penrose’s seminal paper demonstrated mathematically that not only could black holes exist, but that their formation is a consistent and predictable outcome of a universe governed by general relativity. This work showed black holes were there to be found – but it was the painstaking, long-term study of the centre of our own Milky Way, by groups led by Professor Ghez and Professor Genzel, that gave the best evidence yet of a black hole on our doorstep. “Through decades of patient application, they have refined the technology and techniques for studying our galaxy, and in doing so, opened up new possibilities and questions to explore.” Professor Grahame Blair, Director of Programmes at STFC, said: “The groundbreaking work carried out by Professor Sir Roger Penrose all those decades ago truly laid the foundation for black hole science. The development of theoretical ideas of space and time has paved the way for exciting experimental discoveries in astronomy and the study of gravitational waves, as well as the remarkable observations made by fellow winners Professors Reinhard Gerzel and Andrea Ghez. “Enhancing our knowledge of the fundamental forces of particles and nature is the motivation that underpins STFC theoretical and experimental programmes. “Understanding these mysterious celestial phenomena is vital if we are to understand how the universe was formed, and ultimately how it will come to an end.” Dr Stephen Wilkins, Head of Astronomy at the University of Sussex, said: “The 2020 Nobel prize for Physics celebrates three pioneering scientists who have spent their careers trying to understand black holes. “Black holes are not only a key prediction of Einstein’s 100 year old General Theory of Relativity but are now believed to play a critical role in the regulating the growth of galaxies like the Milky Way.“ Prof Martin Rees, Astronomer Royal and Fellow of Trinity College, University of Cambridge, said: “The Genzel/Ghez work is impressive in combining near-infrared observations with very high angular resolution. This work by both groups has continued, with improving sensitivity, for long enough to monitor complete orbits of the closest-in stars: straightforward application of Newton’s law then gives the firmest evidence for the actual mass of the dark object in the Galactic Centre. (The existence of a black hole in the galactic centre was predicted nearly 50 years ago and has gradually strengthened.) “Genzel has a superb lifetime record. He and Eisenhauer have more recently achieved a major ‘leap forward’ in developing and using an instrument, called GRAVITY, which links the four telescopes of the VLT array into an interferometer. “The sustained programmes led by Genzel and Ghez have, in combination with data in other wavebands, clarified our understanding of the complex physics and ‘weather’ in the Galactic Centre. However, even the innermost stellar orbits in the Galactic Centre don’t extend any closer than a hundred times the radius of the hole. They provide (via essentially Newtonian arguments) excellent determinations of the central mass, and also a limit on deviations from general relativity in the weak -field domain. But it is other data – especially radio interferometry, data from X-ray astronomy, and above all LIGO – which currently offer direct evidence that black holes have the properties that relativity theory predicts.” Philip Diamond, Executive Director of the Royal Astronomical Society, said: “Half a century ago, even the very existence of black holes was still controversial. Through the pioneering work of Penrose, Genzel and Ghez, we not only have a vastly better understanding of how they are formed, but are able to say convincingly that giant black holes are found at the centre of every galaxy, including our own. My congratulations to all three winners!” Professor Arttu Rajantie, Professor of Theoretical Physics at Imperial College London, said: “This is a very well-deserved Nobel Prize. Through gravitational wave observations, black holes are going to dramatically advance our understanding of fundamental physics over the coming decades. Today’s Nobel laureates laid the foundations for that, both theoretically and observationally, by understanding the meaning of the black hole solutions of general relativity and by demonstrating that they really exist in the Universe.” Professor Tom Marsh of the Astronomy and Astrophysics Group at University of Warwick said: “Roger Penrose established the theoretical basis for believing that black holes were more than just theoretical constructs: they could actually form from stars. Reinhard Genzel’s and Andrea Ghez’s work is an astronomical tour de force and direct proof of the existence of the closest super-massive black-hole to Earth. They form a brilliant theoretical and experimental confirmation of a key consequence of Einstein’s General Theory of Relativity.” Dr David Clements, Astrophysicist, Imperial College London, said: “The long term monitoring of the centre of our own galaxy that has led to the discovery of the supermassive black hole at its centre, and half of this year’s Nobel Prize, was an amazing achievement. It built up data over decades from many different telescopes, with continually improving instrumentation and techniques. It was a marathon run, and has produced fantastic results.” Professor Boris Gaensicke, Professor in the Astronomy and Astrophysics Group at the University of Warwick, said: “It is fantastic to see the observational studies carried out by Andrea Ghez and Reinhard Genzel, beautifully simple in concept yet so powerful in constraining the properties of the black hole at the centre of the Milky Way, being awarded this year’s Nobel Prize in Physics. “ Roger Highfield, Science Director at the Science Museum, said: “This Nobel prize acknowledges Sir Roger’s work on black holes but he has been hugely influential in so many other ways, from his bestselling books, notably on the limitations of computers and quantum theory, our most successful theory, to his discovery of aperiodic tiling named in his honour (made famous by a battle with a manufacturer of quilted toilet paper, who appropriated his idea) and his artistic inclinations, notably his work with his father, Lionel, that inspired Escher and that can be seen in his hand-drawn slides and transparencies.” Prof Martin Rees, Astronomer Royal and Fellow of Trinity College, University of Cambridge, said: “Penrose is amazingly original and inventive, and has contributed creative insights for more than 60 years. There would, I think, be a consensus that Penrose and Hawking are the two individuals who have done more than anyone else since Einstein to deepen our knowledge of gravity. (Other key figures would include Israel, Carter, Kerr, and numerous others.) Sadly, this award was too much delayed to allow Hawking to share the credit with Penrose. “It was Penrose, more than anyone else, who triggered the renaissance in relativity in the 1960s through his introduction of new mathematical techniques. He introduced the concept of a ‘trapped surface’. On the basis of this concept, he and Hawking (more than a decade younger) together showed that the development of a singularity – where the density ‘goes infinite’ – was inevitable once a threshold of compactness had been crossed (even in a generic situation with no special symmetry). This crucial discovery firmed up the evidence for a big bang, and led to a quantitative description of black holes.” Prof Toby Wiseman, Professor of Theoretical Physics at Imperial College London, said: “This is a remarkable Nobel prize that spans from understanding the mathematics of black holes through to their experimental verification. “A key step in the story of black holes was Roger Penrose’s singularity theorem. This beautiful mathematics proves that black holes form any time when too much matter is in a small volume of space. It revolutionised our thinking about these bizarre mathematical solutions to Einstein’s equation of gravitation, General Relativity. For decades before, the black hole solution was thought to be a mathematical curiosity, not physical reality. Penrose showed that if you believe Einstein, then black holes form under very general conditions, such as when certain stars die. They must be a physical reality. “The prize also celebrates the remarkable observations of the supermassive black hole, Sagittarius A*, at the centre of the Milky Way, our own galaxy. For decades astronomers have been observing the stars near the very centre of our galaxy and have reconstructed their orbits about an invisible but very small and massive object. While we can’t see this directly it precisely fits with the black hole theory, and from looking at these orbiting stars we can deduce it has a huge mass, roughly that of 4 million suns, all put into a tiny object predicted to be just ten million kilometres in radius.” Prof Sadegh Khochfar, Professor of Theoretical Astrophysics at The University of Edinburgh, said: “This year’s prize recognises all that is good about astrophysical research. Making theoretical predictions on the fundamentals of physics and embarking on a challenging decade-long observational campaign to test them. The existence of black holes provides deep understanding of the laws of gravity and opens up the question on their formation and evolution within the context of an evolving Universe. “With the existence of a super-massive black hole proven in the centre of our own galaxy we can now embark on testing the laws of gravity even with higher precision in extreme conditions such as around a black hole.” Professor Martin Ward, Emeritus Temple Chevallier Professor of Astronomy at Durham University, said, “This a great example of theoretical insight and prediction followed by state-of-the-art observational evidence. Using classical Newtonian mechanics the nearest super massive black hole at our Galactic Centre was revealed, and so ‘Darkness made visible’.” Prof Tom McLeish, Professor of Natural Philosophy at the University of York, said: “Penrose, Genzel and Ghez together showed us that Black Holes are awe-inspiring, mathematically sublime, and actually exist ” Prof Jim Al-Khalili, Professor of Physics, Professor of Public Engagement in Science, EPSRC Media Fellow, University of Surrey, said: “I can’t tell you how delighted I am that Roger Penrose has been recognised with a Nobel Prize. For many outside of physics he has been see as being in the shadow of his long-time collaborator, the late Stephen Hawking. But while Einstein’s general theory of relativity predicts the existence of black holes, Einstein didn’t himself believe they really existed. Penrose was the first to prove mathematically, in 1965, that they are a natural consequence of relativity theory and not just science fiction.”
1098	dbpedia	3	23	https://www.newsweek.com/brief-history-friend-stephen-hawking-man-who-changed-our-times-844300	en	A Brief History of My Friend Stephen Hawking, the Man Who Changed Our Times	https://d.newsweek.com/e…phen-hawking.jpg	https://d.newsweek.com/e…phen-hawking.jpg	[ "https://g.newsweek.com/www/images/newsweek-desktop-tablet.svg", "https://d.newsweek.com/en/full/832328/03-06-stephen-hawking-exploration.jpg?w=1200&f=7617c9082f5c94b498bb64cd77beb20c", "https://d.newsweek.com/en/full/288603/stephen-hawking.jpg?w=1200&f=2704fe9eeab87c9e0484044982e70e1b", "https://d.newsweek.com/en/full/292413/eddie-redmayne-theory-everything.jpg?w=1200&f=543168d7b36f407c56900e57e48daa3a", "https://d.newsweek.com/en/full/435393/20-06-2007-stephen-hawking.jpg?w=1200&f=da2fad3dace9ede3c874f87cb1376250", "https://d.newsweek.com/en/full/2369993/tom-rogers-susan-del-percio-bw.png?w=80&h=80&f=5d8ef43b32627e660e41e0a0aafd3170", "https://d.newsweek.com/en/full/2347299/thomas-g-moukawsher.png?w=80&h=80&f=98ec4f217b84e9685558243767388ed0", "https://g.newsweek.com/www/images/newsletter-white.svg", "https://d.newsweek.com/en/full/2280621/subscription-newsweek-premium.png", "https://d.newsweek.com/en/full/2222596/subscription-digital.png", "https://d.newsweek.com/en/full/2456800/kamala-harris-tax-plans-what-could-happen.png", "https://d.newsweek.com/en/full/2457695/migrants-stock-photo.jpg", "https://d.newsweek.com/en/full/2457693/plymouth.jpg", "https://d.newsweek.com/en/full/2457603/hezbollahs-hassan-nasrallah.jpg", "https://g.newsweek.com/img/footer/NW-LOGO-001.svg", "https://g.newsweek.com/img/footer/linkedin.svg", "https://g.newsweek.com/img/footer/instagram.svg", "https://g.newsweek.com/www/images/twitter-icon-white.svg", "https://g.newsweek.com/img/footer/facebook.svg", "https://d.newsweek.com/en/full/2454645/cover-august-30-2024.jpg?w=400&f=7438b22e4168c087fba58eb360139061" ]	[]	[]	[ "" ]	null	[ "Martin Rees" ]	2018-03-14T09:18:29-04:00	Millions have had their cosmic horizons widened by his best-selling books; and even more, around the world, have been inspired by a unique example of achievement against all the odds.	en	https://g.newsweek.com/t…e-touch-icon.png	Newsweek	https://www.newsweek.com/brief-history-friend-stephen-hawking-man-who-changed-our-times-844300	Soon after I enrolled as a graduate student at the University of Cambridge in 1964, I encountered a fellow student who was two years ahead of me in his studies. He was unsteady on his feet and spoke with great difficulty. This was Stephen Hawking. He had recently been diagnosed with a progressive neurodegenerative disease, amyotrophic lateral sclerosis (ALS), and it was thought that he might not survive long enough to even finish his PhD. But, amazingly, he lived on to the age of 76. Even mere survival would have been a medical marvel, but of course he didn't just survive. He became one of the most famous scientists in the world—acclaimed as a world-leading researcher in mathematical physics, for his best-selling books about space, time and the cosmos, and for his astonishing triumph over adversity. Astronomers are used to large numbers. But few numbers could be a large as the odds I'd have given, back in 1964 when Stephen received his 'death sentence', against witnessing this uniquely inspiring crescendo of achievement sustained for more than 50 years. Few, if any, of Einstein's successors have done more to deepen our insights into gravity, space and time. Stephen went to school in St Albans, near London, and then to Oxford University. He was, by all accounts, a 'laid back' undergraduate, but his brilliance nonetheless earned him a first class degree in physics, and an 'entry ticket' to a research career in Cambridge. Within a few years of the onset of his disease he was wheelchair-bound, and his speech was an indistinct croak that could only be interpreted by those who knew him. But in other respects fortune, had favored him. He married a family friend, Jane Wilde, who provided a supportive home life for him and their three children, Robert, Lucy and Tim. The 1960s were an exciting period in astronomy and cosmology; this was the decade when evidence began to emerge for black holes and the big bang. In Cambridge, Stephen joined a lively research group. It was headed by Dennis Sciama, an enthusiastic and effective mentor who urged him to focus on the new mathematical concepts being developed by Roger Penrose, which were initiating a renaissance in the study of Einstein's theory of general relativity. Stephen mastered Penrose's techniques and quickly came up with a succession of insights into the nature of black holes (then a very new idea), along with new arguments that our universe had expanded from a 'big bang'. The latter work was done jointly with George Ellis, another of Sciama's students, with whom Stephen wrote a monograph entitled The Large-Scale Structure of Space-Time. Especially important was the realization that the area of a black hole's horizon (the 'one-way membranes' that shroud the interior of black holes, and from within which nothing can escape) could never decrease. The analogy with entropy (a measure of disorder, that likewise can never decrease) was developed further by the late Israeli theorist Jacob Bekenstein. In the subsequent decades, the observational support for these ideas has strengthened—most spectacularly with the 2016 announcement of the detection of gravitational waves from colliding black holes. Stephen was elected to the Royal Society, Britain's main scientific academy, at the exceptionally early age of 32. He was by then so frail that most of us suspected that he could scale no further heights. But, for Stephen, this was still just the beginning. He worked in the same building as I did. I would often push his wheelchair into his office, and he would ask me to open an abstruse book on quantum theory—the science of atoms, not a subject that had hitherto much interested him. He would sit hunched motionless for hours—he couldn't even to turn the pages without help. I wondered what was going through his mind, and if his powers were failing. But within a year he came up with his best-ever idea—encapsulated in an equation that he said he wanted on his memorial stone. The great advances in science generally involve discovering a link between phenomena that seemed hitherto conceptually unconnected. For instance, Isaac Newton famously realized that the force making an apple fall was the same as the force that held the moon and planets in their orbits. Stephen's 'eureka moment' revealed a profound and unexpected link between gravity and quantum theory; he predicted that black holes would not be completely black, but would radiate in a characteristic way. Bekenstein's concept that black holes had 'entropy' was more than just an analogy. This radiation is only significant for black holes much less massive than stars—and none of these have been found. However 'Hawking radiation' had very deep implications for mathematical physics—indeed one of the main achievements of string theory has been to corroborate his idea. It is still the focus of theoretical interest—a topic of debate and controversy more than 40 years after his discovery. Indeed, the Harvard theorist Andrew Strominger (with whom Stephen recently collaborated) said that this paper had caused "more sleepless nights among theoretical physicists than any paper in history." The key issue is whether information that is seemingly lost when objects fall into a black hole is in principle recoverable from the radiation when it evaporates. If it is not, this violates a deeply believed general physical principle. In 2013 he was one of the early winners of the Breakthrough Prize, worth three million dollars, which was intended to recognize theoretical work. Cambridge was Stephen's base throughout his career, and he became a familiar figure navigating his wheelchair around the city's streets. By the end of the 1970s, he had advanced to one of the most distinguished posts in the University—the Lucasian Professorship of Mathematics, once held by Newton himself. He held this chair with distinction for 30 years; but reached the retiring age in 2009 and thereafter held a special research professorship. He travelled widely. He was an especially frequent visitor at the California Institute of Technology (Caltech) in Pasadena; and at the Texas A&M University. He continued to seek new links between the very large (the cosmos) and the very small (atoms and quantum theory) and to gain deeper insights into the very beginning of our universe—addressing questions like 'was our big bang the only one?' He had a remarkable ability to figure things out in his head. But latterly he worked with students and colleagues who would write a formula on a blackboard; he would stare at it, and say whether he agreed with it, and perhaps what should come next. In 1987, Stephen contracted pneumonia. He had to undergo a tracheotomy, which removed even the limited powers of speech he then possessed. It had been more than 10 years since he could write, or even use a keyboard. Without speech, the only way he could communicate was by directing his eye towards one of the letters of the alphabet on a big board in front of him. But he was saved by technology. He still had the use of one hand; and a computer, controlled by a single lever, allowed him to spell out sentences. These were then declaimed by a speech synthesizer, with the androidal American accent that has thereafter become his trademark. His lectures were, of course, pre-prepared, but conversation remained a struggle. Each word involved several presses of the lever, so even a sentence took several minutes. He learnt to economize with words. His comments were aphoristic or oracular, but often infused with wit. In his later years, he became too weak to control this machine effectively, even via facial muscles or eye movements, and his communication—to his immense frustration—became even slower. At the time of his tracheotomy operation, he had a rough draft of a book, which he'd hoped would describe his ideas to a wide readership and earn something for his two eldest children, who were then of college age. On his recovery from pneumonia, he resumed work with the help of an editor. When the US edition of A Brief History of Time appeared, the printers made some errors (a picture was upside down), and the publishers tried to recall the stock. To their amazement, all copies had already been sold. This was the first inkling that the book was destined for runaway success . The feature film The Theory of Everything (where he was superbly impersonated by Eddie Redmayne, in an Oscar-winning performance) portrayed the human story behind his struggle. It surpassed most biopics in representing the main characters so well that they themselves were happy with the portrayal (even though it understandably omitted and conflated key episodes in his scientific life). Even before this film, his life and work had featured in movies. In an excellent TV docudrama made in 2004, he was played by Benedict Cumberbatch. The Theory of Everything conveyed with sensitivity how the need for support (first from a succession of students, later from a team of nurses), strained his marriage to breaking point, especially when augmented by the pressure of his growing celebrity. Jane's book, on which the film is based, chronicles the 25 years during which, with amazing dedication, she underpinned his family life and his career. This is where the film ends. But it left us only halfway through Stephen's adult life. After the split with Jane, Stephen married, in 1995, Elaine Mason, who had been one of his nurses, and whose former husband had designed Stephen's speech synthesizer. But this partnership broke up within a decade. He was sustained, then and thereafter, by a team of helpers and personal assistants, as well as his family. His daughter Lucy has written books for children with her father as coauthor. His later theories were described, and beautifully illustrated, in other books such as Our Universe in a Nutshell and The Grand Design. These weren't bought by quite as many people as his first book—but more readers probably got to the end of them. The success of A Brief History of Time catapulted Stephen to international stardom. He featured in numerous TV programs; his lectures filled the Albert Hall, and similar venues in the US and Japan. He featured in Star Trek and The Simpsons, and in numerous TV documentaries, as well as advertisements. He lectured at Clinton's White House and was back there more recently when President Obama presented him with the US Medal of Freedom, a very rare honor for any foreigner—and of course just one of the many awards he accumulated over his career. In the summer of 2012, he reached perhaps his largest-ever audience when he had a star role at the opening ceremony of the London Paralympics. Why did he become such a cult figure? The concept of an imprisoned mind roaming the cosmos plainly grabbed people's imagination. If he had achieved equal distinction in, say, genetics rather than cosmology, his triumph of intellect against adversity probably wouldn't have achieved the same resonance with a worldwide public. His 60th birthday celebrations, in January 2002, were a memorable occasion for all of us. Hundreds of leading scientists came from all over the world to honor and celebrate Stephen's discoveries, and to spend a week discussing the latest theories on space, time and the cosmos. But the celebrations weren't just scientific—that wouldn't have been Stephen's style. Stephen was surrounded by his children and grandchildren; there was music and singing; there were 'celebrities' in attendance. And when the week's events were all over, he celebrated with a trip in a hot air balloon. His 70th birthday was again marked by an international gathering of scientists in Cambridge, and also with some razzmatazz. So was his 75th birthday, though now shared by several million people via a live-stream on the internet. In these last years he was plainly weakening. But he was still able to 'deliver' entertaining (and sometimes rather moving) lectures via his speech synthesizer and with the aid of skillfully prepared visuals. Stephen continued, right until his last decade, to co-author technical papers, and speak at premier international conferences—doubly remarkable in a subject where even healthy researchers tend to peak at an early age. Especially influential were his contributions to cosmic inflation—a theory that many believe describes the ultra-early phases of our expanding universe. A key issue is to understand the primordial seeds which eventually develop into galaxies. He proposed (as, independently, did the Russian theorist Viatcheslav Mukhanov) that these were quantum fluctuation—somewhat analogous to those involved in 'Hawking radiation' from black holes. He hosted an important meeting in 1982 where such ideas were thoroughly discussed. Subsequently, particularly with James Hartle and Thomas Hertog, he made further steps towards linking the two great theories of 20th century physics; the quantum theory of the microworld and Einstein's theory of gravity and space-time. He continued to be an inveterate traveler—despite attempts to curb this as his respiration weakened. This wasn't just to lecture. For instance, on a visit to Canada he was undeterred by having to go two miles down a mine-shaft to visit an underground laboratory where famous and delicate experiments had been carried out. And on a later trip, only a last-minute health setback prevented him from going to the Galapagos. All these travels—and indeed his everyday working life—involved an entourage of assistants and nurses. His fame, and the allure of his public appearances, gave him the resources for nursing care, and protected him against the 'does he take sugar?' type of indignity that disabled people often suffer. Stephen was far from being the archetype unworldy or nerdish scientist—his personality remained amazingly unwarped by his frustrations and handicaps. As well as his extensive travels, he enjoyed trips to theatre or opera. He had robust common sense, and was ready to express forceful political opinions. However, a downside of his iconic status was that that his comments attracted exaggerated attention even on topics where he had no special expertise—for instance philosophy, or the dangers from aliens or from intelligent machines. And he was sometimes involved in media events where his 'script' was written by the promoters of causes about which he may have been ambivalent. But there was absolutely no gainsaying his lifelong commitment to campaigns for the disabled, and (just in the last few months) in support of the NHS—to which he acknowledged he owed so much. He was always, at the personal level, sensitive to the misfortunes of others. He recorded that, when in hospital soon after his illness was first diagnosed, his depression was lifted when he compared his lot with a boy in the next bed who was dying of leukemia. And he was firmly aligned with other political campaigns and causes. When he visited Israel, he insisted on going also to the West Bank. Newspapers in 2006 showed remarkable pictures of him, in his wheelchair, surrounded by fascinated and curious crowds in Ramallah. Even more astonishing are the pictures of him 'floating' in the NASA aircraft (the 'vomit comet' that allows passengers to experience weightlessness)—he was manifestly overjoyed at escaping, albeit briefly, the clutches of the gravitational force he'd studied for decades and which had so cruelly imprisoned his body. Tragedy struck Stephen Hawking when he was only 22. He was diagnosed with a deadly disease, and his expectations dropped to zero. He himself said that everything that happened since then was a bonus. And what a triumph his life has been. His name will live in the annals of science; millions have had their cosmic horizons widened by his best-selling books; and even more, around the world, have been inspired by a unique example of achievement against all the odds—a manifestation of amazing will-power and determination. Martin Rees is a British cosmologist and astrophysicist who was appointed to the House of Lords in 2005.
1098	dbpedia	0	21	https://en.wikipedia.org/wiki/Stephen_Hawking	en	Stephen Hawking	https://upload.wikimedia…ng.StarChild.jpg	https://upload.wikimedia…ng.StarChild.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/20px-Semi-protection-shackle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Stephen_Hawking.StarChild.jpg/220px-Stephen_Hawking.StarChild.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Hawkingsig.svg/150px-Hawkingsig.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/WMAP_2012.png/220px-WMAP_2012.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/00/Crab_Nebula.jpg/16px-Crab_Nebula.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Stephen_Hawking_-_San_Francisco_ALS_convention.jpg/170px-Stephen_Hawking_-_San_Francisco_ALS_convention.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Gross_Witten_Hawking_TIFR_2001.jpg/250px-Gross_Witten_Hawking_TIFR_2001.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Stephen_Hawking_050506.jpg/170px-Stephen_Hawking_050506.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/95/Stephen_Hawking_in_Stockholm%2C_2015.jpg/220px-Stephen_Hawking_in_Stockholm%2C_2015.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/08/Physicist_Stephen_Hawking_in_Zero_Gravity_NASA.jpg/250px-Physicist_Stephen_Hawking_in_Zero_Gravity_NASA.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/07/Stephen_Hawking%27s_grave_at_Westminster_Abbey.jpg/220px-Stephen_Hawking%27s_grave_at_Westminster_Abbey.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/Barack_Obama_speaks_to_Stephen_Hawking_%28cropped%29.jpg/170px-Barack_Obama_speaks_to_Stephen_Hawking_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Monty_Python_Live_02-07-14_12_55_10_%2814415565317%29.jpg/220px-Monty_Python_Live_02-07-14_12_55_10_%2814415565317%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/Stephen_hawking_and_lucy_hawking_nasa_2008.jpg/250px-Stephen_hawking_and_lucy_hawking_nasa_2008.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Stephen_hawking_2008_nasa_cropped.jpg/250px-Stephen_hawking_2008_nasa_cropped.jpg", "https://wikimedia.org/api/rest_v1/media/math/render/svg/8f8738cbbe565c644dfed6b3e453b944fdf134df", "https://wikimedia.org/api/rest_v1/media/math/render/svg/ec7200acd984a1d3a3d7dc455e262fbe54f7f6e0", "https://wikimedia.org/api/rest_v1/media/math/render/svg/de68de3a92517953436c93b5a76461d49160cc41", "https://wikimedia.org/api/rest_v1/media/math/render/svg/86a67b81c2de995bd608d5b2df50cd8cd7d92455", "https://wikimedia.org/api/rest_v1/media/math/render/svg/f5f3c8921a3b352de45446a6789b104458c9f90b", "https://wikimedia.org/api/rest_v1/media/math/render/svg/f82cade9898ced02fdd08712e5f0c0151758a0dd", "https://wikimedia.org/api/rest_v1/media/math/render/svg/c3c9a2c7b599b37105512c5d570edc034056dd40", "https://wikimedia.org/api/rest_v1/media/math/render/svg/4611d85173cd3b508e67077d4a1252c9c05abca2", "https://wikimedia.org/api/rest_v1/media/math/render/svg/1df0f52b758651f6c4c9a928470321778aadc040", "https://wikimedia.org/api/rest_v1/media/math/render/svg/7f1e81d5aacf191d5515d34e8c9872e0348cc539", "https://wikimedia.org/api/rest_v1/media/math/render/svg/66476fa38886d38b42423d5bf71e77f5ae4700f0", "https://wikimedia.org/api/rest_v1/media/math/render/svg/6657e1ffb078b8f55a3120e9d6dd856765e9cc1f", "https://wikimedia.org/api/rest_v1/media/math/render/svg/ba1cbdbb8a22c7db3b3f01dad4ea19f8dfcd502b", "https://wikimedia.org/api/rest_v1/media/math/render/svg/4611d85173cd3b508e67077d4a1252c9c05abca2", "https://wikimedia.org/api/rest_v1/media/math/render/svg/18ab61342a5df6da0a528acf9c4a2036b6fbfd4f", "https://wikimedia.org/api/rest_v1/media/math/render/svg/827a8645e48c48e7cc9023f4a1e4dc36f66fe33e", "https://wikimedia.org/api/rest_v1/media/math/render/svg/06d0141f2db0d0f1862d9dc58c0afd667848861e", "https://wikimedia.org/api/rest_v1/media/math/render/svg/4d3cf1ef33695c3d98cb09f01e5700f927ce928c", "https://upload.wikimedia.org/wikipedia/en/thumb/0/06/Wiktionary-logo-v2.svg/27px-Wiktionary-logo-v2.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/20px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/24/Wikinews-logo.svg/27px-Wikinews-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/23px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikibooks-logo.svg/27px-Wikibooks-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/32/Scholia_logo.svg/40px-Scholia_logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Stylised_atom_with_three_Bohr_model_orbits_and_stylised_nucleus.svg/17px-Stylised_atom_with_three_Bohr_model_orbits_and_stylised_nucleus.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/00/Crab_Nebula.jpg/19px-Crab_Nebula.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/RocketSunIcon.svg/19px-RocketSunIcon.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Earth-moon.jpg/21px-Earth-moon.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/He1523a.jpg/16px-He1523a.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nuvola_apps_bookcase.svg/19px-Nuvola_apps_bookcase.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/School.svg/19px-School.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Nuvola_apps_kalzium.svg/19px-Nuvola_apps_kalzium.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-11-02T20:32:41+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Stephen_Hawking	English theoretical physicist (1942–2018) Stephen William Hawking, (8 January 1942 – 14 March 2018) was an English theoretical physicist, cosmologist, and author who was director of research at the Centre for Theoretical Cosmology at the University of Cambridge.[6][17][18] Between 1979 and 2009, he was the Lucasian Professor of Mathematics at Cambridge, widely viewed as one of the most prestigious academic posts in the world.[19] Hawking was born in Oxford into a family of physicians. In October 1959, at the age of 17, he began his university education at University College, Oxford, where he received a first-class BA degree in physics. In October 1962, he began his graduate work at Trinity Hall, Cambridge, where, in March 1966, he obtained his PhD degree in applied mathematics and theoretical physics, specialising in general relativity and cosmology. In 1963, at age 21, Hawking was diagnosed with an early-onset slow-progressing form of motor neurone disease that gradually, over decades, paralysed him.[20][21] After the loss of his speech, he communicated through a speech-generating device, initially through use of a handheld switch, and eventually by using a single cheek muscle.[22] Hawking's scientific works included a collaboration with Roger Penrose on gravitational singularity theorems in the framework of general relativity, and the theoretical prediction that black holes emit radiation, often called Hawking radiation. Initially, Hawking radiation was controversial. By the late 1970s, and following the publication of further research, the discovery was widely accepted as a major breakthrough in theoretical physics. Hawking was the first to set out a theory of cosmology explained by a union of the general theory of relativity and quantum mechanics. He was a vigorous supporter of the many-worlds interpretation of quantum mechanics.[23][24] Hawking achieved commercial success with several works of popular science in which he discussed his theories and cosmology in general. His book A Brief History of Time appeared on the Sunday Times bestseller list for a record-breaking 237 weeks. Hawking was a Fellow of the Royal Society, a lifetime member of the Pontifical Academy of Sciences, and a recipient of the Presidential Medal of Freedom, the highest civilian award in the United States. In 2002, Hawking was ranked number 25 in the BBC's poll of the 100 Greatest Britons. He died in 2018 at the age of 76, having lived more than 50 years following his diagnosis of motor neurone disease. Early life Family Hawking was born on 8 January 1942[25][26] in Oxford to Frank and Isobel Eileen Hawking (née Walker). Hawking's mother was born into a family of doctors in Glasgow, Scotland.[29][30] His wealthy paternal great-grandfather, from Yorkshire, over-extended himself buying farm land and then went bankrupt in the great agricultural depression during the early 20th century.[30] His paternal great-grandmother saved the family from financial ruin by opening a school in their home.[30] Despite their families' financial constraints, both parents attended the University of Oxford, where Frank read medicine and Isobel read Philosophy, Politics and Economics. Isobel worked as a secretary for a medical research institute, and Frank was a medical researcher. Hawking had two younger sisters, Philippa and Mary, and an adopted brother, Edward Frank David (1955–2003). In 1950, when Hawking's father became head of the division of parasitology at the National Institute for Medical Research, the family moved to St Albans, Hertfordshire. In St Albans, the family was considered highly intelligent and somewhat eccentric; meals were often spent with each person silently reading a book. They lived a frugal existence in a large, cluttered, and poorly maintained house and travelled in a converted London taxicab. During one of Hawking's father's frequent absences working in Africa, the rest of the family spent four months in Mallorca visiting his mother's friend Beryl and her husband, the poet Robert Graves. Primary and secondary school years Hawking began his schooling at the Byron House School in Highgate, London. He later blamed its "progressive methods" for his failure to learn to read while at the school.[40] In St Albans, the eight-year-old Hawking attended St Albans High School for Girls for a few months. At that time, younger boys could attend one of the houses. Hawking attended two private (i.e. fee-paying) schools, first Radlett School and from September 1952, St Albans School, Hertfordshire,[26] after passing the eleven-plus a year early.[43] The family placed a high value on education. Hawking's father wanted his son to attend Westminster School, but the 13-year-old Hawking was ill on the day of the scholarship examination. His family could not afford the school fees without the financial aid of a scholarship, so Hawking remained at St Albans. A positive consequence was that Hawking remained close to a group of friends with whom he enjoyed board games, the manufacture of fireworks, model aeroplanes and boats, and long discussions about Christianity and extrasensory perception. From 1958 on, with the help of the mathematics teacher Dikran Tahta, they built a computer from clock parts, an old telephone switchboard and other recycled components. Although known at school as "Einstein", Hawking was not initially successful academically. With time, he began to show considerable aptitude for scientific subjects and, inspired by Tahta, decided to read mathematics at university.[53] Hawking's father advised him to study medicine, concerned that there were few jobs for mathematics graduates. He also wanted his son to attend University College, Oxford, his own alma mater. As it was not possible to read mathematics there at the time, Hawking decided to study physics and chemistry. Despite his headmaster's advice to wait until the next year, Hawking was awarded a scholarship after taking the examinations in March 1959. Undergraduate years Hawking began his university education at University College, Oxford,[26] in October 1959 at the age of 17. For the first eighteen months, he was bored and lonely – he found the academic work "ridiculously easy". His physics tutor, Robert Berman, later said, "It was only necessary for him to know that something could be done, and he could do it without looking to see how other people did it." A change occurred during his second and third years when, according to Berman, Hawking made more of an effort "to be one of the boys". He developed into a popular, lively and witty college-member, interested in classical music and science fiction. Part of the transformation resulted from his decision to join the college boat-club, the University College Boat Club, where he coxed a rowing-crew. The rowing-coach at the time noted that Hawking cultivated a daredevil image, steering his crew on risky courses that led to damaged boats. Hawking estimated that he studied about 1,000 hours during his three years at Oxford. These unimpressive study habits made sitting his finals a challenge, and he decided to answer only theoretical physics questions rather than those requiring factual knowledge. A first-class degree was a condition of acceptance for his planned graduate study in cosmology at the University of Cambridge. Anxious, he slept poorly the night before the examinations, and the result was on the borderline between first- and second-class honours, making a viva (oral examination) with the Oxford examiners necessary. Hawking was concerned that he was viewed as a lazy and difficult student. So, when asked at the viva to describe his plans, he said, "If you award me a First, I will go to Cambridge. If I receive a Second, I shall stay in Oxford, so I expect you will give me a First." He was held in higher regard than he believed; as Berman commented, the examiners "were intelligent enough to realise they were talking to someone far cleverer than most of themselves". After receiving a first-class BA degree in physics and completing a trip to Iran with a friend, he began his graduate work at Trinity Hall, Cambridge, in October 1962.[26] Post-graduate years Hawking's first year as a doctoral student was difficult. He was initially disappointed to find that he had been assigned Dennis William Sciama, one of the founders of modern cosmology, as a supervisor rather than the noted astronomer Fred Hoyle, and he found his training in mathematics inadequate for work in general relativity and cosmology. After being diagnosed with motor neurone disease, Hawking fell into a depression – though his doctors advised that he continue with his studies, he felt there was little point. His disease progressed more slowly than doctors had predicted. Although Hawking had difficulty walking unsupported, and his speech was almost unintelligible, an initial diagnosis that he had only two years to live proved unfounded. With Sciama's encouragement, he returned to his work. Hawking started developing a reputation for brilliance and brashness when he publicly challenged the work of Hoyle and his student Jayant Narlikar at a lecture in June 1964. When Hawking began his doctoral studies, there was much debate in the physics community about the prevailing theories of the creation of the universe: the Big Bang and Steady State theories. Inspired by Roger Penrose's theorem of a spacetime singularity in the centre of black holes, Hawking applied the same thinking to the entire universe; and, during 1965, he wrote his thesis on this topic.[78] Hawking's thesis[80] was approved in 1966.[80] There were other positive developments: Hawking received a research fellowship at Gonville and Caius College at Cambridge; he obtained his PhD degree in applied mathematics and theoretical physics, specialising in general relativity and cosmology, in March 1966; and his essay "Singularities and the Geometry of Space–Time" shared top honours with one by Penrose to win that year's prestigious Adams Prize. Career 1966–1975 In his work, and in collaboration with Penrose, Hawking extended the singularity theorem concepts first explored in his doctoral thesis. This included not only the existence of singularities but also the theory that the universe might have started as a singularity. Their joint essay was the runner-up in the 1968 Gravity Research Foundation competition. In 1970, they published a proof that if the universe obeys the general theory of relativity and fits any of the models of physical cosmology developed by Alexander Friedmann, then it must have begun as a singularity.[88] In 1969, Hawking accepted a specially created Fellowship for Distinction in Science to remain at Caius. In 1970, Hawking postulated what became known as the second law of black hole dynamics, that the event horizon of a black hole can never get smaller. With James M. Bardeen and Brandon Carter, he proposed the four laws of black hole mechanics, drawing an analogy with thermodynamics. To Hawking's irritation, Jacob Bekenstein, a graduate student of John Wheeler, went further—and ultimately correctly—to apply thermodynamic concepts literally. In the early 1970s, Hawking's work with Carter, Werner Israel, and David C. Robinson strongly supported Wheeler's no-hair theorem, one that states that no matter what the original material from which a black hole is created, it can be completely described by the properties of mass, electrical charge and rotation.[95] His essay titled "Black Holes" won the Gravity Research Foundation Award in January 1971. Hawking's first book, The Large Scale Structure of Space-Time, written with George Ellis, was published in 1973. Beginning in 1973, Hawking moved into the study of quantum gravity and quantum mechanics. His work in this area was spurred by a visit to Moscow and discussions with Yakov Borisovich Zel'dovich and Alexei Starobinsky, whose work showed that according to the uncertainty principle, rotating black holes emit particles. To Hawking's annoyance, his much-checked calculations produced findings that contradicted his second law, which claimed black holes could never get smaller, and supported Bekenstein's reasoning about their entropy. His results, which Hawking presented from 1974, showed that black holes emit radiation, known today as Hawking radiation, which may continue until they exhaust their energy and evaporate.[102][103] Initially, Hawking radiation was controversial. By the late 1970s and following the publication of further research, the discovery was widely accepted as a significant breakthrough in theoretical physics. Hawking was elected a Fellow of the Royal Society (FRS) in 1974, a few weeks after the announcement of Hawking radiation. At the time, he was one of the youngest scientists to become a Fellow. Hawking was appointed to the Sherman Fairchild Distinguished Visiting Professorship at the California Institute of Technology (Caltech) in 1974. He worked with a friend on the faculty, Kip Thorne,[6] and engaged him in a scientific wager about whether the X-ray source Cygnus X-1 was a black hole. The wager was an "insurance policy" against the proposition that black holes did not exist. Hawking acknowledged that he had lost the bet in 1990, a bet that was the first of several he was to make with Thorne and others. Hawking had maintained ties to Caltech, spending a month there almost every year since this first visit. 1975–1990 Hawking returned to Cambridge in 1975 to a more academically senior post, as reader in gravitational physics. The mid-to-late 1970s were a period of growing public interest in black holes and the physicists who were studying them. Hawking was regularly interviewed for print and television. He also received increasing academic recognition of his work. In 1975, he was awarded both the Eddington Medal and the Pius XI Gold Medal, and in 1976 the Dannie Heineman Prize, the Maxwell Medal and Prize and the Hughes Medal. He was appointed a professor with a chair in gravitational physics in 1977. The following year he received the Albert Einstein Medal and an honorary doctorate from the University of Oxford. In 1979, Hawking was elected Lucasian Professor of Mathematics at the University of Cambridge.[121] His inaugural lecture in this role was titled: "Is the End in Sight for Theoretical Physics?" and proposed N = 8 supergravity as the leading theory to solve many of the outstanding problems physicists were studying. His promotion coincided with a health-crisis which led to his accepting, albeit reluctantly, some nursing services at home. At the same time, he was also making a transition in his approach to physics, becoming more intuitive and speculative rather than insisting on mathematical proofs. "I would rather be right than rigorous", he told Kip Thorne. In 1981, he proposed that information in a black hole is irretrievably lost when a black hole evaporates. This information paradox violates the fundamental tenet of quantum mechanics, and led to years of debate, including "the Black Hole War" with Leonard Susskind and Gerard 't Hooft.[126] Cosmological inflation – a theory proposing that following the Big Bang, the universe initially expanded incredibly rapidly before settling down to a slower expansion – was proposed by Alan Guth and also developed by Andrei Linde. Following a conference in Moscow in October 1981, Hawking and Gary Gibbons[6] organised a three-week Nuffield Workshop in the summer of 1982 on "The Very Early Universe" at Cambridge University, a workshop that focused mainly on inflation theory.[129][130] Hawking also began a new line of quantum-theory research into the origin of the universe. In 1981 at a Vatican conference, he presented work suggesting that there might be no boundary – or beginning or ending – to the universe. Hawking subsequently developed the research in collaboration with Jim Hartle,[6] and in 1983 they published a model, known as the Hartle–Hawking state. It proposed that prior to the Planck epoch, the universe had no boundary in space-time; before the Big Bang, time did not exist and the concept of the beginning of the universe is meaningless.[133] The initial singularity of the classical Big Bang models was replaced with a region akin to the North Pole. One cannot travel north of the North Pole, but there is no boundary there – it is simply the point where all north-running lines meet and end. Initially, the no-boundary proposal predicted a closed universe, which had implications about the existence of God. As Hawking explained, "If the universe has no boundaries but is self-contained... then God would not have had any freedom to choose how the universe began." Hawking did not rule out the existence of a Creator, asking in A Brief History of Time "Is the unified theory so compelling that it brings about its own existence?", also stating "If we discover a complete theory, it would be the ultimate triumph of human reason – for then we should know the mind of God";[138] in his early work, Hawking spoke of God in a metaphorical sense. In the same book he suggested that the existence of God was not necessary to explain the origin of the universe. Later discussions with Neil Turok led to the realisation that the existence of God was also compatible with an open universe. Further work by Hawking in the area of arrows of time led to the 1985 publication of a paper theorising that if the no-boundary proposition were correct, then when the universe stopped expanding and eventually collapsed, time would run backwards. A paper by Don Page and independent calculations by Raymond Laflamme led Hawking to withdraw this concept. Honours continued to be awarded: in 1981 he was awarded the American Franklin Medal, and in the 1982 New Year Honours appointed a Commander of the Order of the British Empire (CBE).[145] These awards did not significantly change Hawking's financial status, and motivated by the need to finance his children's education and home-expenses, he decided in 1982 to write a popular book about the universe that would be accessible to the general public. Instead of publishing with an academic press, he signed a contract with Bantam Books, a mass-market publisher, and received a large advance for his book. A first draft of the book, called A Brief History of Time, was completed in 1984. One of the first messages Hawking produced with his speech-generating device was a request for his assistant to help him finish writing A Brief History of Time. Peter Guzzardi, his editor at Bantam, pushed him to explain his ideas clearly in non-technical language, a process that required many revisions from an increasingly irritated Hawking. The book was published in April 1988 in the US and in June in the UK, and it proved to be an extraordinary success, rising quickly to the top of best-seller lists in both countries and remaining there for months.[155] The book was translated into many languages, and as of 2009, has sold an estimated 9 million copies.[155] Media attention was intense, and a Newsweek magazine-cover and a television special both described him as "Master of the Universe". Success led to significant financial rewards, but also the challenges of celebrity status. Hawking travelled extensively to promote his work, and enjoyed partying into the late hours. A difficulty refusing the invitations and visitors left him limited time for work and his students. Some colleagues were resentful of the attention Hawking received, feeling it was due to his disability. He received further academic recognition, including five more honorary degrees, the Gold Medal of the Royal Astronomical Society (1985), the Paul Dirac Medal (1987) and, jointly with Penrose, the prestigious Wolf Prize (1988). In the 1989 Birthday Honours, he was appointed a Member of the Order of the Companions of Honour (CH).[164] He reportedly declined a knighthood in the late 1990s in objection to the UK's science funding policy.[165][166] 1990–2000 Hawking pursued his work in physics: in 1993 he co-edited a book on Euclidean quantum gravity with Gary Gibbons and published a collected edition of his own articles on black holes and the Big Bang. In 1994, at Cambridge's Newton Institute, Hawking and Penrose delivered a series of six lectures that were published in 1996 as "The Nature of Space and Time". In 1997, he conceded a 1991 public scientific wager made with Kip Thorne and John Preskill of Caltech. Hawking had bet that Penrose's proposal of a "cosmic censorship conjecture" – that there could be no "naked singularities" unclothed within a horizon – was correct. After discovering his concession might have been premature, a new and more refined wager was made. This one specified that such singularities would occur without extra conditions. The same year, Thorne, Hawking and Preskill made another bet, this time concerning the black hole information paradox.[171][172] Thorne and Hawking argued that since general relativity made it impossible for black holes to radiate and lose information, the mass-energy and information carried by Hawking radiation must be "new", and not from inside the black hole event horizon. Since this contradicted the quantum mechanics of microcausality, quantum mechanics theory would need to be rewritten. Preskill argued the opposite, that since quantum mechanics suggests that the information emitted by a black hole relates to information that fell in at an earlier time, the concept of black holes given by general relativity must be modified in some way.[173] Hawking also maintained his public profile, including bringing science to a wider audience. A film version of A Brief History of Time, directed by Errol Morris and produced by Steven Spielberg, premiered in 1992. Hawking had wanted the film to be scientific rather than biographical, but he was persuaded otherwise. The film, while a critical success, was not widely released. A popular-level collection of essays, interviews, and talks titled Black Holes and Baby Universes and Other Essays was published in 1993, and a six-part television series Stephen Hawking's Universe and a companion book appeared in 1997. As Hawking insisted, this time the focus was entirely on science. 2000–2018 Hawking continued his writings for a popular audience, publishing The Universe in a Nutshell in 2001, and A Briefer History of Time, which he wrote in 2005 with Leonard Mlodinow to update his earlier works with the aim of making them accessible to a wider audience, and God Created the Integers, which appeared in 2006. Along with Thomas Hertog at CERN and Jim Hartle, from 2006 on Hawking developed a theory of top-down cosmology, which says that the universe had not one unique initial state but many different ones, and therefore that it is inappropriate to formulate a theory that predicts the universe's current configuration from one particular initial state.[180] Top-down cosmology posits that the present "selects" the past from a superposition of many possible histories. In doing so, the theory suggests a possible resolution of the fine-tuning question.[181][182] Hawking continued to travel widely, including trips to Chile, Easter Island, South Africa, Spain (to receive the Fonseca Prize in 2008),[184] Canada, and numerous trips to the United States. For practical reasons related to his disability, Hawking increasingly travelled by private jet, and by 2011 that had become his only mode of international travel. By 2003, consensus among physicists was growing that Hawking was wrong about the loss of information in a black hole. In a 2004 lecture in Dublin, he conceded his 1997 bet with Preskill, but described his own, somewhat controversial solution to the information paradox problem, involving the possibility that black holes have more than one topology.[173] In the 2005 paper he published on the subject, he argued that the information paradox was explained by examining all the alternative histories of universes, with the information loss in those with black holes being cancelled out by those without such loss.[172] In January 2014, he called the alleged loss of information in black holes his "biggest blunder".[191] As part of another longstanding scientific dispute, Hawking had emphatically argued, and bet, that the Higgs boson would never be found. The particle was proposed to exist as part of the Higgs field theory by Peter Higgs in 1964. Hawking and Higgs engaged in a heated and public debate over the matter in 2002 and again in 2008, with Higgs criticising Hawking's work and complaining that Hawking's "celebrity status gives him instant credibility that others do not have." The particle was discovered in July 2012 at CERN following construction of the Large Hadron Collider. Hawking quickly conceded that he had lost his bet[194][195] and said that Higgs should win the Nobel Prize for Physics,[196] which he did in 2013.[197] In 2007, Hawking and his daughter Lucy published George's Secret Key to the Universe, a children's book designed to explain theoretical physics in an accessible fashion and featuring characters similar to those in the Hawking family. The book was followed by sequels in 2009, 2011, 2014 and 2016.[199] In 2002, following a UK-wide vote, the BBC included Hawking in their list of the 100 Greatest Britons.[200] He was awarded the Copley Medal from the Royal Society (2006),[201] the Presidential Medal of Freedom, which is America's highest civilian honour (2009),[202] and the Russian Special Fundamental Physics Prize (2013).[203] Several buildings have been named after him, including the Stephen W. Hawking Science Museum in San Salvador, El Salvador,[204] the Stephen Hawking Building in Cambridge,[205] and the Stephen Hawking Centre at the Perimeter Institute in Canada.[206] Appropriately, given Hawking's association with time, he unveiled the mechanical "Chronophage" (or time-eating) Corpus Clock at Corpus Christi College, Cambridge in September 2008.[208] During his career, Hawking supervised 39 successful PhD students.[1] One doctoral student did not successfully complete the PhD.[1][better source needed] As required by Cambridge University policy, Hawking retired as Lucasian Professor of Mathematics in 2009.[121][209] Despite suggestions that he might leave the United Kingdom as a protest against public funding cuts to basic scientific research, Hawking worked as director of research at the Cambridge University Department of Applied Mathematics and Theoretical Physics.[211] On 28 June 2009, as a tongue-in-cheek test of his 1992 conjecture that travel into the past is effectively impossible, Hawking held a party open to all, complete with hors d'oeuvres and iced champagne, but publicised the party only after it was over so that only time-travellers would know to attend; as expected, nobody showed up to the party.[212] On 20 July 2015, Hawking helped launch Breakthrough Initiatives, an effort to search for extraterrestrial life.[213] Hawking created Stephen Hawking: Expedition New Earth, a documentary on space colonisation, as a 2017 episode of Tomorrow's World.[214][215] In August 2015, Hawking said that not all information is lost when something enters a black hole and there might be a possibility to retrieve information from a black hole according to his theory.[216] In July 2017, Hawking was awarded an Honorary Doctorate from Imperial College London.[217] Hawking's final paper – A smooth exit from eternal inflation? – was posthumously published in the Journal of High Energy Physics on 27 April 2018.[218][219] Personal life Marriages Hawking met his future wife, Jane Wilde, at a party in 1962. The following year, Hawking was diagnosed with motor neurone disease. In October 1964, the couple became engaged to marry, aware of the potential challenges that lay ahead due to Hawking's shortened life expectancy and physical limitations. Hawking later said that the engagement gave him "something to live for". The two were married on 14 July 1965 in their shared hometown of St Albans. The couple resided in Cambridge, within Hawking's walking distance to the Department of Applied Mathematics and Theoretical Physics (DAMTP). During their first years of marriage, Jane lived in London during the week as she completed her degree at Westfield College. They travelled to the United States several times for conferences and physics-related visits. Jane began a PhD programme through Westfield College in medieval Spanish poetry (completed in 1981). The couple had three children: Robert, born May 1967, Lucy, born November 1970, and Timothy, born April 1979. Hawking rarely discussed his illness and physical challenges—even, in a precedent set during their courtship, with Jane. His disabilities meant that the responsibilities of home and family rested firmly on his wife's increasingly overwhelmed shoulders, leaving him more time to think about physics. Upon his appointment in 1974 to a year-long position at the California Institute of Technology in Pasadena, California, Jane proposed that a graduate or post-doctoral student live with them and help with his care. Hawking accepted, and Bernard Carr travelled with them as the first of many students who fulfilled this role.[228] The family spent a generally happy and stimulating year in Pasadena. Hawking returned to Cambridge in 1975 to a new home and a new job, as reader. Don Page, with whom Hawking had begun a close friendship at Caltech, arrived to work as the live-in graduate student assistant. With Page's help and that of a secretary, Jane's responsibilities were reduced so she could return to her doctoral thesis and her new interest in singing. Around December 1977, Jane met organist Jonathan Hellyer Jones when singing in a church choir. Hellyer Jones became close to the Hawking family and, by the mid-1980s, he and Jane had developed romantic feelings for each other. According to Jane, her husband was accepting of the situation, stating "he would not object so long as I continued to love him". Jane and Hellyer Jones were determined not to break up the family, and their relationship remained platonic for a long period. By the 1980s, Hawking's marriage had been strained for many years. Jane felt overwhelmed by the intrusion into their family life of the required nurses and assistants. The impact of his celebrity status was challenging for colleagues and family members, while the prospect of living up to a worldwide fairytale image was daunting for the couple.[181] Hawking's views of religion also contrasted with her strong Christian faith and resulted in tension.[181][239] After a tracheotomy in 1985, Hawking required a full-time nurse and nursing care was split across three shifts daily. In the late 1980s, Hawking grew close to one of his nurses, Elaine Mason, to the dismay of some colleagues, caregivers, and family members, who were disturbed by her strength of personality and protectiveness. In February 1990, Hawking told Jane that he was leaving her for Mason and departed the family home. After his divorce from Jane in 1995, Hawking married Mason in September, declaring, "It's wonderful – I have married the woman I love." In 1999, Jane Hawking published a memoir, Music to Move the Stars, describing her marriage to Hawking and its breakdown. Its revelations caused a sensation in the media but, as was his usual practice regarding his personal life, Hawking made no public comment except to say that he did not read biographies about himself. After his second marriage, Hawking's family felt excluded and marginalised from his life.[239] For a period of about five years in the early 2000s, his family and staff became increasingly worried that he was being physically abused. Police investigations took place, but were closed as Hawking refused to make a complaint.[246] In 2006, Hawking and Mason quietly divorced,[247] and Hawking resumed closer relationships with Jane, his children, and his grandchildren.[181] Reflecting on this happier period, a revised version of Jane's book, re-titled Travelling to Infinity: My Life with Stephen, appeared in 2007,[246] and was made into a film, The Theory of Everything, in 2014.[249] Disability Hawking had a rare early-onset, slow-progressing form of motor neurone disease (MND; also known as amyotrophic lateral sclerosis (ALS) or Lou Gehrig's disease), a fatal neurodegenerative disease that affects the motor neurones in the brain and spinal cord, which gradually paralysed him over decades.[21] Hawking had experienced increasing clumsiness during his final year at Oxford, including a fall on some stairs and difficulties when rowing.[251] The problems worsened, and his speech became slightly slurred. His family noticed the changes when he returned home for Christmas, and medical investigations were begun. The MND diagnosis came when Hawking was 21, in 1963. At the time, doctors gave him a life expectancy of two years. In the late 1960s, Hawking's physical abilities declined: he began to use crutches and could no longer give lectures regularly. As he slowly lost the ability to write, he developed compensatory visual methods, including seeing equations in terms of geometry. The physicist Werner Israel later compared the achievements to Mozart composing an entire symphony in his head.[259] Hawking was fiercely independent and unwilling to accept help or make concessions for his disabilities. He preferred to be regarded as "a scientist first, popular science writer second, and, in all the ways that matter, a normal human being with the same desires, drives, dreams, and ambitions as the next person". His wife Jane later noted: "Some people would call it determination, some obstinacy. I've called it both at one time or another." He required much persuasion to accept the use of a wheelchair at the end of the 1960s, but ultimately became notorious for the wildness of his wheelchair driving. Hawking was a popular and witty colleague, but his illness, as well as his reputation for brashness, distanced him from some. When Hawking first began using a wheelchair he was using standard motorised models. The earliest surviving example of these chairs was made by BEC Mobility and sold by Christie's in November 2018 for £296,750.[265] Hawking continued to use this type of chair until the early 1990s, at which time his ability to use his hands to drive a wheelchair deteriorated. Hawking used a variety of different chairs from that time, including a DragonMobility Dragon elevating powerchair from 2007, as shown in the April 2008 photo of Hawking attending NASA's 50th anniversary;[266] a Permobil C350 from 2014; and then a Permobil F3 from 2016.[267] Hawking's speech deteriorated, and by the late 1970s he could be understood by only his family and closest friends. To communicate with others, someone who knew him well would interpret his speech into intelligible speech. Spurred by a dispute with the university over who would pay for the ramp needed for him to enter his workplace, Hawking and his wife campaigned for improved access and support for those with disabilities in Cambridge, including adapted student housing at the university. In general, Hawking had ambivalent feelings about his role as a disability rights champion: while wanting to help others, he also sought to detach himself from his illness and its challenges. His lack of engagement in this area led to some criticism. During a visit to CERN on the border of France and Switzerland in mid-1985, Hawking contracted pneumonia, which in his condition was life-threatening; he was so ill that Jane was asked if life support should be terminated. She refused, but the consequence was a tracheotomy, which required round-the-clock nursing care and caused the loss of what remained of his speech. The National Health Service was ready to pay for a nursing home, but Jane was determined that he would live at home. The cost of the care was funded by an American foundation. Nurses were hired for the three shifts required to provide the round-the-clock support he required. One of those employed was Elaine Mason, who was to become Hawking's second wife. For his communication, Hawking initially raised his eyebrows to choose letters on a spelling card, but in 1986 he received a computer program called the "Equalizer" from Walter Woltosz, CEO of Words Plus, who had developed an earlier version of the software to help his mother-in-law, who also had ALS and had lost her ability to speak and write.[280] In a method he used for the rest of his life, Hawking could now simply press a switch to select phrases, words or letters from a bank of about 2,500–3,000 that were scanned. The program was originally run on a desktop computer. Elaine Mason's husband, David, a computer engineer, adapted a small computer and attached it to his wheelchair. Released from the need to use somebody to interpret his speech, Hawking commented that "I can communicate better now than before I lost my voice." The voice he used had an American accent and is no longer produced.[286] Despite the later availability of other voices, Hawking retained this original voice, saying that he preferred it and identified with it.[287] Originally, Hawking activated a switch using his hand and could produce up to 15 words per minute. Lectures were prepared in advance and were sent to the speech synthesiser in short sections to be delivered. Hawking gradually lost the use of his hand, and in 2005 he began to control his communication device with movements of his cheek muscles,[289][290] with a rate of about one word per minute.[289] With this decline there was a risk of him developing locked-in syndrome, so Hawking collaborated with Intel Corporation researchers on systems that could translate his brain patterns or facial expressions into switch activations. After several prototypes that did not perform as planned, they settled on an adaptive word predictor made by the London-based startup SwiftKey, which used a system similar to his original technology. Hawking had an easier time adapting to the new system, which was further developed after inputting large amounts of Hawking's papers and other written materials and uses predictive software similar to other smartphone keyboards.[181][280][290][291] By 2009, he could no longer drive his wheelchair independently, but the same people who created his new typing mechanics were working on a method to drive his chair using movements made by his chin. This proved difficult, since Hawking could not move his neck, and trials showed that while he could indeed drive the chair, the movement was sporadic and jumpy.[280] Near the end of his life, Hawking experienced increased breathing difficulties, often resulting in his requiring the usage of a ventilator, and being regularly hospitalised.[181] Disability outreach Starting in the 1990s, Hawking accepted the mantle of role model for disabled people, lecturing and participating in fundraising activities. At the turn of the century, he and eleven other humanitarians signed the Charter for the Third Millennium on Disability, which called on governments to prevent disability and protect the rights of disabled people.[294] In 1999, Hawking was awarded the Julius Edgar Lilienfeld Prize of the American Physical Society.[296] In August 2012, Hawking narrated the "Enlightenment" segment of the 2012 Summer Paralympics opening ceremony in London.[297] In 2013, the biographical documentary film Hawking, in which Hawking himself is featured, was released.[298] In September 2013, he expressed support for the legalisation of assisted suicide for the terminally ill.[299] In August 2014, Hawking accepted the Ice Bucket Challenge to promote ALS/MND awareness and raise contributions for research. As he had pneumonia in 2013, he was advised not to have ice poured over him, but his children volunteered to accept the challenge on his behalf.[300] Plans for a trip to space In late 2006, Hawking revealed in a BBC interview that one of his greatest unfulfilled desires was to travel to space.[301] On hearing this, Richard Branson offered a free flight into space with Virgin Galactic, which Hawking immediately accepted. Besides personal ambition, he was motivated by the desire to increase public interest in spaceflight and to show the potential of people with disabilities.[302] On 26 April 2007, Hawking flew aboard a specially-modified Boeing 727–200 jet operated by Zero-G Corp off the coast of Florida to experience weightlessness. Fears that the manoeuvres would cause him undue discomfort proved incorrect, and the flight was extended to eight parabolic arcs.[301] It was described as a successful test to see if he could withstand the g-forces involved in space flight.[304] At the time, the date of Hawking's trip to space was projected to be as early as 2009, but commercial flights to space did not commence before his death.[305] Death Hawking died at his home in Cambridge on 14 March 2018, at the age of 76.[306][307][308] His family stated that he "died peacefully".[309][310] He was eulogised by figures in science, entertainment, politics, and other areas.[311][312][313][314] The Gonville and Caius College flag flew at half-mast and a book of condolences was signed by students and visitors.[315][316][317] A tribute was made to Hawking in the closing speech by IPC President Andrew Parsons at the closing ceremony of the 2018 Paralympic Winter Games in Pyeongchang, South Korea.[318] His private funeral took place on 31 March 2018,[319] at Great St Mary's Church, Cambridge.[319][320] Guests at the funeral included The Theory of Everything actors Eddie Redmayne and Felicity Jones, Queen guitarist and astrophysicist Brian May, and model Lily Cole.[321][322] In addition, actor Benedict Cumberbatch, who played Stephen Hawking in Hawking, astronaut Tim Peake, Astronomer Royal Martin Rees and physicist Kip Thorne provided readings at the service.[323] Although Hawking was an atheist, the funeral took place with a traditional Anglican service.[324][325] Following the cremation, a service of thanksgiving was held at Westminster Abbey on 15 June 2018, after which his ashes were interred in the Abbey's nave, between the graves of Sir Isaac Newton and Charles Darwin.[16][321][326][327] Inscribed on his memorial stone are the words "Here lies what was mortal of Stephen Hawking 1942–2018" and his most famed equation.[328] He directed, at least fifteen years before his death, that the Bekenstein–Hawking entropy equation be his epitaph.[329][330][note 1] In June 2018, it was announced that Hawking's words, set to music by Greek composer Vangelis, would be beamed into space from a European space agency satellite dish in Spain with the aim of reaching the nearest black hole, 1A 0620-00.[335] Hawking's final broadcast interview, about the detection of gravitational waves resulting from the collision of two neutron stars, occurred in October 2017.[336] His final words to the world appeared posthumously, in April 2018, in the form of a Smithsonian TV Channel documentary entitled, Leaving Earth: Or How to Colonize a Planet.[337][338] One of his final research studies, entitled A smooth exit from eternal inflation?, about the origin of the universe, was published in the Journal of High Energy Physics in May 2018.[339][218][340] Later, in October 2018, another of his final research studies, entitled Black Hole Entropy and Soft Hair,[341] was published, and dealt with the "mystery of what happens to the information held by objects once they disappear into a black hole".[342][343] Also in October 2018, Hawking's last book, Brief Answers to the Big Questions, a popular science book presenting his final comments on the most important questions facing humankind, was published.[344][345][346] On 8 November 2018, an auction of 22 personal possessions of Stephen Hawking, including his doctoral thesis ("Properties of Expanding Universes", PhD thesis, Cambridge University, 1965) and wheelchair, took place, and fetched about £1.8 m.[347][348] Proceeds from the auction sale of the wheelchair went to two charities, the Motor Neurone Disease Association and the Stephen Hawking Foundation;[349] proceeds from Hawking's other items went to his estate.[348] In March 2019, it was announced that the Royal Mint would issue a commemorative 50p coin, only available as a commemorative edition,[350] in honour of Hawking.[351] The same month, Hawking's nurse, Patricia Dowdy, was struck off the nursing register for "failures over his care and financial misconduct."[352] In May 2021 it was announced that an Acceptance-in-Lieu agreement between HMRC, the Department for Culture, Media and Sport, Cambridge University Library, Science Museum Group, and the Hawking Estate, would see around 10,000 pages of Hawking's scientific and other papers remain in Cambridge, while objects including his wheelchairs, speech synthesisers, and personal memorabilia from his former Cambridge office would be housed at the Science Museum.[353] In February 2022 the "Stephen Hawking at Work" display opened at the Science Museum, London as the start of a two-year nationwide tour.[354] Personal views Philosophy is unnecessary At Google's Zeitgeist Conference in 2011, Stephen Hawking said that "philosophy is dead". He believed that philosophers "have not kept up with modern developments in science", "have not taken science sufficiently seriously and so Philosophy is no longer relevant to knowledge claims", "their art is dead" and that scientists "have become the bearers of the torch of discovery in our quest for knowledge". He said that philosophical problems can be answered by science, particularly new scientific theories which "lead us to a new and very different picture of the universe and our place in it".[355] His view was both praised and criticised.[356] Future of humanity In 2006, Hawking posed an open question on the Internet: "In a world that is in chaos politically, socially and environmentally, how can the human race sustain another 100 years?", later clarifying: "I don't know the answer. That is why I asked the question, to get people to think about it, and to be aware of the dangers we now face."[357] Hawking expressed concern that life on Earth is at risk from a sudden nuclear war, a genetically engineered virus, global warming, or other dangers humans have not yet thought of.[302][358] Hawking stated: "I regard it as almost inevitable that either a nuclear confrontation or environmental catastrophe will cripple the Earth at some point in the next 1,000 years", and considered an "asteroid collision" to be the biggest threat to the planet.[344] Such a planet-wide disaster need not result in human extinction if the human race were to be able to colonise additional planets before the disaster.[358] Hawking viewed spaceflight and the colonisation of space as necessary for the future of humanity.[302][359] Hawking stated that, given the vastness of the universe, aliens likely exist, but that contact with them should be avoided.[360][361] He warned that aliens might pillage Earth for resources. In 2010 he said, "If aliens visit us, the outcome would be much as when Columbus landed in America, which didn't turn out well for the Native Americans."[361] Hawking warned that superintelligent artificial intelligence could be pivotal in steering humanity's fate, stating that "the potential benefits are huge... Success in creating AI would be the biggest event in human history. It might also be the last, unless we learn how to avoid the risks."[362][363] He feared that "an extremely intelligent future AI will probably develop a drive to survive and acquire more resources as a step toward accomplishing whatever goal it has", and that "The real risk with AI isn't malice but competence. A super-intelligent AI will be extremely good at accomplishing its goals, and if those goals aren't aligned with ours, we're in trouble".[364] He also considered that the enormous wealth generated by machines needs to be redistributed to prevent exacerbated economic inequality.[364] Hawking was concerned about the future emergence of a race of "superhumans" that would be able to design their own evolution[344] and, as well, argued that computer viruses in today's world should be considered a new form of life, stating that "maybe it says something about human nature, that the only form of life we have created so far is purely destructive. Talk about creating life in our own image." Religion and atheism Hawking was an atheist.[366][367] In an interview published in The Guardian, Hawking regarded "the brain as a computer which will stop working when its components fail", and the concept of an afterlife as a "fairy story for people afraid of the dark".[307][138] In 2011, narrating the first episode of the American television series Curiosity on the Discovery Channel, Hawking declared: We are each free to believe what we want and it is my view that the simplest explanation is there is no God. No one created the universe and no one directs our fate. This leads me to a profound realisation. There is probably no heaven, and no afterlife either. We have this one life to appreciate the grand design of the universe, and for that, I am extremely grateful.[368][369] Hawking's association with atheism and freethinking was in evidence from his university years onwards, when he had been a member of Oxford University's humanist group. He was later scheduled to appear as the keynote speaker at a 2017 Humanists UK conference.[370] In an interview with El Mundo, he said: Before we understand science, it is natural to believe that God created the universe. But now science offers a more convincing explanation. What I meant by 'we would know the mind of God' is, we would know everything that God would know, if there were a God, which there isn't. I'm an atheist.[366] In addition, Hawking stated: If you like, you can call the laws of science 'God', but it wouldn't be a personal God that you would meet and put questions to.[344] Politics Hawking was a longstanding Labour Party supporter. He recorded a tribute for the 2000 Democratic presidential candidate Al Gore, called the 2003 invasion of Iraq a "war crime",[374] campaigned for nuclear disarmament, and supported stem cell research,[375] universal health care, and action to prevent climate change.[377] In August 2014, Hawking was one of 200 public figures who were signatories to a letter to The Guardian expressing their hope that Scotland would vote to remain part of the United Kingdom in September's referendum on that issue.[378] Hawking believed a United Kingdom withdrawal from the European Union (Brexit) would damage the UK's contribution to science as modern research needs international collaboration, and that free movement of people in Europe encourages the spread of ideas.[379] Hawking said to Theresa May, "I deal with tough mathematical questions every day, but please don't ask me to help with Brexit."[380] Hawking was disappointed by Brexit and warned against envy and isolationism.[381] Hawking was greatly concerned over health care, and maintained that without the UK National Health Service, he could not have survived into his 70s.[382] Hawking especially feared privatisation. He stated, "The more profit is extracted from the system, the more private monopolies grow and the more expensive healthcare becomes. The NHS must be preserved from commercial interests and protected from those who want to privatise it."[383] Hawking blamed the Conservatives for cutting funding to the NHS, weakening it by privatisation, lowering staff morale through holding pay back and reducing social care.[384] Hawking accused Jeremy Hunt of cherry picking evidence which Hawking maintained debased science.[382] Hawking also stated, "There is overwhelming evidence that NHS funding and the numbers of doctors and nurses are inadequate, and it is getting worse."[385] In June 2017, Hawking endorsed the Labour Party in the 2017 UK general election, citing the Conservatives' proposed cuts to the NHS. But he was also critical of Labour leader Jeremy Corbyn, expressing scepticism over whether the party could win a general election under him.[386] Hawking feared Donald Trump's policies on global warming could endanger the planet and make global warming irreversible. He said, "Climate change is one of the great dangers we face, and it's one we can prevent if we act now. By denying the evidence for climate change, and pulling out of the Paris Agreement, Donald Trump will cause avoidable environmental damage to our beautiful planet, endangering the natural world, for us and our children."[387] Hawking further stated that this could lead Earth "to become like Venus, with a temperature of two hundred and fifty degrees, and raining sulphuric acid".[388] Hawking was also a supporter of a universal basic income.[389] He was critical of the Israeli government's position on the Israeli–Palestinian conflict, stating that their policy "is likely to lead to disaster."[390] Appearances in popular media In 1988, Hawking, Arthur C. Clarke and Carl Sagan were interviewed in God, the Universe and Everything Else. They discussed the Big Bang theory, God and the possibility of extraterrestrial life.[391] At the release party for the home video version of the A Brief History of Time, Leonard Nimoy, who had played Spock on Star Trek, learned that Hawking was interested in appearing on the show. Nimoy made the necessary contact, and Hawking played a holographic simulation of himself in an episode of Star Trek: The Next Generation in 1993. The same year, his synthesiser voice was recorded for the Pink Floyd song "Keep Talking", and in 1999 for an appearance on The Simpsons. Hawking appeared in documentaries titled The Real Stephen Hawking (2001), Stephen Hawking: Profile (2002) and Hawking (2013), and the documentary series Stephen Hawking, Master of the Universe (2008).[397] Hawking also guest-starred in Futurama[181] and had a recurring role in The Big Bang Theory.[398] Hawking allowed the use of his copyrighted voice[399][400] in the biographical 2014 film The Theory of Everything, in which he was portrayed by Eddie Redmayne in an Academy Award-winning role.[401] Hawking was featured at the Monty Python Live (Mostly) show in 2014. He was shown to sing an extended version of the "Galaxy Song", after running down Brian Cox with his wheelchair, in a pre-recorded video.[402][403] Hawking used his fame to advertise products, including a wheelchair, National Savings,[404] British Telecom, Specsavers, Egg Banking,[405] and Go Compare.[406] In 2015, he applied to trademark his name.[407] Broadcast in March 2018 just a week or two before his death, Hawking was the voice of The Book Mark II on The Hitchhiker's Guide to the Galaxy radio series, and he was the guest of Neil deGrasse Tyson on StarTalk.[408] The 2021 animated sitcom The Freak Brothers features a recurring character, Mayor Pimco, who is apparently modeled after Stephen Hawking.[409] On 8 January 2022, Google featured Hawking in a Google Doodle on the occasion of his 80th birthday.[410] Awards and honours Hawking received numerous awards and honours. Already early in the list, in 1974 he was elected a Fellow of the Royal Society (FRS).[6] At that time, his nomination read: Hawking has made major contributions to the field of general relativity. These derive from a deep understanding of what is relevant to physics and astronomy, and especially from a mastery of wholly new mathematical techniques. Following the pioneering work of Penrose he established, partly alone and partly in collaboration with Penrose, a series of successively stronger theorems establishing the fundamental result that all realistic cosmological models must possess singularities. Using similar techniques, Hawking has proved the basic theorems on the laws governing black holes: that stationary solutions of Einstein's equations with smooth event horizons must necessarily be axisymmetric; and that in the evolution and interaction of black holes, the total surface area of the event horizons must increase. In collaboration with G. Ellis, Hawking is the author of an impressive and original treatise on "Space-time in the Large". The citation continues, "Other important work by Hawking relates to the interpretation of cosmological observations and to the design of gravitational wave detectors."[411] Hawking was also a member of the American Academy of Arts and Sciences (1984),[412] the American Philosophical Society (1984),[413] and the United States National Academy of Sciences (1992).[414] Hawking received the 2015 BBVA Foundation Frontiers of Knowledge Award in Basic Sciences shared with Viatcheslav Mukhanov for discovering that the galaxies were formed from quantum fluctuations in the early Universe. At the 2016 Pride of Britain Awards, Hawking received the lifetime achievement award "for his contribution to science and British culture".[415] After receiving the award from Prime Minister Theresa May, Hawking humorously requested that she not seek his help with Brexit.[415] The Hawking Fellowship Main article: Hawking Fellowship In 2017, the Cambridge Union Society, in conjunction with Hawking, established the Professor Stephen Hawking Fellowship. The fellowship is awarded annually to an individual who has made an exceptional contribution to the STEM fields and social discourse,[416] with a particular focus on impacts affecting the younger generations. Each fellow delivers a lecture on a topic of their choosing, known as the 'Hawking Lecture'.[417] Hawking himself accepted the inaugural fellowship, and he delivered the first Hawking Lecture in his last public appearance before his death. [418][419] Medal for Science Communication Hawking was a member of the advisory board of the Starmus Festival, and had a major role in acknowledging and promoting science communication. The Stephen Hawking Medal for Science Communication is an annual award initiated in 2016 to honour members of the arts community for contributions that help build awareness of science.[420] Recipients receive a medal bearing a portrait of Hawking by Alexei Leonov, and the other side represents an image of Leonov himself performing the first spacewalk along with an image of the "Red Special", the guitar of Queen musician and astrophysicist Brian May (with music being another major component of the Starmus Festival).[421] The Starmus III Festival in 2016 was a tribute to Stephen Hawking and the book of all Starmus III lectures, "Beyond the Horizon", was also dedicated to him. The first recipients of the medals, which were awarded at the festival, were chosen by Hawking himself. They were composer Hans Zimmer, physicist Jim Al-Khalili, and the science documentary Particle Fever.[422] Publications Popular books A Brief History of Time (1988)[199] Black Holes and Baby Universes and Other Essays (1993)[423] The Universe in a Nutshell (2001)[199] On the Shoulders of Giants (2002)[199] God Created the Integers: The Mathematical Breakthroughs That Changed History (2005)[199] The Dreams That Stuff Is Made of: The Most Astounding Papers of Quantum Physics and How They Shook the Scientific World (2011)[424] My Brief History (2013)[199] Hawking's memoir. Brief Answers to the Big Questions (2018)[344][425] Co-authored The Nature of Space and Time (with Roger Penrose) (1996) The Large, the Small and the Human Mind (with Roger Penrose, Abner Shimony and Nancy Cartwright) (1997) The Future of Spacetime (with Kip Thorne, Igor Novikov, Timothy Ferris and introduction by Alan Lightman, Richard H. Price) (2002) A Briefer History of Time (with Leonard Mlodinow) (2005)[199] The Grand Design (with Leonard Mlodinow) (2010)[199] Forewords Black Holes & Time Warps: Einstein's Outrageous Legacy (Kip Thorne, and introduction by Frederick Seitz) (1994) The Physics of Star Trek (Lawrence Krauss) (1995) Children's fiction Co-written with his daughter Lucy. George's Secret Key to the Universe (2007)[199] George's Cosmic Treasure Hunt (2009)[199] George and the Big Bang (2011)[199] George and the Unbreakable Code (2014) George and the Blue Moon (2016) Films and series A Brief History of Time (1992)[426] Stephen Hawking's Universe (1997)[427] Hawking – BBC television film (2004) starring Benedict Cumberbatch Horizon: The Hawking Paradox (2005)[428] Masters of Science Fiction (2007)[429] Stephen Hawking and the Theory of Everything (2007) Stephen Hawking: Master of the Universe (2008)[430] Into the Universe with Stephen Hawking (2010)[431] Brave New World with Stephen Hawking (2011)[432] Stephen Hawking's Grand Design (2012)[433] The Big Bang Theory (2012, 2014–2015, 2017) Stephen Hawking: A Brief History of Mine (2013)[434] The Theory of Everything – Feature film (2014) starring Eddie Redmayne[435] Genius by Stephen Hawking (2016) Selected academic works S. W. Hawking; R. Penrose (27 January 1970). "The Singularities of Gravitational Collapse and Cosmology". Proceedings of the Royal Society A. 314 (1519): 529–548. Bibcode:1970RSPSA.314..529H. doi:10.1098/RSPA.1970.0021. ISSN 1364-5021. S2CID 120208756. Zbl 0954.83012. Wikidata Q55872061. S. W. Hawking (May 1971). "Gravitational Radiation from Colliding Black Holes". Physical Review Letters. 26 (21): 1344–1346. Bibcode:1971PhRvL..26.1344H. doi:10.1103/PHYSREVLETT.26.1344. ISSN 0031-9007. Wikidata Q21706376. Stephen Hawking (June 1972). "Black holes in general relativity". Communications in Mathematical Physics. 25 (2): 152–166. Bibcode:1972CMaPh..25..152H. doi:10.1007/BF01877517. ISSN 0010-3616. S2CID 121527613. Wikidata Q56453197. Stephen Hawking (March 1974). "Black hole explosions?". Nature. 248 (5443): 30–31. Bibcode:1974Natur.248...30H. doi:10.1038/248030A0. ISSN 1476-4687. S2CID 4290107. Zbl 1370.83053. Wikidata Q54017915. Stephen Hawking (September 1982). "The development of irregularities in a single bubble inflationary universe". Physics Letters B. 115 (4): 295–297. Bibcode:1982PhLB..115..295H. doi:10.1016/0370-2693(82)90373-2. ISSN 0370-2693. Wikidata Q29398982. J. B. Hartle; S. W. Hawking (December 1983). "Wave function of the Universe". Physical Review D. 28 (12): 2960–2975. Bibcode:1983PhRvD..28.2960H. doi:10.1103/PHYSREVD.28.2960. ISSN 1550-7998. Zbl 1370.83118. Wikidata Q21707690. Stephen Hawking; C J Hunter (1 October 1996). "The gravitational Hamiltonian in the presence of non-orthogonal boundaries". Classical and Quantum Gravity. 13 (10): 2735–2752. arXiv:gr-qc/9603050. Bibcode:1996CQGra..13.2735H. CiteSeerX 10.1.1.339.8756. doi:10.1088/0264-9381/13/10/012. ISSN 0264-9381. S2CID 10715740. Zbl 0859.58038. Wikidata Q56551504. S. W. Hawking (October 2005). "Information loss in black holes". Physical Review D. 72 (8). arXiv:hep-th/0507171. Bibcode:2005PhRvD..72h4013H. doi:10.1103/PHYSREVD.72.084013. ISSN 1550-7998. S2CID 118893360. Wikidata Q21651473. Stephen Hawking; Thomas Hertog (April 2018). "A smooth exit from eternal inflation?". Journal of High Energy Physics. 2018 (4). arXiv:1707.07702. Bibcode:2018JHEP...04..147H. doi:10.1007/JHEP04(2018)147. ISSN 1126-6708. S2CID 13745992. Zbl 1390.83455. Wikidata Q55878494. See also List of things named after Stephen Hawking On the Origin of Time, a book by Thomas Hertog about Hawking's theories Notes References Citations Sources
1098	dbpedia	3	1	https://phalpern.medium.com/dennis-sciamas-astonishing-cosmological-conversion-89473dd499d4	en	Dennis Sciama’s Astonishing Cosmological Conversion	https://miro.medium.com/…K12LY80d-Uw.jpeg	https://miro.medium.com/…K12LY80d-Uw.jpeg	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/0kfUQUv8bW3Swg97D.jpeg", "https://miro.medium.com/v2/resize:fill:144:144/0*kfUQUv8bW3Swg97D.jpeg" ]	[]	[]	[ "" ]	null	[ "Paul Halpern", "phalpern.medium.com" ]	2021-07-28T16:00:03.210000+00:00	In the 1950s and early 1950s, Cambridge physicist Dennis Sciama was one of the world’s leading advocates for the steady-state model of cosmology: the idea that the universe, while expanding…	en	https://miro.medium.com/…jr1YbyOIJY2w.png	Medium	https://phalpern.medium.com/dennis-sciamas-astonishing-cosmological-conversion-89473dd499d4	From Steady-State Devotee to Leading Advocate for the Big Bang A Brief Dialogue with 2020 Physics Nobel Laureate Sir Roger Penrose In the 1950s and early 1950s, Cambridge physicist Dennis Sciama was one of the world’s leading advocates for the steady-state model of cosmology: the idea that the universe, while expanding, continuously fills in the gaps with newly created matter. Then. in 1965, after Arno Penzias and Robert Wilson’s unexpected discovery of the relic microwave background radiation leftover from the hot early universe, Sciama made an astonishing turnabout and fully embraced the Big Bang. He encouraged his own student Stephen Hawking and another Cambridge student, future Nobel Laureate Roger Penrose to pursue the implications of a universe that emerged from a pointlike state. Meanwhile, an increasingly isolated Fred Hoyle, one of the steady-state theory’s proposers, clung to aspects of his hard-fought idea — eventually turning to a modification called the quasi-state-state universe, all in an effort to find a way of avoiding a Big Bang. At the annual April Meeting of the American Physical Society, in April 2021, during a question and answer session after his talk, I asked Sir Roger Penrose about his recollections of that pivotal era: Paul Halpern: “Do you recall Dennis Sciama and Fred Hoyle’s reactions to the singularity theorems given their support of the steady-state theory?” Roger Penrose: “Yes, indeed. That was very interesting. Well, Dennis was my main source of physics. I went to Cambridge as a graduate student in pure mathematics, but then Dennis took me under his wing and decided I was someday he should involve in cosmology, and so on. And while he wanted me to change to cosmology, I didn’t do that, but I learned a lot from him. And, at that time, yes, the steady-state model was the great thing at Cambridge. And I knew Bondi, and I knew Gold, and I knew Hoyle, and I knew Dennis Sciama. And when the Penzias and Wilson observations came about, and became clearer and clearer that the steady-state model had to be wrong, Dennis struggled a bit and he thought he’d produce some explanation of it. And then when he was convinced that it was wrong, I had an enormous respect for him. Then he went around giving lectures saying , ‘I was wrong. The steady-state model is wrong. The Big Bang was there and we have to change our minds.” I thought that was amazing. Fred Hoyle didn’t. He sort of vacillated for a long time, and stuck to steady-state and various versions of it. But Dennis was absolutely direct and honest, as a scientist should be, and I had tremendous respect for that.”
1098	dbpedia	1	82	https://arxiv.org/html/2407.03532v1	en	Fast Radio Bursts and Artificial Neural Networks: a cosmological-model-independent estimation of the Hubble Constant			[ "https://arxiv.org/html/extracted/5709105/Images/1200px-Neural_network_example.png", "https://arxiv.org/html/extracted/5709105/Images/dmrec.png", "https://arxiv.org/html/extracted/5709105/Images/learningc.png", "https://arxiv.org/html/extracted/5709105/Images/hzrec.png", "https://arxiv.org/html/extracted/5709105/Images/simplot.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Jéferson A. S. Fortunato \orcidlink0000-0001-7983-1891 David J. Bacon \orcidlink0000-0002-2562-8537 Wiliam S. Hipólito-Ricaldi \orcidlink0000-0002-1748-553X David Wands \orcidlink0000-0001-9509-8386 Abstract Fast Radio Bursts (FRBs) have emerged as powerful cosmological probes in recent years offering valuable insights into cosmic expansion. These predominantly extragalactic transients encode information on the expansion of the Universe through their dispersion measure, reflecting interactions with the intervening medium along the line of sight. In this study, we introduce a novel method for reconstructing the late-time cosmic expansion rate and estimating the Hubble constant, solely derived from FRBs measurements coupled with their redshift information while employing Artificial Neural Networks. Our approach yields a Hubble constant estimate of H0=67.3±6.6⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus67.36.6kmsuperscripts1superscriptMpc1H_{0}=67.3\pm 6.6\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 67.3 ± 6.6 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT. With a dataset comprising 23 localised data points, we demonstrate a precision of ∼10%similar-toabsentpercent10\sim 10\%∼ 10 %. However, our forecasts using simulated datasets indicate that in the future it could be possible to achieve precision comparable to the SH0ES collaboration or the Planck satellite. Our findings underscore the potential of FRBs as alternative, independent tools for probing cosmic dynamics. Keywords: Fast Radio Bursts, Artificial Neural Networks, Hubble constant. I Introduction In the context of the concordance model of cosmology, named ΛΛ\Lambdaroman_Λ Cold Dark Matter (Λ⁢CDM)ΛCDM(\Lambda\rm CDM)( roman_Λ roman_CDM ), the Hubble tension emerges as a discrepancy between the estimated value for the present expansion rate of the Universe, characterised by the Hubble constant (H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT) when considering early-time versus late-time cosmological probes. Among these probes, two particular methodologies stand out: analysis of the cosmic microwave background (CMB) anisotropies and direct inference from Cepheid stars and type Ia supernovae in the local universe. The Planck Collaboration Aghanim et al. (2020) meticulously analysed the CMB anisotropies, deriving a value of H0=67.4±0.5⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus67.40.5kmsuperscripts1superscriptMpc1H_{0}=67.4\pm 0.5\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 67.4 ± 0.5 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT within a Λ⁢CDMΛCDM\Lambda\rm CDMroman_Λ roman_CDM cosmology. Conversely, leveraging the unique properties of Cepheid stars and type Ia supernovae, Riess et al. (2022) directly measure H0=73.04±1.04⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus73.041.04kmsuperscripts1superscriptMpc1H_{0}=73.04\pm 1.04\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 73.04 ± 1.04 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT — a discrepancy of 5⁢σ5𝜎5\sigma5 italic_σ with respect to the Planck value. These disparate estimates underscore the urgency of reconciling observations and/or exploring alternative methodologies to achieve a robust determination of the cosmic expansion. Among the various measurements reported in the literature, obtained by analysing different observational probes, the values of H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT usually fall within or close to the above range. For instance, Alam et al Alam et al. (2021) using the Baryon Acoustic Oscillation (BAO) scale calibrated with Big Bang Nucleosynthesis measurements, reported a value close to the CMB estimate, H0=68.20±0.81⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus68.200.81kmsuperscripts1superscriptMpc1H_{0}=68.20\pm 0.81\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 68.20 ± 0.81 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT, while Camarena and Marra Camarena and Marra (2020) reported H0=75.35±1.68⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus75.351.68kmsuperscripts1superscriptMpc1H_{0}=75.35\pm 1.68\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 75.35 ± 1.68 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT using the distance-ladder approach. This disparity also appears in other cosmological probes, suggesting either that the considered underlying cosmological model (Λ⁢CDMΛCDM\rm\Lambda CDMroman_Λ roman_CDM) does not provide a consistent description of the Universe, or that there are systematic errors affecting the observational data. Over the past decade, researchers have diligently investigated the Hubble tension, which emerged when the first results of the Planck Collaboration were reported in 2013 Ade et al. (2013); Di Valentino et al. (2021). To this extent, model-dependent and model-independent approaches have been employed for measuring H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT, offering complementary insights into the underlying cosmological dynamics. When considering model-dependent techniques, it is necessary to specify a cosmological model to compute distances. These distances are crucial benchmarks against which observational data from cosmological probes are then compared. Conversely, model-independent approaches offer a data-driven way of estimating the underlying theory that governs the observable phenomena. Numerous studies in the literature focus on reconstructing the late-time cosmic expansion history without relying on a specific assumed cosmological model. For instance, Bengaly et al Bengaly et al. (2023) utilised different machine-learning techniques to estimate the Hubble constant, based on direct measurements of the Hubble parameter H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) inferred from Cosmic Chronometers (CC). This was also done by Seikel et al Seikel et al. (2012) using Type Ia Supernovae (SNIa) data and Gaussian Processes (GP) instead. Additionally, recent advancements in Artificial Neural Networks (ANNs) – another machine learning technique – have revolutionised cosmological research, offering powerful tools for data-driven analysis, model-independent fitting, and parameter estimation. Unlike GPs, which rely on kernel functions to define correlations between data points, ANNs learn representations and patterns directly from the data, avoiding the issue of overfitting caused by overly strong correlations imposed by kernel choices. This was pointed out by Ó Colgáin and Sheikh-Jabbari (2021) when studying how different kernels lead to tighter constraints on H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT, which may be incompatible with the parameter space allowed by certain cosmological models. ANNs hold the potential to address complex cosmological challenges, including estimating H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT and the interpretation of observational data, within the Λ⁢CDMΛCDM\Lambda\rm CDMroman_Λ roman_CDM framework and beyond. A variety of applications of ANNs have recently been explored in the reconstruction of H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT. For instance, Wang et al Wang et al. (2020) developed an ANN algorithm and applied it to Cosmic Chronometers data, resulting in a value of H0=67.33±15.74⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus67.3315.74kmsuperscripts1superscriptMpc1H_{0}=67.33\pm 15.74\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 67.33 ± 15.74 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT. Similarly, Liu et al Liu et al. (2023a), through the integration of datasets from SNIa and ANNs applied to reconstruct the angular diameter distance from radio quasar data, reported H0=73.51±0.67⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus73.510.67kmsuperscripts1superscriptMpc1H_{0}=73.51\pm 0.67\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 73.51 ± 0.67 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT. Since their discovery in 2007 by Lorimer et al Lorimer et al. (2007), Fast Radio Bursts (FRBs) have shown promise in providing an alternative cosmological probe, given that they can be used to infer the cosmic expansion and estimate the Hubble constant (Macquart et al., 2020; Wu et al., 2022; Zhao et al., 2022; Hagstotz et al., 2022), probe the fraction of baryons in the intergalactic medium (IGM), estimate the cosmic proper distance Yu and Wang (2017) and other applications. These transient events are characterised by extremely bright and short-duration pulses that occur in the radio spectrum and last for only a few milliseconds. The large dispersion measures (DMsDMs\rm DMsroman_DMs) observed in these events, which result from the electron column density along the line of sight, strongly suggest an extragalactic origin. This inference is supported by the observation that the measured DMsDMs\rm DMsroman_DMs far surpass the expected contribution from the Milky Way Lorimer et al. (2007); Petroff et al. (2019). To date, hundreds of FRBs have been cataloged, with some exhibiting repeating bursts Zhou et al. (2022). Of these, 24 have been precisely localised allowing their host galaxy and redshift to be determined. While some FRB events might have a link to magnetars (Bochenek et al., 2020), given the possible association between the event FRB200428 and the galactic magnetar SGR 1935+2154, numerous progenitor models have been reported in the literature so far Zhang (2020); Bhandari et al. (2020). The cosmological origin of these FRBs has made them a prominent observable in the study of cosmology. In a recent study, Liu et al Liu et al. (2023b) combined datasets from FRBs and CCs to estimate the Hubble constant as H0=71±3⁢km⁢s−1⁢Mpc−1subscript𝐻0plus-or-minus713kmsuperscripts1superscriptMpc1H_{0}=71\pm 3\rm\ km\ s^{-1}\ Mpc^{-1}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 71 ± 3 roman_km roman_s start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_Mpc start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT using a model-independent approach. In this paper, we introduce a novel model-independent method for reconstructing the late-time expansion history of the Universe through the Hubble parameter, H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ), estimating H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT via Artificial Neural Networks solely based on the dispersion measures of FRBs. Also, we provide a forecast of the number of FRBs needed to achieve similar precision to that reported by the SH0ES collaboration. The structure of this paper is as follows: Section II provides an overview of the fundamental characteristics of Fast Radio Bursts. In Section III we outline our methodology for reconstructing H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) and estimating H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT. Also, we provide a brief review of Artificial Neural Networks and their implementation for the case considered in this study. Section IV presents our findings, consisting of both real data analysis and simulation results with forecast data. Finally, Section V offers a discussion of our results and draws conclusions from our study. II Basic properties of Fast Radio Bursts As a Fast Radio Burst pulse travels toward Earth, it interacts with the intergalactic medium, causing dispersion and a time delay in the arrival of different frequencies that make up the observed signal. This delay is quantified by the Dispersion Measure (DMDM\mathrm{DM}roman_DM): Δ⁢t∝(νlo−2−νhi−2)⁢DM,proportional-toΔ𝑡superscriptsubscript𝜈lo2superscriptsubscript𝜈hi2DM\Delta t\propto\left(\nu_{\mathrm{lo}}^{-2}-\nu_{\mathrm{hi}}^{-2}\right)% \mathrm{DM},roman_Δ italic_t ∝ ( italic_ν start_POSTSUBSCRIPT roman_lo end_POSTSUBSCRIPT start_POSTSUPERSCRIPT - 2 end_POSTSUPERSCRIPT - italic_ν start_POSTSUBSCRIPT roman_hi end_POSTSUBSCRIPT start_POSTSUPERSCRIPT - 2 end_POSTSUPERSCRIPT ) roman_DM , (1) where νlosubscript𝜈lo\nu_{\mathrm{lo}}italic_ν start_POSTSUBSCRIPT roman_lo end_POSTSUBSCRIPT and νhisubscript𝜈hi\nu_{\mathrm{hi}}italic_ν start_POSTSUBSCRIPT roman_hi end_POSTSUBSCRIPT represent the lower and higher frequencies of the emitted signal. The DMDM\mathrm{DM}roman_DM parameter is related to the column density of free electrons along the line of sight l𝑙litalic_l to the FRB and is expressed as: DM=∫ne(1+z)⁢𝑑l.DMsubscript𝑛𝑒1𝑧differential-d𝑙\mathrm{DM}=\int\frac{n_{e}}{(1+z)}dl.roman_DM = ∫ divide start_ARG italic_n start_POSTSUBSCRIPT italic_e end_POSTSUBSCRIPT end_ARG start_ARG ( 1 + italic_z ) end_ARG italic_d italic_l . (2) The observed dispersion measure (DMobssubscriptDMobs\rm DM_{obs}roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT) is often estimated by considering the contribution from the local DMlocalsubscriptDMlocal\rm DM_{\rm local}roman_DM start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT and the extragalactic DMEGsubscriptDMEG\rm DM_{\rm EG}roman_DM start_POSTSUBSCRIPT roman_EG end_POSTSUBSCRIPT environments that the FRB signal crosses: DMobs=DMlocal+DMEG⁢(z),subscriptDMobssubscriptDMlocalsubscriptDMEGz\rm DM_{obs}=\mathrm{DM}_{\mathrm{local}}+\mathrm{DM}_{\mathrm{EG}}(z),roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT + roman_DM start_POSTSUBSCRIPT roman_EG end_POSTSUBSCRIPT ( roman_z ) , (3) being DMlocal=DMISM+DMhalo,subscriptDMlocalsubscriptDMISMsubscriptDMhalo\mathrm{DM}_{\mathrm{local}}=\mathrm{DM}_{\mathrm{ISM}}+\mathrm{DM}_{\mathrm{% halo}},roman_DM start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_ISM end_POSTSUBSCRIPT + roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT , (4) and DMEG=DMIGM+DMhost(1+z),subscriptDMEGsubscriptDMIGMsubscriptDMhost1𝑧\mathrm{DM}_{\mathrm{EG}}=\mathrm{DM}_{\mathrm{IGM}}+\frac{\mathrm{DM_{\mathrm% {host}}}}{(1+z)},roman_DM start_POSTSUBSCRIPT roman_EG end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT + divide start_ARG roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT end_ARG start_ARG ( 1 + italic_z ) end_ARG , (5) where DMISMsubscriptDMISM\rm DM_{\rm ISM}roman_DM start_POSTSUBSCRIPT roman_ISM end_POSTSUBSCRIPT is the interstellar medium contribution and DMhalosubscriptDMhalo\rm DM_{\rm halo}roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT is the Milky Way surrounding halo component. The former, DMISMsubscriptDMISM\rm DM_{\rm ISM}roman_DM start_POSTSUBSCRIPT roman_ISM end_POSTSUBSCRIPT, has been extensively studied and commonly calculated using galactic electron distribution models such as NE2001 Cordes and Lazio (2002) and YMW16 Yao et al. (2017) and then subtracted from the observed dispersion measure. In this study, we use the NE2001 model. On the other hand, DMhalosubscriptDMhalo\rm DM_{\rm halo}roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT is the Milky Way galactic halo contribution that is estimated in the range 50<DMhalo<100⁢pc⁢cm−350subscriptDMhalo100pcsuperscriptcm350<\rm DM_{\rm halo}<100~{}\rm pc~{}cm^{-3}50 < roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT < 100 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT Prochaska and Zheng (2019). We employ DMhalo=50⁢pc⁢cm−3subscriptDMhalo50pcsuperscriptcm3\rm DM_{\rm halo}=50~{}\rm pc~{}cm^{-3}roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT = 50 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT in our calculations as a conservative choice following Macquart et al. (2020). DMIGMsubscriptDMIGM\rm DM_{\rm IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT is the intergalactic medium contribution, which is the main contribution to the observed dispersion measure and contains the cosmological dependence. Previous works McQuinn (2013) have shown that this contribution accounts for a scatter around the mean ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\rm\langle DM_{\rm IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩, 100−400⁢pc⁢cm−3100400pcsuperscriptcm3100-400~{}\rm pc~{}cm^{-3}100 - 400 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT at z = 0.5 - 1, and DMIGMsubscriptDMIGM\rm DM_{\rm IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT is in general inhomogeneous due to the non-smooth electron distribution along the signal path. The mean is calculated through the so-called Macquart Relation Macquart et al. (2020) and depends upon the Hubble rate: ⟨DMIGM⟩=(3⁢c8⁢π⁢G⁢mp)⁢Ωb⁢H0⁢∫0z(1+z)⁢fIGM⁢(z)⁢fe⁢(z)E⁢(z′)⁢𝑑z′,delimited-⟨⟩subscriptDMIGM3𝑐8𝜋𝐺subscript𝑚psubscriptΩbsubscript𝐻0subscriptsuperscript𝑧01𝑧subscript𝑓IGM𝑧subscript𝑓e𝑧𝐸superscript𝑧′differential-dsuperscript𝑧′{\rm\langle DM_{IGM}\rangle}=\left(\frac{3c}{8\pi Gm_{\rm p}}\right){\rm\Omega% _{b}}H_{0}\int^{z}_{0}\frac{(1+z)f_{\rm IGM}(z)f_{\rm e}(z)}{E(z^{\prime})}dz^% {\prime},⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ = ( divide start_ARG 3 italic_c end_ARG start_ARG 8 italic_π italic_G italic_m start_POSTSUBSCRIPT roman_p end_POSTSUBSCRIPT end_ARG ) roman_Ω start_POSTSUBSCRIPT roman_b end_POSTSUBSCRIPT italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT ∫ start_POSTSUPERSCRIPT italic_z end_POSTSUPERSCRIPT start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT divide start_ARG ( 1 + italic_z ) italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ( italic_z ) italic_f start_POSTSUBSCRIPT roman_e end_POSTSUBSCRIPT ( italic_z ) end_ARG start_ARG italic_E ( italic_z start_POSTSUPERSCRIPT ′ end_POSTSUPERSCRIPT ) end_ARG italic_d italic_z start_POSTSUPERSCRIPT ′ end_POSTSUPERSCRIPT , (6) where E⁢(z)=H⁢(z)/H0𝐸𝑧𝐻𝑧subscript𝐻0E(z)=H(z)/H_{0}italic_E ( italic_z ) = italic_H ( italic_z ) / italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT. We denote the cosmic baryon density by ΩbsubscriptΩb\rm\Omega_{b}roman_Ω start_POSTSUBSCRIPT roman_b end_POSTSUBSCRIPT, mpsubscript𝑚pm_{\rm p}italic_m start_POSTSUBSCRIPT roman_p end_POSTSUBSCRIPT is the proton mass, and the baryon mass fraction in the IGMIGM\rm IGMroman_IGM is fIGMsubscript𝑓IGMf_{\rm IGM}italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT. The electron fraction fe⁢(z)=YH⁢Xe,H⁢(z)+12⁢YHe⁢Xe,He⁢(z)subscript𝑓e𝑧subscript𝑌Hsubscript𝑋eH𝑧12subscript𝑌Hesubscript𝑋eHe𝑧f_{\rm e}(z)=Y_{\rm H}X_{\rm e,H}(z)+\frac{1}{2}Y_{\rm He}X_{\rm e,He}(z)italic_f start_POSTSUBSCRIPT roman_e end_POSTSUBSCRIPT ( italic_z ) = italic_Y start_POSTSUBSCRIPT roman_H end_POSTSUBSCRIPT italic_X start_POSTSUBSCRIPT roman_e , roman_H end_POSTSUBSCRIPT ( italic_z ) + divide start_ARG 1 end_ARG start_ARG 2 end_ARG italic_Y start_POSTSUBSCRIPT roman_He end_POSTSUBSCRIPT italic_X start_POSTSUBSCRIPT roman_e , roman_He end_POSTSUBSCRIPT ( italic_z ), where we consider an IGMIGM\rm IGMroman_IGM with a hydrogen mass fraction YH=0.75subscript𝑌H0.75Y_{\rm H}=0.75italic_Y start_POSTSUBSCRIPT roman_H end_POSTSUBSCRIPT = 0.75 and a helium mass fraction YHe=0.25subscript𝑌He0.25Y_{\rm He}=0.25italic_Y start_POSTSUBSCRIPT roman_He end_POSTSUBSCRIPT = 0.25. Given that hydrogen and helium are completely ionised at z<3𝑧3z<3italic_z < 3, we set the ionisation fractions for each species as Xe,H=Xe,He=1subscript𝑋eHsubscript𝑋eHe1X_{\rm e,H}=X_{\rm e,He}=1italic_X start_POSTSUBSCRIPT roman_e , roman_H end_POSTSUBSCRIPT = italic_X start_POSTSUBSCRIPT roman_e , roman_He end_POSTSUBSCRIPT = 1. We shall return to fIGMsubscript𝑓IGMf_{\rm IGM}italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT later. DMhostsubscriptDMhost\rm DM_{\rm host}roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT is related to the host galaxy environment and it has to be scaled with redshift to account for the cosmic expansion. Here, we consider this component as a constant value following Tendulkar et al. (2017), DMhost=100⁢pc⁢cm−3subscriptDMhost100pcsuperscriptcm3\rm DM_{\rm host}=100~{}\rm pc~{}cm^{-3}roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT = 100 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT. III Method In this section, we present the method used to reconstruct the late-time expansion history through the Hubble parameter H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) and estimate the Hubble constant H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT by using only localised Fast Radio Bursts data and Artificial Neural Networks. We start by presenting some of the equations relevant to our approach. III.1 Estimating the Hubble constant H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT Dispersion measures originating from the intergalactic medium and their redshift dependence are related to the Hubble parameter. Therefore Eq. (6) can help us to reconstruct the late-time cosmic expansion history, H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ), by considering the derivative of ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM{\rm\langle DM_{IGM}\rangle}⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ with respect to redshift: H⁢(z)=(3⁢c8⁢π⁢G⁢mp)⁢104⁢Ωb⁢h2⁢(1+z)⁢fIGM⁢(z)⁢fe⁢(z)⁢(d⁢⟨DMIGM⟩d⁢z)−1.𝐻𝑧3𝑐8𝜋𝐺subscript𝑚𝑝superscript104subscriptΩ𝑏superscriptℎ21𝑧subscript𝑓IGM𝑧subscript𝑓𝑒𝑧superscript𝑑delimited-⟨⟩subscriptDMIGM𝑑𝑧1H(z)=\left(\frac{3c}{8\pi Gm_{p}}\right)10^{4}\Omega_{b}h^{2}\left(1+z\right)f% _{\rm IGM}(z)f_{e}(z)\left(\frac{d\langle\rm DM_{\rm IGM}\rangle}{dz}\right)^{% -1}.italic_H ( italic_z ) = ( divide start_ARG 3 italic_c end_ARG start_ARG 8 italic_π italic_G italic_m start_POSTSUBSCRIPT italic_p end_POSTSUBSCRIPT end_ARG ) 10 start_POSTSUPERSCRIPT 4 end_POSTSUPERSCRIPT roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT italic_h start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT ( 1 + italic_z ) italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ( italic_z ) italic_f start_POSTSUBSCRIPT italic_e end_POSTSUBSCRIPT ( italic_z ) ( divide start_ARG italic_d ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG start_ARG italic_d italic_z end_ARG ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT . (7) Thus, the key to reconstruct H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) from the localised FRB datasets is to know (d⁢⟨DMIGM⟩d⁢z)−1superscript𝑑delimited-⟨⟩subscriptDMIGM𝑑𝑧1\left(\frac{d\langle\rm DM_{\rm IGM}\rangle}{dz}\right)^{-1}( divide start_ARG italic_d ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG start_ARG italic_d italic_z end_ARG ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT. Some approaches to compute ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{\rm IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ and its derivative with respect to redshift directly from the data have been explored in the literature. For example, one approach uses a dataset split into bins to compute the mean of the redshifts and dispersion measures in each bin Wu et al. (2020). On the other hand, although Liu et al. (2023b) also uses the division into bins, they incorporate the Markov Chain Monte Carlo (MCMC) method with a combination of a continuous piece-wise linear function to approximate ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{\rm IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩. In this work however we use a completely different approach considering ANNs, which allow us to construct (d⁢⟨DMIGM⟩d⁢z)−1superscript𝑑delimited-⟨⟩subscriptDMIGM𝑑𝑧1\left(\frac{d\langle\rm DM_{\rm IGM}\rangle}{dz}\right)^{-1}( divide start_ARG italic_d ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG start_ARG italic_d italic_z end_ARG ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT with no a priori assumptions and in a completely data-driven way. We start by reconstructing the average value for the IGM component ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ via ANNs as described in the next subsection. The inputs are the redshift and the DMIGMsubscriptDMIGM\rm DM_{\rm IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT estimated from the observed dispersion measure, subtracting the other contributions discussed in the previous section: DMIGM=DMobs−DMlocal−DMhost⁢(1+z)−1,subscriptDMIGMsubscriptDMobssubscriptDMlocalsubscriptDMhostsuperscript1z1\mathrm{DM}_{\rm IGM}=\rm DM_{\rm obs}-\rm DM_{\rm local}-\rm DM_{\rm host}(1+% z)^{-1},roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT - roman_DM start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT - roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT ( 1 + roman_z ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT , (8) and its associated uncertainty given by σIGM⁢(z)=σobs2⁢(z)+σlocal2+σΔ⁢IGM2⁢(z)+(σhost⁢(z)1+z)2,subscript𝜎IGM𝑧subscriptsuperscript𝜎2obs𝑧subscriptsuperscript𝜎2localsubscriptsuperscript𝜎2ΔIGM𝑧superscriptsubscript𝜎host𝑧1𝑧2\sigma_{\rm IGM}(z)=\sqrt{\sigma^{2}_{\rm obs}(z)+\sigma^{2}_{\rm local}+% \sigma^{2}_{\rm\Delta IGM}(z)+\left(\frac{\sigma_{\rm host}(z)}{1+z}\right)^{2% }},italic_σ start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ( italic_z ) = square-root start_ARG italic_σ start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT ( italic_z ) + italic_σ start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT + italic_σ start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT start_POSTSUBSCRIPT roman_Δ roman_IGM end_POSTSUBSCRIPT ( italic_z ) + ( divide start_ARG italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT ( italic_z ) end_ARG start_ARG 1 + italic_z end_ARG ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG , (9) where σobssubscript𝜎obs\sigma_{\rm obs}italic_σ start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT and σhostsubscript𝜎host\sigma_{\rm host}italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT represent the errors related to DMobssubscriptDMobs\rm DM_{\rm obs}roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT and DMhostsubscriptDMhost\rm DM_{\rm host}roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT, respectively, while σlocalsubscript𝜎local\sigma_{\rm local}italic_σ start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT is the sum of DMISMsubscriptDMISM\rm DM_{\rm ISM}roman_DM start_POSTSUBSCRIPT roman_ISM end_POSTSUBSCRIPT and DMhalosubscriptDMhalo\rm DM_{\rm halo}roman_DM start_POSTSUBSCRIPT roman_halo end_POSTSUBSCRIPT errors. This equation provides a framework for characterising the dispersion in ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ across different sight-lines. For our calculations, we follow the approach outlined by Hagstotz et al. (2022), where σlocal≈30⁢pc⁢cm−3subscript𝜎local30pcsuperscriptcm3\sigma_{\rm local}\approx 30~{}\rm{pc~{}cm}^{-3}italic_σ start_POSTSUBSCRIPT roman_local end_POSTSUBSCRIPT ≈ 30 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT and σhost≈50⁢(1+z)−1⁢pc⁢cm−3subscript𝜎host50superscript1𝑧1pcsuperscriptcm3\sigma_{\rm host}\approx 50(1+z)^{-1}~{}\rm{pc~{}cm}^{-3}italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT ≈ 50 ( 1 + italic_z ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT. Due to the inherent inhomogeneity of baryonic matter in the IGM, a large dispersion is observed around the mean value ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩. For instance, McQuinn et al. McQuinn (2013) reported a scatter ranging from 100−400⁢pc⁢cm−3100400pcsuperscriptcm3100-400~{}\rm pc~{}cm^{-3}100 - 400 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT within the redshift range z=0.5−1.0z0.51.0\rm z=0.5-1.0roman_z = 0.5 - 1.0. To address this variability, we adopt a power-law function derived from the findings of McQuinn (2013), as elaborated in Qiang and Wei (2020): σΔ⁢IGM⁢(z)=173.8⁢z0.4⁢pc⁢cm−3.subscript𝜎ΔIGM𝑧173.8superscript𝑧0.4pcsuperscriptcm3\sigma_{\rm\Delta IGM}(z)=173.8~{}z^{0.4}~{}\rm pc~{}cm^{-3}.italic_σ start_POSTSUBSCRIPT roman_Δ roman_IGM end_POSTSUBSCRIPT ( italic_z ) = 173.8 italic_z start_POSTSUPERSCRIPT 0.4 end_POSTSUPERSCRIPT roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT . (10) Once the average ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ is reconstructed from the data, the derivative d⁢⟨DMIGM⟩d⁢z𝑑delimited-⟨⟩subscriptDMIGM𝑑𝑧\frac{d\langle\rm DM_{\rm IGM}\rangle}{dz}divide start_ARG italic_d ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG start_ARG italic_d italic_z end_ARG and its inverse are computed to reconstruct H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) using Eq. (7). Finally, to estimate the Hubble constant, the extrapolated value of H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) at z=0𝑧0z=0italic_z = 0 is taken. The uncertainty is propagated according to the following equation: σH=H⁢(z)⁢(σΩb⁢h2Ωb⁢h2)2+(σfIGM⁢(z)fIGM⁢(z))2+(σd⁢z⟨DMIGM⟩d⁢z⟨DMIGM⟩)2,subscript𝜎𝐻𝐻𝑧superscriptsubscript𝜎subscriptΩ𝑏superscriptℎ2subscriptΩ𝑏superscriptℎ22superscriptsubscript𝜎subscript𝑓IGM𝑧subscript𝑓IGM𝑧2superscriptsubscript𝜎𝑑𝑧delimited-⟨⟩subscriptDMIGM𝑑𝑧delimited-⟨⟩subscriptDMIGM2\sigma_{H}=H(z)~{}\sqrt{\left(\frac{\sigma_{\Omega_{b}h^{2}}}{\Omega_{b}h^{2}}% \right)^{2}+\left(\frac{\sigma_{f_{\rm{\rm IGM}}(z)}}{f_{\rm{IGM}}(z)}\right)^% {2}+\left(\frac{\sigma_{\frac{dz}{\langle\rm DM_{IGM}\rangle}}}{\frac{dz}{% \langle\rm DM_{IGM}\rangle}}\right)^{2}}\,,italic_σ start_POSTSUBSCRIPT italic_H end_POSTSUBSCRIPT = italic_H ( italic_z ) square-root start_ARG ( divide start_ARG italic_σ start_POSTSUBSCRIPT roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT italic_h start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_POSTSUBSCRIPT end_ARG start_ARG roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT italic_h start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT + ( divide start_ARG italic_σ start_POSTSUBSCRIPT italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ( italic_z ) end_POSTSUBSCRIPT end_ARG start_ARG italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ( italic_z ) end_ARG ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT + ( divide start_ARG italic_σ start_POSTSUBSCRIPT divide start_ARG italic_d italic_z end_ARG start_ARG ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG end_POSTSUBSCRIPT end_ARG start_ARG divide start_ARG italic_d italic_z end_ARG start_ARG ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG end_ARG ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG , (11) which also is extrapolated to find the error σH0subscript𝜎subscript𝐻0\sigma_{H_{0}}italic_σ start_POSTSUBSCRIPT italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT end_POSTSUBSCRIPT for H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT estimation. We emphasise that our approach relies solely on the localised FRBs data. III.2 Artificial Neural Networks Artificial Neural Networks are computational machine learning tools that simulate the learning mechanisms observed in biological systems. The computational units that make up an ANN, used for processing input information, are called neurons Aggarwal et al. (2018). These artificial neurons work by taking quantities available in their inputs, processing them according to their operational function, and producing a response as an output considering their activation function Da Silva et al. (2017); Priddy and Keller (2005). The most common neuronal structure of an ANN consists of an input layer connected to a hidden layer (containing a certain number of neurons), or a group of sequential hidden layers, and an output layer Dialektopoulos et al. (2022). See Figure 1 for the scheme used in this work. The connections between neurons are related to quantities referred to as weights, implemented by vectors and matrices. Each input variable is scaled with a weight in order to quantify its relevance with respect to the function calculated at that neuron Da Silva et al. (2017). The ANN calculates a function of the inputs by propagating computed values from the input neurons to output neuron(s), with the weights as intermediary parameters. The learning process occurs by adjusting these weights to refine the computed function for improved predictions in subsequent iterations Aggarwal et al. (2018). To be more precise, following the methodology outlined by Liu (2022), each layer receives a vector from the previous layer as an input. Then a linear transformation is applied followed by the application of an activation function, which calibrates the output within a range of reasonable values based on its own functional form Da Silva et al. (2017), then propagates the current result to the next layer. In the machine learning framework, the basic idea is that the following relation gives the prediction function z𝑧zitalic_z: z⁢(𝐰;𝐱)𝑧𝐰𝐱\displaystyle z\left(\mathbf{w;x}\right)italic_z ( bold_w ; bold_x ) =\displaystyle== 𝐱𝐰+b;𝐱𝐰𝑏\displaystyle\mathbf{x}\mathbf{w}+b;bold_xw + italic_b ; =\displaystyle== w1⁢x1+⋯+wp⁢xp+bsubscript𝑤1subscript𝑥1⋯subscript𝑤𝑝subscript𝑥𝑝𝑏\displaystyle w_{1}x_{1}+\cdot\cdot\cdot+w_{p}x_{p}+bitalic_w start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT + ⋯ + italic_w start_POSTSUBSCRIPT italic_p end_POSTSUBSCRIPT italic_x start_POSTSUBSCRIPT italic_p end_POSTSUBSCRIPT + italic_b =\displaystyle== ∑ipwi⁢xi+b;subscriptsuperscript𝑝𝑖subscript𝑤𝑖subscript𝑥𝑖𝑏\displaystyle\sum^{p}_{i}w_{i}x_{i}+b;∑ start_POSTSUPERSCRIPT italic_p end_POSTSUPERSCRIPT start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT italic_w start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT + italic_b ; y𝑦\displaystyle yitalic_y =\displaystyle== f⁢(zi+1),𝑓subscript𝑧𝑖1\displaystyle f(z_{i+1}),italic_f ( italic_z start_POSTSUBSCRIPT italic_i + 1 end_POSTSUBSCRIPT ) , with z⁢(𝐰;𝐱)𝑧𝐰𝐱z\left(\mathbf{w;x}\right)italic_z ( bold_w ; bold_x ) read as a function of 𝐰𝐰\mathbf{w}bold_w for a given 𝐱𝐱\mathbf{x}bold_x. The vectors are defined as follows: 𝐱𝐱\displaystyle\mathbf{x}bold_x =\displaystyle== [x1,x2,…,xp];subscript𝑥1subscript𝑥2…subscript𝑥𝑝\displaystyle\left[x_{1},x_{2},...,x_{p}\right];[ italic_x start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_x start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT , … , italic_x start_POSTSUBSCRIPT italic_p end_POSTSUBSCRIPT ] ; 𝐰𝐰\displaystyle\mathbf{w}bold_w =\displaystyle== [w1,w2,…,wp]⊤,superscriptsubscript𝑤1subscript𝑤2…subscript𝑤𝑝top\displaystyle\left[w_{1},w_{2},...,w_{p}\right]^{\top},[ italic_w start_POSTSUBSCRIPT 1 end_POSTSUBSCRIPT , italic_w start_POSTSUBSCRIPT 2 end_POSTSUBSCRIPT , … , italic_w start_POSTSUBSCRIPT italic_p end_POSTSUBSCRIPT ] start_POSTSUPERSCRIPT ⊤ end_POSTSUPERSCRIPT , where xi⁢(i=1,2⁢…,p)subscript𝑥𝑖𝑖12…𝑝x_{i}(i=1,2...,p)italic_x start_POSTSUBSCRIPT italic_i end_POSTSUBSCRIPT ( italic_i = 1 , 2 … , italic_p ) are the feature variables used as inputs of the i-th layer. On the other hand, 𝐰𝐰\mathbf{w}bold_w and b𝑏bitalic_b represent the weights and the bias, respectively to be optimised. These two values can provide information about the performance of the predictions of the ANN Gómez-Vargas et al. (2021) when comparing the predicted values to the actual values of the considered dataset. The quantity zi+1subscript𝑧𝑖1z_{i+1}italic_z start_POSTSUBSCRIPT italic_i + 1 end_POSTSUBSCRIPT is the intermediate vector after applying the linear transformation, and f𝑓fitalic_f is the activation function. In this work, we choose the Rectified Linear Unit (ReLU) as the activation function to limit the neuron output: f⁢(z)={0z<0zz≥0,𝑓𝑧cases0𝑧0𝑧𝑧0\displaystyle f(z)=\begin{cases}0&z<0\\ z&z\geq 0\end{cases}\quad,italic_f ( italic_z ) = { start_ROW start_CELL 0 end_CELL start_CELL italic_z < 0 end_CELL end_ROW start_ROW start_CELL italic_z end_CELL start_CELL italic_z ≥ 0 end_CELL end_ROW , which is widely adopted in machine learning applications due to its ability to address the gradient vanishing problem commonly encountered in deep neural networks, promoting more stable and efficient training processes and enabling the network to learn complex relationships within the data more effectively. The training process is a fundamental step to determine if the ANN performs well and generalizes well to unseen data, that is, the ability to predict the underlying patterns based on new data. For this reason, it is necessary to randomly split the considered dataset into two different groups: the training and the test sets. The training set is required to train and optimize the machine learning model by updating the weights and bias every interaction aiming to minimize the loss function, which quantifies the difference between the predicted values, derived from the current weights and biases, and the actual data points in the training set. Through techniques such as backpropagation, the model is progressively adjusted to reduce this discrepancy, then enhancing its accuracy on the training data. The test set is kept for the final evaluation of the performance of the model; this way it is possible to determine its generalization ability and performance on new, previously unseen data points Bishop (2006); Liu (2022); Raschka et al. (2020). III.3 ANN implementation Throughout this investigation, we utilised an ANN architecture known as Multilayer Perceptron (MLP). The MLP model is implemented in Python language by the scikit-learn library, which is a powerful tool designed to handle various machine learning applications Pedregosa et al. (2011). With this algorithm and using the measured redshifts and DMIGMsubscriptDMIGM\rm DM_{IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT as inputs, we are able to reconstruct the mean relation ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ as a function of z. To ensure robust model performance, we first partitioned our dataset into training and testing sets using a standard 75-25 split ratio – although we also explored alternative configurations such as 50-50, 60-40, and 90-10, yielding results comparable to those detailed in Section IV. The standard split led to superior performance, given that for a better training process it is necessary to include more data points. Also, we fixed a random state of 152. This parameter is used to control the randomness of machine learning algorithms, such as train-test splitting or shuffling of data in cross-validation. We are able to obtain reproducible results by fixing the seed of the random number generator. Subsequently, we conducted hyperparameter tuning for the MLPRegressor model using the module GridSearchCV. To identify the optimal configuration, we employed different combinations of various parameters of the module, including activation functions, solvers, and learning rates. Specifically, we varied the sizes of the hidden layers from 10 to 240 neurons in increments of 10. Through this systematic search process, we aimed to find the best-performing model configuration for our particular FRB dataset. Finally, we fit the MLPRegressor model to the training data, ensuring that it learned the underlying patterns in our dataset to make accurate predictions. The algorithm snippet used to perform our method is given by: 1 2z_train,z_test,dm_train,dm_test=train_test_split(z,dm,test_size=0.25,random_state=152) 3 4 5regr=GridSearchCV(MLPRegressor(activation=’relu’,solver=’lbfgs’,learning_rate=’adaptive’,max_iter=200,random_state=152), 6param_grid={’hidden_layer_sizes’:np.arange(10,250,10)}, 7cv=2,refit=True) 8 9 10regr.fit(z_train,hz_train.reshape((len(hz_train),))) Although this algorithm is suitable for reconstructing underlying functions based on the input data, it lacks a built-in mechanism to quantify estimation uncertainties. In light of this, we adopt bootstrap resampling of the dataset as the methodology to enable us to estimate the inherent uncertainty associated with the reconstructed ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩. Such a method has already been implemented in other works in a similar fashion Bengaly et al. (2023); Gong and Bean (2024). We employ then 100100100100 resamples to reconstruct the statistical confidence regions. This strategy not only reduces computational complexity but also optimizes the use of available datasets if it is comprised of a small sample, enabling a more straightforward estimation of uncertainties. IV Data and results Although numerous Fast Radio Bursts have been documented, so far only 24 have had their redshifts determined. Here we use a subset of 23 available FRBs measured together with their host galaxy redshifts, compiled by Yang et al. (2022) and listed in Table 1. We exclude FRB200110E because it carries little cosmological information due to the fact that it is the closest extragalactic FRB detected to date, only 3.6⁢Mpc3.6Mpc3.6~{}\rm Mpc3.6 roman_Mpc distant, located in a globular cluster in the M81 galaxy Kirsten et al. (2022); Bhardwaj et al. (2021a). DMIGMsubscriptDMIGM\mathrm{DM}_{\rm IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT and its associated error are computed using the data from Table 1 for each redshift using Eqs. (8) and (9). The ANN process, with the optimized hyperparameters as discussed in subsection III.3, is then applied to reconstruct the average ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩, which is presented in Figure 2 (black continuous line) and its 1σ𝜎\sigmaitalic_σ and 2σ𝜎\sigmaitalic_σ regions (gray shaded regions). For the sake of comparison, Figure 2 also shows theoretical curves for ΛΛ\Lambdaroman_ΛCDM with the best-fit parameters found by the SH0ES collaboration Riess et al. (2022) and by the latest Planck satellite release Aghanim et al. (2020), alongside the training and testing sets. Notice that the ΛΛ\Lambdaroman_ΛCDM model with both H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT values (SH0ES and Planck) is consistent with the reconstructed ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\langle\rm DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ within a 1σ𝜎\sigmaitalic_σ confidence level. As we are interested in a completely data-driven process to measure H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT, we have used the real data for both the training and validation processes. Given that such a dataset is small, we need to assess the performance of the learning process. This can be achieved by setting the cross-validation parameter to cv=2cv2\rm cv=2roman_cv = 2, which splits the available training data into a portion of (S−1)/S𝑆1𝑆(S-1)/S( italic_S - 1 ) / italic_S, where S𝑆Sitalic_S is the number of folds, for training and keeps the rest for validation Bishop (2006). Then we use the function learning_curve from scikit-learn and plot the learning curves. This function allows us to vary the number of data points within the training set and compute the scores for each fold. By default, like many other estimators, the scoring metric used is the coefficient of determination, R2superscript𝑅2R^{2}italic_R start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT. The training score and the cross-validation score are shown in Figure 3. The training score indicates how well the model fits the training data by computing the score metrics for the training set. The curve shows a near-perfect score of 1.01.01.01.0 for the training set (values should vary from 0 to 1), indicating that the model is likely overfitting to the training data, as evidenced by the high performance. On the other hand, cross-validation score values show more variation. The negative values and fluctuations suggest that the model is performing poorly on the validation set, especially for smaller training sizes. However, as the training size increases, the validation scores tend to improve, indicating that the performance becomes more stable with more training data. After we obtain ⟨DMIGM⟩delimited-⟨⟩subscriptDMIGM\rm\langle DM_{IGM}\rangle⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩, its derivative with respect to redshift is computed to reconstruct (d⁢⟨DMIGM⟩d⁢z)−1superscript𝑑delimited-⟨⟩subscriptDMIGM𝑑𝑧1\left(\frac{d\langle\rm DM_{\rm IGM}\rangle}{dz}\right)^{-1}( divide start_ARG italic_d ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT ⟩ end_ARG start_ARG italic_d italic_z end_ARG ) start_POSTSUPERSCRIPT - 1 end_POSTSUPERSCRIPT. Finally, the Hubble function is obtained using Eq.(7) and its error using Eq.(11). During the process, we have used Ωb⁢h2=0.02235±0.00049subscriptΩ𝑏superscriptℎ2plus-or-minus0.022350.00049\Omega_{b}h^{2}=0.02235\pm 0.00049roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT italic_h start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT = 0.02235 ± 0.00049. This value comes from primordial Big Bang Nucleosynthesis (BBN) Cooke et al. (2018), where Ωb⁢h2subscriptΩ𝑏superscriptℎ2\Omega_{b}h^{2}roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT italic_h start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT can be estimated by observing the primordial deuterium-hydrogen abundance ratio. On the other hand, we use fIGM=0.83±0.06subscript𝑓IGMplus-or-minus0.830.06f_{\rm IGM}=0.83\pm 0.06italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT = 0.83 ± 0.06 in agreement with the value found by Yang et al. (2022), estimated using 22 localised FRBs. The reconstructed H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) function during the late time universe is presented in Figure 4 (black solid curve) alongside its 1σ𝜎\sigmaitalic_σ and 2σ𝜎\sigmaitalic_σ regions in grey. Figure 4 also shows the curves for both the best-fit set of parameters found by the SH0ES collaboration and by the latest Planck satellite release. We can observe that the ΛΛ\Lambdaroman_ΛCDM model with both H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT values (SH0ES and Planck) is consistent with the reconstructed H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) within a 2σ𝜎\sigmaitalic_σ confidence level. At 1σ𝜎\sigmaitalic_σ, ΛΛ\Lambdaroman_ΛCDM with H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT measured by Planck is slightly outside the interval 0.2<z<0.50.2𝑧0.50.2<z<0.50.2 < italic_z < 0.5. An extrapolation to z=0𝑧0z=0italic_z = 0 of the reconstructed H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) and its error gives us the value of the constant Hubble, H0=67.3±6.6subscript𝐻0plus-or-minus67.36.6H_{0}=67.3\pm 6.6italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 67.3 ± 6.6. Note that this value is in tension with the same quantity measured by SH0ES collaboration with 1.2⁢σ1.2𝜎1.2\sigma1.2 italic_σ of statistical confidence. The precision of the estimated H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT using only localised FRBs is ∼8%similar-toabsentpercent8\sim 8\%∼ 8 %. This precision could change slightly depending on the different reported values for fIGMsubscript𝑓IGMf_{\rm IGM}italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT. For instance, fIGM=0.82±0.07subscript𝑓IGMplus-or-minus0.820.07f_{\rm IGM}=0.82\pm 0.07italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT = 0.82 ± 0.07, as found in Fortunato et al. (2023), results in a precision of ∼10%similar-toabsentpercent10\sim 10\%∼ 10 %, while fIGM=0.82±0.04subscript𝑓IGMplus-or-minus0.820.04f_{\rm IGM}=0.82\pm 0.04italic_f start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT = 0.82 ± 0.04, reported by Wu et al. (2020), results in ∼7%similar-toabsentpercent7\sim 7\%∼ 7 % precision. The existing sample of localised FRBs is not sufficient to reach a statistical precision comparable to some of the other probes, for example, SNIa. However, considerable effort is going into the construction of instruments to improve the quantity of data that will be available in the future. This includes two upcoming radio telescopes: the Square Kilometre Array (SKA) Zhang et al. (2023) and the Baryon Acoustic Oscillations from Integrated Neutral Gas Observations (BINGO) project Abdalla et al. (2022); Santos et al. (2023). The SKA promises vast detection capability for FRBs, and while BINGO focuses on 21-cm HI line detection, it also holds significant potential for FRB research. Therefore, the question arises: what is the impact of the future FRBs datasets, much larger than those currently available? To answer this question we will assess our methodology using Monte Carlo simulated datasets. To generate the mock data it is necessary to choose a fiducial cosmological model. Here we use the flat ΛΛ\Lambdaroman_ΛCDM model with the cosmological parameters H0=70subscript𝐻070H_{0}=70italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 70, Ωb=0.049subscriptΩ𝑏0.049\Omega_{b}=0.049roman_Ω start_POSTSUBSCRIPT italic_b end_POSTSUBSCRIPT = 0.049, Ωm=0.3subscriptΩ𝑚0.3\Omega_{m}=0.3roman_Ω start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT = 0.3 and ΩΛ=1−ΩmsubscriptΩΛ1subscriptΩ𝑚\Omega_{\Lambda}=1-\Omega_{m}roman_Ω start_POSTSUBSCRIPT roman_Λ end_POSTSUBSCRIPT = 1 - roman_Ω start_POSTSUBSCRIPT italic_m end_POSTSUBSCRIPT. Then, we follow the methodology outlined in references Yu and Wang (2017) and Liu et al. (2023b). The FRB dataset has information on DMobssubscriptDMobs\rm DM_{\rm obs}roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT and its correspondent redshift. We assume the redshift distribution can be described by f⁢(z)≈z2⁢exp⁡(−α⁢z)𝑓𝑧superscript𝑧2𝛼𝑧f(z)\approx z^{2}\exp(-\alpha z)italic_f ( italic_z ) ≈ italic_z start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT roman_exp ( - italic_α italic_z ) within the range 0<z<10𝑧10<z<10 < italic_z < 1, where α=7𝛼7\alpha=7italic_α = 7 Hagstotz et al. (2022). α𝛼\alphaitalic_α is a parameter to control the depth of the mock sample, working as a cutoff placing, with most of the data points in the range z = 0.3 – 0.5. In the FRB context, it is common to simulate DMEXT=DMobs−DMloc=DMIGM+DMhostsubscriptDMEXTsubscriptDMobssubscriptDMlocsubscriptDMIGMsubscriptDMhost\rm DM_{\rm EXT}=\rm DM_{\rm obs}-DM_{\rm loc}=\rm DM_{\rm IGM}+DM_{\rm host}roman_DM start_POSTSUBSCRIPT roman_EXT end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_obs end_POSTSUBSCRIPT - roman_DM start_POSTSUBSCRIPT roman_loc end_POSTSUBSCRIPT = roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT + roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT, employing randomly sampled DMEXTsim=DMIGMsim+DMhostsimsuperscriptsubscriptDMEXTsimsuperscriptsubscriptDMIGMsimsuperscriptsubscriptDMhostsim\rm DM_{\rm EXT}^{\rm sim}=\rm DM_{\rm IGM}^{\rm sim}+DM_{\rm host}^{\rm sim}roman_DM start_POSTSUBSCRIPT roman_EXT end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sim end_POSTSUPERSCRIPT = roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sim end_POSTSUPERSCRIPT + roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sim end_POSTSUPERSCRIPT as the observed quantity. From Eq. (6), ⟨DMIGMfid⟩delimited-⟨⟩superscriptsubscriptDMIGMfid{\rm\langle DM_{IGM}^{fid}\rangle}⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_fid end_POSTSUPERSCRIPT ⟩ is computed using the fiducial model, then we sample DMIGMsimsuperscriptsubscriptDMIGMsim\rm DM_{\rm IGM}^{\rm sim}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sim end_POSTSUPERSCRIPT from a normal distribution 𝒩⁢(⟨DMIGMfid⟩,σDMIGMfid)𝒩delimited-⟨⟩superscriptsubscriptDMIGMfidsubscript𝜎superscriptsubscriptDMIGMfid\mathcal{N}\left({\rm\langle DM_{IGM}^{fid}\rangle},\sigma_{\rm DM_{\rm IGM}^{% fid}}\right)caligraphic_N ( ⟨ roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_fid end_POSTSUPERSCRIPT ⟩ , italic_σ start_POSTSUBSCRIPT roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_fid end_POSTSUPERSCRIPT end_POSTSUBSCRIPT ), where σDMIGMfid=σΔ⁢IGM⁢(z)subscript𝜎superscriptsubscriptDMIGMfidsubscript𝜎ΔIGM𝑧\sigma_{\rm DM_{\rm IGM}^{fid}}=\sigma_{\rm\Delta IGM}(z)italic_σ start_POSTSUBSCRIPT roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_fid end_POSTSUPERSCRIPT end_POSTSUBSCRIPT = italic_σ start_POSTSUBSCRIPT roman_Δ roman_IGM end_POSTSUBSCRIPT ( italic_z ), as given by equation (10). The host component DMhostsimsuperscriptsubscriptDMhostsim\rm DM_{\rm host}^{\rm sim}roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT start_POSTSUPERSCRIPT roman_sim end_POSTSUPERSCRIPT is drawn from a lognormal distribution: P⁢(DMhost)=1DMhost⁢σhost⁢2⁢π⁢exp⁡(−(ln⁢(DMhost/μ))22⁢σhost2).𝑃subscriptDMhost1subscriptDMhostsubscript𝜎host2𝜋superscriptlnsubscriptDMhost𝜇22superscriptsubscript𝜎host2P({\rm DM_{host}})=\frac{1}{{\rm DM_{host}}\sigma_{\rm host}\sqrt{2\pi}}{{\exp% }}\left(-\frac{({\rm ln}({\rm DM_{host}}/\mu))^{2}}{2\sigma_{\rm host}^{2}}% \right)\,.italic_P ( roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT ) = divide start_ARG 1 end_ARG start_ARG roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT square-root start_ARG 2 italic_π end_ARG end_ARG roman_exp ( - divide start_ARG ( roman_ln ( roman_DM start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT / italic_μ ) ) start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG start_ARG 2 italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT end_ARG ) . (12) Following Macquart et al. (2020) we consider μ𝜇{\mu}italic_μ in the range 20−200⁢pc⁢cm−320200pcsuperscriptcm320-200~{}\rm pc~{}cm^{-3}20 - 200 roman_pc roman_cm start_POSTSUPERSCRIPT - 3 end_POSTSUPERSCRIPT and σhostsubscript𝜎host\sigma_{\rm host}italic_σ start_POSTSUBSCRIPT roman_host end_POSTSUBSCRIPT in the range 0.2−2.00.22.00.2-2.00.2 - 2.0. Using our methodology applied to 100 simulated datasets each comprised of 500 mock data points (see Figure 5 for a visual inspection of one of the reconstructions), we derived a series of estimates for the Hubble constant. Employing the minimum χ2superscript𝜒2\chi^{2}italic_χ start_POSTSUPERSCRIPT 2 end_POSTSUPERSCRIPT method, with flat prior over H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT ranging from 00 to 100100100100, we obtained H0=70.17±0.89subscript𝐻0plus-or-minus70.170.89H_{0}=70.17\pm 0.89italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 70.17 ± 0.89. This result reflects a statistical precision of ∼1.25%similar-toabsentpercent1.25\sim 1.25\%∼ 1.25 %, closely aligned with the precision reported by the SH0ES collaboration, which stands at ∼1.42%similar-toabsentpercent1.42\sim 1.42\%∼ 1.42 %. Note that we use a value of fIGM=0.8423±0.0110subscript𝑓IGMplus-or-minus0.84230.0110f_{\text{IGM}}=0.8423\pm 0.0110italic_f start_POSTSUBSCRIPT IGM end_POSTSUBSCRIPT = 0.8423 ± 0.0110, as estimated by Santos et al. (2023). This estimate was obtained by simulating 500 FRB data points with a redshift distribution similar to that used in this work, ensuring consistency in the simulated data length. V Discussions Although some astrophysical characteristics of the FRBs (e.g features of the host, the real impact of the electron distribution inhomogeneity, etc) are not fully understood, in recent years, their potential importance in cosmology has become clear, providing an alternative probe to test fundamental physics, constraining cosmological models and estimating cosmological parameters. Studies probing the underlying physical FRBs mechanisms will improve our understanding of their potential and possible limitations. In this sense model-independent analyses are preferable because they should universally valid. In this work, we reconstruct the Hubble function H⁢(z)𝐻𝑧H(z)italic_H ( italic_z ) and estimate the Hubble constant H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT using ANN techniques. We emphasise that, unlike other model-independent approaches involving FRBs, H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT was estimated only using current observations of localised FRBs without relying on additional probes. This is acheived by subtracting the different contributions to the observed dispersion measure, in such a way as to leave only the DMIGMsubscriptDMIGM\rm DM_{\rm IGM}roman_DM start_POSTSUBSCRIPT roman_IGM end_POSTSUBSCRIPT contribution for each redshift. Our method is based on the known relation between the average of the IGM dispersion measure and the Hubble parameter. The ANN algorithm is applied after an optimisation process to find the optimal hyperparameters set for our particular dataset. The value we found for Hubble constant is H0=67.3±6.6subscript𝐻0plus-or-minus67.36.6H_{0}=67.3\pm 6.6italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT = 67.3 ± 6.6, corresponding to ∼10%similar-toabsentpercent10\sim 10\%∼ 10 % precision, slightly further from the SH0ES result than the CMB one. Similar conclusions have been reached in previous works Fortunato et al. (2023); Wu et al. (2022); Hagstotz et al. (2022), however, our findings hold for a minimal number of assumptions, are completely data-driven, and use only localised FRBs. More data is necessary to confirm or discard this result. Nonetheless, the precision we found here is of the order or slightly tighter than reported in some previous works Fong et al. (2021); Wu et al. (2022). In the FRB context, leading contributions for the uncertainty come from three sources: i) systematics and instrumental effects, ii) a poor understanding of the DM fluctuation due to variation in the electrons’ distribution along the signal path and no exact knowledge about host galaxy contribution, and iii) a small number of localised FRBs in the current dataset. Unfortunately to diminish the uncertainty coming from the first two sources we have to wait for future developments in both FRBs physics and observations. If in future we increase the number of localised FRBs, then results seem promising. We show this by simulating ∼500similar-toabsent500\sim 500∼ 500 FRB events with corresponding redshifts and found that they could increase precision to the same order of precision as current SNIa, i.e., ∼1%similar-toabsentpercent1\sim 1\%∼ 1 %. The projected increase in the number of events appears feasible in coming years, particularly with the work of ongoing projects such as the Canadian Hydrogen Intensity Mapping Experiment (CHIME) in Canada Amiri et al. (2021), the Five-hundred-meter Aperture Spherical Telescope (FAST) in China Li et al. (2018) and the More Karoo Array Telescope (MeerKAT) Jonas and Team (2016). The MeerKAT is a precursor of the already mentioned SKA, consisting of an interferometric array consisting of 64 dishes, each with a diameter of 13.96 meters, situated in the Karoo desert of South Africa. These initiatives, alongside others outlined in earlier sections, are poised to contribute significantly to the growing pool of observed FRB events. In summary, our results are optimistic and promising, showing the potential of future FRB observations to constrain H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT with high precision, through a completely data-driven approach. This suggests that FRBs could emerge as an alternative, independent method for estimating H0subscript𝐻0H_{0}italic_H start_POSTSUBSCRIPT 0 end_POSTSUBSCRIPT, shedding new light on the challenging problem of the Hubble tension in the future. Acknowledgements. JASF thanks FAPES and CNPq for their financial support. WSHR thanks FAPES (PRONEM No 503/2020) for the financial support under which this work was carried out. The authors thank Marcelo V. dos Santos and Yang Liu for providing valuable insights into some research questions. Also, JASF is grateful for the hospitality of the Institute of Cosmology and Gravitation of the University of Portsmouth where most of this work was developed. This work was supported by the Science and Technology Facilities Council (grant number ST/W001225/1). Supporting research data are available on reasonable request from the corresponding author. References Aghanim et al. (2020) N. Aghanim, Y. Akrami, M. Ashdown, J. Aumont, C. Baccigalupi, M. Ballardini, A. Banday, R. Barreiro, N. Bartolo, S. Basak, et al., Astronomy & Astrophysics 641, A6 (2020). Riess et al. (2022) A. G. Riess, W. Yuan, L. M. Macri, D. Scolnic, D. Brout, S. Casertano, D. O. Jones, Y. Murakami, G. S. Anand, L. Breuval, et al., The Astrophysical Journal Letters 934, L7 (2022). Alam et al. (2021) S. Alam, M. Aubert, S. Avila, C. Balland, J. E. Bautista, M. A. Bershady, D. Bizyaev, M. R. Blanton, A. S. Bolton, J. Bovy, et al., Physical Review D 103, 083533 (2021). Camarena and Marra (2020) D. Camarena and V. Marra, Physical Review Research 2, 013028 (2020). Ade et al. (2013) P. Ade, N. Aghanim, C. Armitage-Caplan, M. Arnaud, M. Ashdown, F. Atrio-Barandela, J. Aumont, C. Baccigalupi, A. Banday, R. Barreiro, et al., arXiv preprint arXiv:1303.5076 (2013). Di Valentino et al. (2021) E. Di Valentino, O. Mena, S. Pan, L. Visinelli, W. Yang, A. Melchiorri, D. F. Mota, A. G. Riess, and J. Silk, Classical and Quantum Gravity 38, 153001 (2021). Bengaly et al. (2023) C. Bengaly, M. A. Dantas, L. Casarini, and J. Alcaniz, The European Physical Journal C 83, 1 (2023). Seikel et al. (2012) M. Seikel, C. Clarkson, and M. Smith, Journal of Cosmology and Astroparticle Physics 2012, 036 (2012). Ó Colgáin and Sheikh-Jabbari (2021) E. Ó Colgáin and M. Sheikh-Jabbari, The European Physical Journal C 81, 892 (2021). Wang et al. (2020) G.-J. Wang, X.-J. Ma, S.-Y. Li, and J.-Q. Xia, The Astrophysical Journal Supplement Series 246, 13 (2020). Liu et al. (2023a) T. Liu, X. Yang, Z. Zhang, J. Wang, and M. Biesiada, Physics Letters B 845, 138166 (2023a). Lorimer et al. (2007) D. R. Lorimer, M. Bailes, M. A. McLaughlin, D. J. Narkevic, and F. Crawford, Science 318, 777 (2007). Macquart et al. (2020) J.-P. Macquart, J. Prochaska, M. McQuinn, K. Bannister, S. Bhandari, C. Day, A. Deller, R. Ekers, C. James, L. Marnoch, et al., Nature 581, 391 (2020). Wu et al. (2022) Q. Wu, G.-Q. Zhang, and F.-Y. Wang, Monthly Notices of the Royal Astronomical Society: Letters 515, L1 (2022). Zhao et al. (2022) Z.-W. Zhao, J.-G. Zhang, Y. Li, J.-M. Zou, J.-F. Zhang, and X. Zhang, arXiv preprint arXiv:2212.13433 (2022). Hagstotz et al. (2022) S. Hagstotz, R. Reischke, and R. Lilow, Monthly Notices of the Royal Astronomical Society 511, 662 (2022). Yu and Wang (2017) H. Yu and F. Wang, Astronomy & Astrophysics 606, A3 (2017). Petroff et al. (2019) E. Petroff, J. Hessels, and D. Lorimer, The Astronomy and Astrophysics Review 27, 1 (2019). Zhou et al. (2022) D. Zhou, J. Han, B. Zhang, K. Lee, W. Zhu, D. Li, W. Jing, W.-Y. Wang, Y. Zhang, J. Jiang, et al., Research in Astronomy and Astrophysics 22, 124001 (2022). Bochenek et al. (2020) C. D. Bochenek, V. Ravi, K. V. Belov, G. Hallinan, J. Kocz, S. R. Kulkarni, and D. L. McKenna, Nature 587, 59 (2020). Zhang (2020) B. Zhang, Nature 587, 45 (2020). Bhandari et al. (2020) S. Bhandari, E. M. Sadler, J. X. Prochaska, S. Simha, S. D. Ryder, L. Marnoch, K. W. Bannister, J.-P. Macquart, C. Flynn, R. M. Shannon, et al., The Astrophysical Journal Letters 895, L37 (2020). Liu et al. (2023b) Y. Liu, H. Yu, and P. Wu, The Astrophysical Journal Letters 946, L49 (2023b). Cordes and Lazio (2002) J. M. Cordes and T. J. W. Lazio, arXiv preprint astro-ph/0207156 (2002). Yao et al. (2017) J. Yao, R. Manchester, and N. Wang, The Astrophysical Journal 835, 29 (2017). Prochaska and Zheng (2019) J. X. Prochaska and Y. Zheng, Monthly Notices of the Royal Astronomical Society 485, 648 (2019). McQuinn (2013) M. McQuinn, The Astrophysical Journal Letters 780, L33 (2013). Tendulkar et al. (2017) S. P. Tendulkar, C. Bassa, J. M. Cordes, G. C. Bower, C. J. Law, S. Chatterjee, E. A. Adams, S. Bogdanov, S. Burke-Spolaor, B. J. Butler, et al., The Astrophysical Journal Letters 834, L7 (2017). Wu et al. (2020) Q. Wu, H. Yu, and F. Wang, The Astrophysical Journal 895, 33 (2020). Qiang and Wei (2020) D.-C. Qiang and H. Wei, Journal of Cosmology and Astroparticle Physics 2020, 023 (2020). Aggarwal et al. (2018) C. C. Aggarwal et al., Springer 10, 3 (2018). Da Silva et al. (2017) I. N. Da Silva, D. Hernane Spatti, R. Andrade Flauzino, L. H. B. Liboni, S. F. dos Reis Alves, I. N. da Silva, D. Hernane Spatti, R. Andrade Flauzino, L. H. B. Liboni, and S. F. dos Reis Alves, Artificial neural network architectures and training processes (Springer, 2017). Priddy and Keller (2005) K. L. Priddy and P. E. Keller, Artificial neural networks: an introduction, Vol. 68 (SPIE press, 2005). Dialektopoulos et al. (2022) K. Dialektopoulos, J. L. Said, J. Mifsud, J. Sultana, and K. Z. Adami, Journal of Cosmology and Astroparticle Physics 2022, 023 (2022). Liu (2022) G.-R. Liu, Machine learning with python: theory and applications (World Scientific, 2022). Gómez-Vargas et al. (2021) I. Gómez-Vargas, J. A. Vázquez, R. M. Esquivel, and R. García-Salcedo, arXiv preprint arXiv:2104.00595 (2021). Bishop (2006) C. M. Bishop, Springer google schola 2, 645 (2006). Raschka et al. (2020) S. Raschka, J. Patterson, and C. Nolet, Information 11, 193 (2020). Pedregosa et al. (2011) F. Pedregosa, G. Varoquaux, A. Gramfort, V. Michel, B. Thirion, O. Grisel, M. Blondel, P. Prettenhofer, R. Weiss, V. Dubourg, J. Vanderplas, A. Passos, D. Cournapeau, M. Brucher, M. Perrot, and E. Duchesnay, Journal of Machine Learning Research 12, 2825 (2011). Gong and Bean (2024) Y. Gong and R. Bean, arXiv preprint arXiv:2403.04664 (2024). Yang et al. (2022) K. Yang, Q. Wu, and F. Wang, The Astrophysical Journal Letters 940, L29 (2022). Kirsten et al. (2022) F. Kirsten, B. Marcote, K. Nimmo, J. Hessels, M. Bhardwaj, S. Tendulkar, A. Keimpema, J. Yang, M. Snelders, P. Scholz, et al., Nature 602, 585 (2022). Bhardwaj et al. (2021a) M. Bhardwaj, B. Gaensler, V. Kaspi, T. Landecker, R. Mckinven, D. Michilli, Z. Pleunis, S. Tendulkar, B. Andersen, P. Boyle, et al., The Astrophysical Journal Letters 910, L18 (2021a). Spitler et al. (2016) L. Spitler, P. Scholz, J. Hessels, S. Bogdanov, A. Brazier, F. Camilo, S. Chatterjee, J. Cordes, F. Crawford, J. Deneva, et al., Nature 531, 202 (2016). Bhandari et al. (2022) S. Bhandari, K. E. Heintz, K. Aggarwal, L. Marnoch, C. K. Day, J. Sydnor, S. Burke-Spolaor, C. J. Law, J. X. Prochaska, N. Tejos, et al., The Astronomical Journal 163, 69 (2022). Marcote et al. (2020) B. Marcote, K. Nimmo, J. Hessels, S. Tendulkar, C. Bassa, Z. Paragi, A. Keimpema, M. Bhardwaj, R. Karuppusamy, V. Kaspi, et al., Nature 577, 190 (2020). Bannister et al. (2019) K. W. Bannister, A. T. Deller, C. Phillips, J.-P. Macquart, J. X. Prochaska, N. Tejos, S. D. Ryder, E. M. Sadler, R. M. Shannon, S. Simha, et al., Science 365, 565 (2019). Bhardwaj et al. (2021b) M. Bhardwaj, A. Y. Kirichenko, D. Michilli, Y. Mayya, V. Kaspi, B. Gaensler, M. Rahman, S. Tendulkar, E. Fonseca, A. Josephy, et al., The Astrophysical Journal Letters 919, L24 (2021b). Prochaska et al. (2019) J. X. Prochaska, J.-P. Macquart, M. McQuinn, S. Simha, R. M. Shannon, C. K. Day, L. Marnoch, S. Ryder, A. Deller, K. W. Bannister, et al., Science 366, 231 (2019). Ravi et al. (2019) V. Ravi, M. Catha, L. D’Addario, S. Djorgovski, G. Hallinan, R. Hobbs, J. Kocz, S. Kulkarni, J. Shi, H. Vedantham, et al., Nature 572, 352 (2019). Chittidi et al. (2021) J. S. Chittidi, S. Simha, A. Mannings, J. X. Prochaska, S. D. Ryder, M. Rafelski, M. Neeleman, J.-P. Macquart, N. Tejos, R. A. Jorgenson, et al., The Astrophysical Journal 922, 173 (2021). Day et al. (2020) C. K. Day, A. T. Deller, R. M. Shannon, H. Qiu, K. W. Bannister, S. Bhandari, R. Ekers, C. Flynn, C. W. James, J.-P. Macquart, et al., Monthly Notices of the Royal Astronomical Society 497, 3335 (2020). Law et al. (2020) C. J. Law, B. J. Butler, J. X. Prochaska, B. Zackay, S. Burke-Spolaor, A. Mannings, N. Tejos, A. Josephy, B. Andersen, P. Chawla, et al., The Astrophysical Journal 899, 161 (2020). Heintz et al. (2020) K. E. Heintz, J. X. Prochaska, S. Simha, E. Platts, W.-f. Fong, N. Tejos, S. D. Ryder, K. Aggerwal, S. Bhandari, C. K. Day, et al., The Astrophysical Journal 903, 152 (2020). Fong et al. (2021) W.-f. Fong, Y. Dong, J. Leja, S. Bhandari, C. K. Day, A. T. Deller, P. Kumar, J. X. Prochaska, D. R. Scott, K. W. Bannister, et al., The Astrophysical Journal Letters 919, L23 (2021). James et al. (2022) C. James, E. Ghosh, J. Prochaska, K. Bannister, S. Bhandari, C. Day, A. Deller, M. Glowacki, A. Gordon, K. Heintz, et al., Monthly Notices of the Royal Astronomical Society 516, 4862 (2022). Cooke et al. (2018) R. J. Cooke, M. Pettini, and C. C. Steidel, The Astrophysical Journal 855, 102 (2018). Fortunato et al. (2023) J. A. Fortunato, W. S. Hipólito-Ricaldi, and M. V. dos Santos, Monthly Notices of the Royal Astronomical Society 526, 1773 (2023). Zhang et al. (2023) J.-G. Zhang, Z.-W. Zhao, Y. Li, J.-F. Zhang, D. Li, and X. Zhang, arXiv preprint arXiv:2307.01605 (2023). Abdalla et al. (2022) E. Abdalla, E. G. Ferreira, R. G. Landim, A. A. Costa, K. S. Fornazier, F. B. Abdalla, L. Barosi, F. A. Brito, A. R. Queiroz, T. Villela, et al., Astronomy & Astrophysics 664, A14 (2022). Santos et al. (2023) M. V. d. Santos, R. G. Landim, G. A. Hoerning, F. B. Abdalla, A. Queiroz, E. Abdalla, C. A. Wuensche, B. Wang, L. Barosi, T. Villela, et al., arXiv preprint arXiv:2308.06805 (2023). Amiri et al. (2021) M. Amiri, B. C. Andersen, K. Bandura, S. Berger, M. Bhardwaj, M. M. Boyce, P. Boyle, C. Brar, D. Breitman, T. Cassanelli, et al., The Astrophysical Journal Supplement Series 257, 59 (2021). Li et al. (2018) D. Li, P. Wang, L. Qian, M. Krco, A. Dunning, P. Jiang, Y. Yue, C. Jin, Y. Zhu, Z. Pan, et al., IEEE Microwave Magazine 19, 112 (2018). Jonas and Team (2016) J. Jonas and M. Team, MeerKAT Science: On the Pathway to the SKA , 1 (2016).
1098	dbpedia	2	96	http://changingminds.org/blog/1501blog/150118blog.htm	en	Teaching Geniuses			[ "https://changingminds.org/images/changingminds-title-c.jpg", "https://changingminds.org/images/four_small_3.jpg", "https://changingminds.org/images/front_cover_120.jpg", "https://www.paypal.com/en_GB/i/scr/pixel.gif" ]	[]	[]	[ "changing minds", "persuasion" ]	null	[]	null	Yet another blog from ChangingMinds.org.				null	The ChangingMinds Blog! ChangingMinds Blog! > Blog Archive > 18-Jan-15 Sunday 18-January-15 Teaching Geniuses I recently went to see 'The Theory of Everything', a movie about the famed Cambridge physicist Stephen Hawking. While the movie was mostly about his relationship with his first wife, Jane, it struck me how difficult it must have been for the professors at Cambridge to teach him. Not because of his disability, but because he is so damned clever. In fact it must be a regular occurrence there, as in other top universities. Even in everyday schools, the dilemma arises: How do you teach a genius? In the movie, as in life, his professor, Dennis Sciama (himself a noted physicist), as well as the famed Roger Penrose were generous in their support, even when Hawking backtracked on some of his previous claim (which itself says much about the open-mindedness of the man). There's a nice story about Ludwig Wittgenstein, one of the 20th century's smartest philosophers. He had arrived at Cambridge to study with Bertrand Russell, who was already a famed British philosopher. He asked Russell whether he was a genius or an idiot, which itself highlights one of the dilemmas of genius: When your thinking is so different from everyone else, how do you know you are right? Russell thought about it, then asked him to write something over the holidays. After the break, Wittgenstein handed in his piece. Russell read one sentence and declared him a genius. Then he effectively handed over the throne by declaring himself retired from original philosophical work. In practice he continued to mentor and support Wittgenstein. These simple and generous acts gave Wittgenstein a platform on which he could launch as good a career as a person who thought so differently could achieve. My wife (now retired) was an English teacher in a standard high school in the UK and talks with pride about the geniuses she taught, including that she really loved finding students who were brighter than her (unlike some of her peers, who hated being contradicted). She taught in a highly Socratic manner, drawing out their thoughts and encouraging them to challenge other ideas as well as carefully reasoning their own innovative arguments. Teaching geniuses is perhaps the greatest form of changing minds. It is less a matter of providing them with information and more about releasing them, facilitating their entry into ways beyond your own comprehension.
1098	dbpedia	2	79	https://www.spacesouthcentral.com/events/symposium-on-space-policy-law	en	Symposium on Space Policy & Law — Space South Central	http://static1.squarespace.com/static/62c3143827c1c414d89e456d/62ff5fb002cd4b178d4abe37/659bbc53cf30114100ec8cc1/1704705480234/Law_Event.PNG?format=1500w	http://static1.squarespace.com/static/62c3143827c1c414d89e456d/62ff5fb002cd4b178d4abe37/659bbc53cf30114100ec8cc1/1704705480234/Law_Event.PNG?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/62c3143827c1c414d89e456d/361dbea6-1007-4ec7-b2d6-5c034fa5b581/SSC+Logo+Main+2tone.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62c3143827c1c414d89e456d/361dbea6-1007-4ec7-b2d6-5c034fa5b581/SSC+Logo+Main+2tone.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/62c3143827c1c414d89e456d/a5ddc9e0-200d-4ecb-8c28-a7486f2c3166/Law_Event.PNG", "https://images.squarespace-cdn.com/content/v1/62c3143827c1c414d89e456d/a64b0521-4957-4ae5-8205-f2d4bc670735/SSC+Logo+Main+2tone.png" ]	[]	[]	[ "" ]	null	[]	2024-01-15T00:00:00	This regional symposium will convene legal experts, space scientists and engineers, industry and policy makers to discuss issues around space use and regulation in a time of rapid expansion in the space sector.	en	https://images.squarespace-cdn.com/content/v1/62c3143827c1c414d89e456d/4ae5860b-118f-41db-878f-93b1dbcb455a/favicon.ico?format=100w	Space South Central	https://www.spacesouthcentral.com/events/symposium-on-space-policy-law	This regional symposium will convene legal experts, space scientists and engineers, industry and policy makers to discuss issues around space use and regulation in a time of rapid expansion in the space sector. As a thriving sector, the space industry has seen extraordinary growth over the last decade, trebling in size. The industry currently generates an income of £16.5bn annually and employs over 47,000 people. This growth has in turn raised regulatory challenges for the industry, and the UK has ambitions to lead in this field. The symposium is a collaboration between the University of Portsmouth’s Institute of Cosmology and Gravitation and the Faculty of Business and Law and will be co-hosted by Space South Central Enterprise Network (SSC). The SSC is the largest regional space cluster in the UK between industry and academics, designed to accelerate space business growth, foster an environment of innovation, grow the reputation of the south-central region, and contribute to national prosperity. The symposium will address a range of space-related themes including rights and responsibilities, debris and infrastructural resilience and safety. This is an in-person event and free of charge. Lunch and refreshments will be included. Confirmed speakers are: - Dr Colin Baldwin (UK Space Trade Association) - Prof Marco Pedrazzi (University of Milan; Space Law Committee of the International Law Association) - Dr Thomas Cheney (Northumbria University) - Prof Chris Newman (Northumbria University) - Dr Damian Bielicki (Kingston University) - Dr Inesa Kostenko (University of Leicester) If you have any further questions or queries please contact daniel.smith@port.ac.uk or info@spacesouthcentral.com.
1098	dbpedia	2	4	https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32879	en	American Institute of Physics	https://www.aip.org/sites/default/files/favicon_1.ico	https://www.aip.org/sites/default/files/favicon_1.ico	[ "https://www.aip.org/sites/default/files/aip-logo-180.png", "https://www.aip.org/sites/default/files/styles/large/public/2022-01/esva-image-not-available.jpg?itok=09xDxOQh", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/aip-logo-fullname-400.png", "https://www.aip.org/sites/default/files/aipcorp/images/sitewide/1383075471_twitter.png" ]	[]	[]	[ "" ]	null	[]	2021-09-24T10:08:33-04:00	De Greiff: Interview with Professor Dennis Sciama, Cesar [correct word?], June the 9th, 1999, Trieste. Can I start in asking you, what is the origin of the name Sciama? Sciama: Well, the origin is my family came from Oletto [spelling?] to Manchester in the last part of the last century. And they changed the spelling to the European form from the Middle Eastern form.	en	/sites/default/files/favicon_1.ico		https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32879	De Greiff: Interview with Professor Dennis Sciama, Cesar [correct word?], June the 9th, 1999, Trieste. Can I start in asking you, what is the origin of the name Sciama? Sciama: Well, the origin is my family came from Oletto [spelling?] to Manchester in the last part of the last century. And they changed the spelling to the European form from the Middle Eastern form. De Greiff: Right. And where were you born? Sciama: I was born in Manchester. De Greiff: In Manchester. Your early education was in England. Sciama: Yes. De Greiff: Manchester and then Cambridge or how was that? Sciama: Well, I went to what the English call a public school, which means a private school, and then I went to Cambridge as an undergraduate in 1944. De Greiff: And it was to study physics or to do mathematics? Sciama: Well, I wanted to do maths at that time, but the war was still on and I had got a grant from the government. They'd invented a special kind of grant called a state nursery [correct word?], because they wanted to train people in physics for the war effort. De Greiff: Right. Sciama: And they wanted me to do physics therefore. But they allowed me to do maths for one year, and then I switched to physics, so I did do physics in my finals. De Greiff: Which branch of physics? I mean you did your Ph.D. — Sciama: Part two [punctuation?] This is an undergraduate, so I took what they called part two of the physics of the natural sciences [inaudible word] they called it. De Greiff: Right. Sciama: Where the topic, for part two you only do physics or chemistry or biology or something. In the early parts you do several sciences, but I had done math you see from the beginning. So when I switched to physics I did only physics. I don't know if you really want to know all these details about — De Greiff: No, no, just a couple of things about Cambridge, because I'm trying to — Sciama: [inaudible phrases; both speaking at once] Yes, of course. De Greiff: Yes, exactly. Sciama: Well I can't remember now, if I ever knew, which [inaudible word) he took, that is whether math or physics. De Greiff: [inaudible phrase] first maths, probably maths or physics. Sciama: Oh no [inaudible phrase]… De Greiff: Who was your coach? Sciama: Well, I had several coaches as an undergraduate, because the system in Cambridge is you get supervisions. De Greiff: Right. Sciama: You get many people, so I got some mathematicians originally and then I got some physicists, so there were quite a number of names. De Greiff: Right. And this relationship in Cambridge between coach and students weren't quite closed [correct words?; were quite close?], wasn't it? Sciama: Yes, because in addition to going to lectures you had at least, I forget, once a week probably, you had an hour with your supervisor alone. So in the case of maths you would do problems and they would comment on them and in physics you might answer discussion questions. Some of these teachers were very top researchers. [Unintelligible name; Kovich?] was one of the — I was at Trinity. [Unintelligible name; Agnes?] was St. John's. I was next door to Trinity. But one of his great mentors who [inaudible phrase] directed was Nick Taylor [correct name?] [inaudible phrase]. He was at Trinity. But he didn't teach me as an undergraduate. But Bessie Kelreach [spelling?] was a top world level pure mathematician but he still taught undergraduates and I was one of those. Later I got quite friendly with him, because later I got a research fellowship at Trinity so I became more nearly — not his equal literally, I was very young, but you know I would be like of the same status in a certain sense. And then amongst the physicists there was a well-known particle physicist called Sandy Devins [spelling?] who later went to Columbia. And [inaudible phrase] there were several, but you probably don't want all the names. De Greiff: Devins was doing experimental physics? Sciama: Yes, that's correct, experimental nuclear physics, nuclear or particle physics. But at a certain point he went to Columbia where I think he had quite a senior position in the physics department in New York. De Greiff: Perhaps one of the most important coaches was [inaudible phrase] Hoyle [correct name?] you met [inaudible phrase]. Sciama: Well, yes. He was I think in fact technically a student of Fred's [inaudible phrase]. De Greiff: That's right. Sciama: And I came later when I took up astrophysics. I interacted a lot with Fred, and even more personally with his colleagues Bondy [spelling?] and Gold. So if anything I was much closer to Fred than Abdus [spelling?] was because I became an astronomer you understand. De Greiff: Yeah, yeah. Sciama: But when I was an undergraduate I may have heard of Fred by name but I hadn't come across him personally. De Greiff: What was the reputation of Fred Hoyle? And I'll try to [inaudible phrase]. Sciama: He was at John's [correct word?] Abdus, and he was at that time a lecturer in mathematics. I may have gone to a course he gave in fact on statistical mechanics. [Inaudible phrase] right from his point of view a routine teaching course for undergraduates. But he was beginning to make his name as a rather rebellious and an astrophysicist full of ideas and very idiosyncratic if you like, you know. As we say in England, he was his own man. I mean he didn't pay attention to what other people thought. But he became very friendly with Ray Littleton [spelling?], who was his senior, and Herman Bondy and Tommy Gold were a little junior to him. He brought Bondy and Gold into astronomy when they worked together on radar during the war. And it was Littleton who brought Hoyle into astronomy, because Hoyle started in the mid-thirties actually working with Hans Beta [spelling?] and Rudy Piles [spelling?], who were both visiting Cambridge at the time. But he got friendly with Littleton because of their interest in cricket. It's [inaudible word] a bit remote from Abdus but never mind, and just before the war Ray got him working in astronomy, about 1938, whereas Fred's first papers around '36 were on subjects like beta [correct word?] decay. De Greiff: That's right. Sciama: Oh, you know all these things already. De Greiff: No, no, no. Just that one, no more [inaudible phrase]. Sciama: Yes. Through the fact that he was working as I say — and there's a paper Beta, Hoyle and Piles in I think 1936. So people moved around, and I moved around, as I'll tell you in a moment, when I did my Ph.D. from one subject to another. Of course people didn't always plunge immediately into that, you know, that ultimate topic. So but as an undergraduate I didn't — perhaps I knew the name Fred. I forget. He gave a famous set of radio broadcasts. De Greiff: That's right. In 19- Sciama: Was that '59? De Greiff: [Inaudible phrase], yes. Sciama: Well you see I stopped being an undergraduate in '47. I was an undergraduate '44- '47, and then I was in the Army '47 to '49. De Greiff: Oh, that explains. Yeah. Because you did your Ph.D., you finished in '52, is that right? Sciama: That's right. There was still conscription though it was just after the war, so I did two years in the Army, but I managed to do some defense research part of the time. Because Hartree [spelling?], one of the professors at Cambridge whom I contacted before [inaudible word] helped me to get a job — well, not a job but I mean I was still in the Army but I got a research position at a place called TRE which had originally done radar research during the war and was now doing things like developing infrared detectors for detecting enemy airplanes and so on. And I worked on solid-state physics that was connected with infrared detectors. I wrote in tum a memoranda on the basis of which Hartree took me back as a research student. And that was in 1949. And at my suggestion I started work in statistical mechanics, but in the middle I switched to astronomy and cosmology, somewhat influenced by the lively presence in Cambridge of people like Hoyle and Bondy and Gold. De Greiff: You mentioned that Hoyle had this reputation of being quite a rebel. Sciama: Rebel, yes. De Greiff: And I remember [inaudible phrase] I think it was a new scientist — I don't remember well — referring Gold, Bondy and Hoyle [inaudible phrase] something like that. That was more or less the — Sciama: Well there was the four of them who in different ways were all rather rebellious and individualistic in astronomy and cosmology. As I say, the most senior was Ray Littleton, and he got Fred Hoyle, as I've just said, into the subject just before the war. And during the war in fact Bondy and Gold were first interned as refugees from Germany you see on the Isle of Mann or somewhere, and then they were got out from there because it was clear they were not enemy spies, they were not that type. They were Jewish and all that stuff. And they had shown sufficient ability in physics that they put to a radio — not more than when I went to TRE, but to another radar place, and that's where Fred was doing his radar work. De Greiff: Some people who knew Art Salam [spelling?] and of course Hoyle [inaudible phrase] sort of comparison to the two in the sense of both of them are very good producers of ideas though not very able to discern between the good ones and the bad ones. I'm from John Porcegul [spelling?]. Sciama: Ah. He was a colleague of mine when I later got a teaching position in Cambridge. That's certainly true. De Greiff: Do you think that there was a strong relationship between Hoyle and Salam? Sciama: I don't know what their relationship was. I really don't know. De Greiff: Or influence? Do you think that Hoyle was influenced [inaudible phrase]? Sciama: No, because you see Salam, when he was doing his first research and I had just got to know him personally, was on renormalization theory, which by then was very far from Hoyle's interests which had switched from — Potentially he might have done that sort of thing. He had started on beta decay theory in the mid-thirties. De Greiff: Mm-hm [affirmative]. Sciama: But because he had moved into astronomy, which suited it very well, I don't think he would have been that good at renormalization theory. So I guess their paths diverged. How friendly they were, how well they go on together I don't know. They're rather different. I mean although they were both very individualistic they were otherwise rather different. But of course sometimes different people get on very well. You can't really predict. But I simply don't know, as a fact. De Greiff: In what sense do you say they are rather different? [Inaudible phrase] Sciama: Well, ummm, well I think Hoyle was more iconoclastic than Salam. De Greiff: Would you give an example of that? Sciama: Well probably Hoyle had a larger fraction of crazy ideas than Salam did, if you like. And towards later in life and to this day I'm afraid — and perhaps you shouldn't record — no, I won't say this. I won't say this. It's on the record. It's not fair, because I'm very friendly with Fred and I'm still his junior, so I won't say that. Anyway, Salam's ration of crazy ideas was not all that large. He worked much more I would say the mainstream. Fred on the other hand did create new lines of work himself, like the nuclear astrophysics line. I was thinking more of things like Abdus built up ICTP you see, and although he wasn't organizing it with his own hands he had a big team of organizers. He was prepared to talk to endless important people to set it up. Although Fred set up an institute in Cambridge, he was the opposite of being a good organizer. He was really — So they were a bit different in that way — although they both had institutions built around them you see, but I think Fred was more erratic on the organizational side or just didn't do a lot probably, but he saw that it was done by having good enough tenants [correct two words?] who looked after that side of things. Well that doesn't make them all that different, but at least they were a bit different. De Greiff: But you didn't see Salam's work as particularly [inaudible word] as for example in the case of Hoyle it was recognized? Sciama: I'm not sure I quite understand your question. And I'm not a particle physicist, although I've learned a bit of particle physics through my recent work. But I would say apart from some work Abdus did about parity in molecules, you know, other than the fact that everything is [inaudible word] related, but apart from that particular idea — which I don't think was considered very successful. But most of his- I mean, I'm not saying — Lots of his proposals for gauge theories and so on were a bit speculative, as many people did in the subject, but it was all part of a stream that did that sort of thing. Fred was always sort of looking for uniquely different ideas, much more I would say than Abdus. That's the kind of thing, some of which were very successful in Fred's case, and some weren't. De Greiff: Let me touch another point about Cambridge which I think it's important from what happened afterwards here in relation to it being in some sense a [inaudible phrase]. This tension between experimental [... glitch in tape at this point...] [inaudible word] in the what we could call the whole Wie1 [spelling?] affair in the 1950s and 1960s. Do you think there was —? Is this correct to perceive this as a tension between a traditional experiment in experiments and a new tradition in theory in Cambridge? Sciama: Oh, this is a very interesting, certainly complicated question. Incidentally, I'm not sure if it was with both of them, but at least with Salam he was starting out as an experimental physicist [inaudible phrase]. De Greiff: That's right, yeah. Sciama: You would more about that than I do. And then it was evident he was suited [inaudible word]. I don't think in Fred's case that was the case, but that's not quite what you're asking, I understand. There were two, there are at least two different traditions at Cambridge. One is a very empirically based tradition of which Rutherford is probably the prime exponent. Now you could say that Martin Wiel followed in his footsteps originally in this way. Very down to earth, particularly Rutherford. And in fact he used to make rude remarks about theory. It's not quite believing it, but you know he was at this [inaudible word] party joking he was even the type. He was a bit what he thought and then he exaggerated to make a bit of fun. I think at the [inaudible word; high?] table at Trinity — that was before I reached the high table at Trinity, but years later because Rutherford died relatively young in 1938 before my time there. But he would make quite rude remarks sometimes about mathematicians I gather, in their presence you know, across the high table and that sort of thing. Anyway, there was this tradition of very strongly empirically based research of which as I said Rutherford was I suppose the prime exponent, but it was a whole English tradition according to many other names. But then there's another tradition of whom perhaps Eddington [spelling?] before Hoyle was one of the prime exponents of being very imaginative in fundamental physics. And again Eddington a bit, particularly towards the end of his life, a bit crazy. But did very important — a bit like Hoyle, you see, did very central things like on stellar structure and a little bit on general relativity in the earlier years, created more or less something to study [correct word?] structure. But when he did his later fundamental theory he lost his audience and he lost his way. And that's another kind of British physics you see, but totally different from the very empirically based style. And both housed in Cambridge pretty often, because for various historical reasons Cambridge was the focus of most of the great people for many years in this general area. So it needn't necessarily follow the personal tension between them, but there was if you like an intellectual difference call it — not necessarily tension. But they might tease one another a bit when the occasion arose, but it might be friendly and just a different style. In the case of Ryle [spelling?] and Hoyle there was personal animosity tied up with this difference of approach in fact. But again, that was — I mean, talking about Cambridge as a whole now, of course you're a historian and you want to go into all these things maybe. But I was talking last night to some friends at dinner about the Hoyle versus Ryle thing, because I was involved in it as a junior person. Because the big battle was about the steady state theory. And I had nothing to do with this invention, but I rather support — I didn't rather, I did support it — and I tried to protect it, tried to help defend it against these hostile discoveries you see and I wrote papers at that time and had arguments with Ryle about the thing. Ryle won that battle in the end, but at that time it was, for me it was a genuine scientific battle; there was nothing personal about it. But between Hoyle and Ryle it's quite, well, notorious if you'd like that there was personal animosity between them as well as scientific animosity. And Ryle was determined to disproved the steady state theory. In fact the irony is, Ryle won the Nobel Prize building the radio telescope that did the 3C [punctuation?] survey, because he wanted to count regular sources to disprove Hoyle. But with the same telescope he discovered lots of sources that turned into quasars and so on. And he made such wonderful discoveries that he got the Nobel Prize. But his aim wasn't to make those discoveries, which of course he didn't know it lay in the future, but his main motive was to have an instrument to extend the radio source counts to fainter sources to have a more convincing set of data to disprove the steady state theory. That's how it was. But Salam was being more interested in field theory, quantum field theory you see. I mean may have noticed these things going on, and he had that link with Hoyle, but he was really in a different world you might say. I mean he had links with Cameron [spelling?], to another person called Hamilton [spelling?] who later went to Denmark, and they were doing quantum field theory, which was then exploding in their faces you see. So they weren't probably terribly concerned with these other things. I knew about them because I was working in this other area. But from Abdus' point of view, it was probably a [inaudible word] sideshow I would guess. De Greiff: Actually, as you said before, Salam started working on experimental physics. Sciama: Yes. De Greiff: And he suggested in an interview that when one had a first in physics he was strongly, he was — he or she — was suggested to work in experimental physics at Cambridge. Is that true? Sciama: Probably. You see it has to do with the fact that in different universities the way mathematical or theoretical physics is taught, organized and taught, in which sort of grouping varies from physics in the States; it's rather different from in England. So many theoretical physicists if they were undergraduates at Cambridge would come through the mathematics tripos [correct word?]. Because even the final year — well, part two is the final undergraduate year. Half of this is applied maths you see, well applied maths and theoretical physics and the other half is pure. And people in those days took some pure courses and some applied. And then there was a fourth year called part three which was very tough, where again you could do if you like all theory. You could do field theory, general relativity and so on, and so on. So if you were going to be a theoretical physicist and you were an undergraduate at Cambridge then you would probably go through the math tripos, you see, whereas if you went to the physics tripos it would be more likely that you'd be an experimental physicist. An exception is somebody I ought to mention, because he's a link between me and Salam, is Dirac. Because I became, when I changed my research subject as a Ph.D. student from statistical mechanics to relativity they gave me Dirac as a supervisor. So for the last half of my Ph.D. time Dirac was my supervisor. I got to know him rather well. [Inaudible phrase] anyone could know Dirac well. But he was at John's like Salam and of course in the same subject as Salam, and then when ICTP was set up Dirac became a great friend of ICTP. The Dirac steps [correct word?] there now. And tomorrow there is a Dirac lecture and a lunch which I will be going to. So just by chance I had a link with that world through Dirac being my supervisor. Dirac as it happened was an undergraduate at Bristol, so he was an exception, but he'd be the type of person who would have done the math tripos rather than the physics tripos, and [inaudible word] tripos - I think. Even ifhe'd mostly done, you know, on the applied or theoretical physics side rather than the pure math side. Anyway, so that's the way it was [inaudible phrase]. De Greiff: I assume you were then in the physics department under Dirac when doing your Ph.D.? Sciama: No, at that time — I should explain. Later it was set up — and this is a central feature of Hoyle's book of memoirs, because he had a big battle with George Bachelor [spelling?]. I don't know if you read about that. De Greiff: Yeah. Sciama: DNTP [spelling?] was set up years later, and when I became a lecturer in Cambridge in maths later I was in DANTP [spelling?]. But when I was a research student there was no department; it was just a math faculty. And that meant — that's a practical consequence, there were no offices for research students to work in, you know, next door to one another in the whole, along the corridor kind of thing. You worked in your college room. So when I did my research I either worked in my digs, or I worked, if I was living in college I worked in my college room. And I'd go to seminars in the arts [correct word?] school where they had the physics, the theoretical physics seminars. Kamel [spelling?] I think ran a seminar. But otherwise one would be more on one's own than later, you see, and if you wanted to see another student and chat a bit you'd have to really seek them out. That's partly why the department was set up by Bachelor. Well, there were other reasons, but it was partly for that reason. So no, so I wasn't part of the physics department as a — Now wait a minute. Let me get this right. Oh no, no, no. I'm getting confused actually. I'm talking about people in general, students in general. Because I started doing statistical mechanics I was attached to the Monde [correct word?] Laboratory. And my supervisor before Dirac was someone in the Cavendish. And so I did work in an office with other people, other students — about six of us. In fact one of them has become quite famous now. He's president of the Royal Society at the moment, Daron Glug [spelling?]. He's a Nobel Prize winner and president of the Royal Society, and I got very friendly with him personally in fact — not just a roommate. But we were, half a dozen of us were roommates, and Oliver Penrose [spelling?] who became a good friend through whom I met Roger Penrose and became friends. We were all — So it's quite true that I did my research by chance you see in the Monde Laboratory, which is really part of the Cavendish. The Monde Laboratory was the low temperature laboratory. Because I started in statistical mechanics you see. De Greiff: That was just by chance. Sciama: If I had started in relativity, yes, then I wouldn't have you see. Then I'd have worked in college. Right? Where people who later became DANTP type students, right, would have all at that time worked in their college pretty well, because there was no other department for them. Unless they were attached to the Cavendish. Obviously then. If they were attached to maths, etc. So things changed, you see, over the years. De Greiff: Your Ph.D. was theoretical. There was no maths principal [correct word?], wasn't it? Sciama: Well I don't know whether — I don't think my attachment to — I can't remember now. When I changed my subject they hurriedly gave me a more appropriate supervisor. As far as I remember I went on working in that same room. I wasn't sent to [inaudible word], "Ah, you no longer belong to the Monde. You're a mathematician. Go to your room in college." I think I — Because in any case, by the time I announced my change of subject officially only about another year had passed before I got my Ph.D. Because I worked for about a year previously on the new subject without telling the authorities. In fact the authorities were a bit annoyed, because my previous supervisor was signing progress sheets about my excellent progress in statistical mechanics. When I told the officials that I'd done my new subject and I was [inaudible phrase] better do that [inaudible phrase], because they wouldn't give me a Ph.D. if I'd only been working for one year on my new subject you see. So it was all a bit complicated. But that was unusual. Most people of course, you know, stuck to one topic throughout their Ph.D. But I barely knew Salam in those days. I don't want to give the wrong impression. I wasn't friendly with him like I was with some of the colleagues in the office where I worked, but I would see him physically if I went to seminars which were held in the arts school as it was called - which I might go to even if they were not close to my subject. I would sort of see him there. So I mean I knew him, but not in a friend — I mean I hardly knew him, you know. De Greiff: Did you feel afterwards, when you became [inaudible phrase] in your professional life did you feel, let's call it tension or dispute between theoreticians and [inaudible word]? Sciama: Not really. Only through my partaking of the steady state battle — which had, as I say, this personal element in it. But I've always in fact — well, I've gone on two types of theories. Some of my work is fairly abstract, but others in astronomy is rather concrete and I care very much about observational results. I've just sent a paper off half an hour ago to the astronomy journal trying to stress that some theory I worked on fits recent observational data rather well. And I care a lot about [inaudible word] forms of observation. So far from them being a tension, for me it's absolutely crucial that the two sides should cooperate. But amongst individual exponents in the two sides. There sometimes is a tendency even to sneer at the other lot — which I think is silly, because we're both part of a collaborative enterprise. But you know people are like, so they tend to do that. But it didn't — De Greiff: You never felt you had to [inaudible phrase] your practice as a theoretician as sometimes happens in —? For [inaudible word] that their [inaudible word] it's very interesting how you have to justify that you are a theoretician, it's worthy [correct word?] doing it, so I do understand? Sciama: Not really. Partly because there had been such a strong successful tradition in England, you see, going back. Never mind Newton, but starting with Newton, Clarke Maxwell [spelling?], J. I. Thompson. Although his most important work was experimental, but a lot of his research was on theoretical problems, and then Dirac and Ari Chandler [spelling?] and so on. There was nothing to apologize for. It was a famous tradition. De Greiff: Tell me something about your first contact with Salam or the first time you heard about Salam. How did that happen? Sciama: Well, I don't remember. I just guess when I went to these seminars there was this rather distinctive person because of his — the color of his skin was unusual and of course in those days it was more unusual than it would be today. De Greiff: That's a very interesting point. So — De Greiff: It's now in Cambridge and Oxford. And the other, they have mentioned sort of discrimination. Sciama: Well the case I know better in a way was Chandra Sikar [spelling?], who went to Cambridge I suppose around 1933 I guess. And you know he had a famous fight with Eddington which marked him for the rest of his life. And when Chandra came and visited me for six months when I had moved to Oxford he spent a whole dessert after dinner one evening telling me how bitterly he'd been damaged by Eddington — although he tried to sort of overlook it at times. And he went to Chicago in 1938 and stayed there until he died, though he would have preferred to remain in Cambridge because of the fight with Eddington over the white dwarfs [correct two words?] and so on. And a bit component of that — I don't mean Eddington was exactly racist. Eddington just didn't like — Chandra took a very correct view [correct two words?]. People like Dirac and Piles and so on didn't know what all the fuss was about. Of course Chandra was right you see, but Eddington was the great god, you know. That is an interesting story, but again it's rather far away. But Eddington was the great god in astronomy, particularly in England, and there weren't many people in the subject then you see, so one very powerful researcher could dominate [inaudible word] you see, and he didn't like this whippersnapper who was again with a funny color you see. And don't forget in those days India was a colony of England. Coming to Cambridge and having this theory, which while mainstream and not itself peculiar although it had this strange result about the maximum mass for a white dwarf, went against Sir Eddington's rather peculiar ideas you see. And so I think Chandra suffered not just because he was young and unknown compared with Eddington, but I think being an Indian must have had a lot to do with it. And he hinted to me a bit that that was the case when I talked to him. Abdus' position was rather different you see because Abdus was probably a research student when I first met him, whereas Chandra had come with his first research done and was trying to make his career in Cambridge. And then — and you know England at that time would be very patronizing, etc., etc., etc. to Indian people. Okay? So — And Chandra was a proud and sensitive person, so he was very difficult for me. And then he got, then he did this — then he got the Nobel Prize for it eventually, right, this white dwarf-work. And he was told by the boss as it were, you see, that it was rubbish. And the great American astronomer, Henry Norris Russell [spelling?], on one occasion wouldn't even let Chandra speak at a big meeting of astronomers, because how could he get up and contradict Eddington you see. But [inaudible word] was because of Eddington's authority. It wasn't probably terribly racist at that point; it was more that Eddington's authority and the — But nowadays you see there are certainly clever young people in the field. The idea of a more senior person getting away with it, I mean if a senior person said some rubbish thirty clever young people will get up and said, "Never have we heard such nonsense in our lives, you see. The idea of a more senior person getting away with it, I mean if a senior person said some rubbish thirty clever young people will get up and said “not allowing the young person to speak because the authority mustn't be challenged, I mean that whole atmosphere has changed you see — mainly because there are far more people in the subject. De Greiff: Let me change the word and say discrimination [inaudible word], but that there was a sense that they were different. Sciama: Not just different but inferior. Come on. There's no point. De Greiff: I'm talking about Salam in the forties and early [correct word?] fifties. Sciama: Oh, as well. That was already later from the point of view of the development of feeling about these matters, and I guess we'd lost our — I can't remember the years now — we'd lost the Indian empire, but I know all of Pakistan, same idea. De Greiff: [Inaudible phrase] Sciama: Yes. But in any case when you are a research student it's a bit different from when you're beyond that stage and you are producing a theory that your local boss doesn't like, you see, whereas Abdus was doing important work in trying to improve the final stages of renormalization theory and it was immediately accepted as an important combination. So, while on at a social level there may have been forces acting which I don't know about but I would guess they may well have been, but on the scientific level he was doing important work in this modem subject which was then reasonably advanced. I mean the first bits of renormalization had been done, but there were difficult cases to do with things called overlapping divergences — which I don't know too much about but I know the words — and in which he did an important proof that you could carry out the procedure also for then [correct word?]. So that was all a part of the program you see, so that wouldn't create tensions. And I don't think people would have minded that it was a person from Pakistan who had made that progress. An individual might — there are always individuals, right, who will have nasty and silly emotions, but I mean taking the community as a whole, it was so technical what was being done. Important but technical and mainstream. So I would guess that wasn't an issue, but I may be wrong. De Greiff: If we don't take the case of Salam particularly but your general experience in Cambridge from' 45-'47 and then' 49-'52, would you say, is it possible to trace that difference between those being or Cambridge people and those being outsiders, like a sense of being from English or being English and those who weren't? Not taking the case of Salam. Sciama: Well do you mean because of the race? Because I mean Rutherford came from New Zealand, but he was very — That's different, but I mean he was completely accepted. He might have been regarded a bit — You see, the English are very snobbish even today, but even more so then probably, so some people might have regarded — and Rutherford was very hearty and bluff and not very polished let's say, you see, so they may have said, "He's a chap from the outback" a bit. I don't know. You know. But not to the same extent as they would someone from India or Pakistan. De Greiff: Right. Sciama: But how much that affected Abdus' daily life I have absolutely no idea, and I suspect not very much. But I don't know. And certainly, as I say, his scientific work was provocative, you see. It was valuable and he started to make a reputation because he'd proved this difficult technical thing which more or less completed a certain program. But it was not in any way provocative, you see. It didn't raise people's hackles. And therefore there would be less reason to start thinking about the social or cultural differences. But you have probably talked to other people who would know better whether he in fact suffered indignities. De Greiff: [Inaudible phrase] you say. Sciama: I'm only guessing, yes, but you understand I hardly knew him. De Greiff: When did you start meeting him more regularly? Sciama: No, I wouldn't say I ever met him regularly, but I came here occasionally after ICTP was setup. I mean before — I joined CESAR [spelling?] around 1981, but in previous years I would come on visits to ICTP for programs, and I once even organized for them a summer program in astronomy in the Casteleto [spelling?] [inaudible phrase] castle, but this little Casteleto next door. De Greiff: [Inaudible phrase] Sciama: So I had a link. Then also I would meet him from time to time and chat a little bit, but I was never — I saw him more of course when I moved here in '81. But I wouldn't say I was — I mean an entourage isn't the right word, but I mean I was, it was always rather casual you understand. That's why I partly wondered whether I could be any use to you, you see. De Greiff: Please correct me if I'm wrong, but according to my files the first time you came here was in '68. Is that right? Sciama: I have no idea. You know I'm hopeless at remembering years. If you've got [inaudible phrase]. De Greiff: Yeah, but mine could be wrong. Sciama: I don't know. I don't know. De Greiff: There was this, the famous 1968 symposium on quantum [inaudible word] physics which was a huge event. Sciama: Oh, I think it is. I do, I remember that, yes, yes. De Greiff: You talk about general relativity [inaudible word] application [correct word?]. Sciama: I remember more vividly 1972 I think it was when there was the Dirac [inaudible word] meeting. De Greiff: That's right. Right. Sciama: That I remember very well. The only one I did go to, it's quite true, but I've a more hazy memory of it. De Greiff: Well, do you remember "72? Sciama: Oh, wow. Oh, [inaudible phrase]. De Greiff: Well let me ask you something before about that meeting. Sciama: Yes. De Greiff: There was a sort of boycott from some students from the universities [inaudible phrase]. Sciama: There was a [inaudible word]. De Greiff: Which very few people [inaudible word] or actually remember nowadays. Do you remember that? Sciama: I certainly do. In fact I remember it partly because I was just slightly involved, in the foreign sense only. Because my topic — I gave a talk — was about cosmology, it was put first. So after Dirac himself had spoken an introductory talk, I was actually the first speaker. You know there's a book of the meeting. De Greiff: Yes. Sciama: I was actually — not because of my importance, but because my topic put me first. And that talk was originally going to be a [inaudible phrase] at the university or something, and they moved it here because of this rebellion. And then I remember Wigner, I thought in a rather undignified way, when some students came into the main auditorium perhaps when he'd lectured, and he prepared a scroll. Do you know about this? He unscrolled a big scroll. De Greiff: I don't know what he said. I know that happened. Sciama: Yes. It said something like this. I don't [inaudible word] the exact words, "Insults from you are praise indeed." Something very similar to that. And he sort of went like this — De Greiff: Was it in English or —? Sciama: In English, in English, yes, and he went like this. Well, whatever language might it be in? De Greiff: Italian. Sciama: Oh, but no, but this was — being at ICTP Italian played no part in there. De Greiff: It was [inaudible phrase]. Sciama: Oh, because the students were Italian. I'm sorry. I do understand. Sorry. But in fact it was in English, and it said something rather like that, and he proudly and — you know, to show it to them all. De Greiff: Do you know what was the reason for that? Sciama: Yes. It was because — I think Murray Gell-Mann was also involved. De Greiff: Yes, he was. Sciama: Because they were on a system in American called the Jason committee, and they had given advice about how to deal with communists in the Far East who had to be dealt with by the Americans, roughly speaking. And I think poor Murray had written a report saying the way to deal with them was to cut their ears off. Or this at least is what the students understood. And I think once when he was in Paris and then when he was here they went for him. And they went for Wigner, and I think to some extent John Wheeler. They were all rather right wing. De Greiff: Excepting [inaudible phrase]. Sciama: Yes. Okay. So but it was through their part in Project Jason and advice they gave about — I don't think it was Vietnam at that time. De Greiff: It was. Sciama: Okay. So it was that sort of thing. De Greiff: And how was it discussed or [inaudible word] here? Sciama: Well, I do remember that Kasamir [spelling?], who was one of the main chairmen at the first part of the meeting, understood that the students were going to try and interrupt the actual meeting proceedings, and he said, "Well, we don't want that, because this is a meeting of physics in honor of a great man," and "but let us have a discussion in the evening when we could discuss the problems that worry you without interfering with the actual scientific proceedings." De Greiff: Did it happen? Sciama: Now my memory is beginning to give out. I think that happened. I think it did. But I remember him saying that as a way of diffusing the interruption of the scientific proceedings. If you are sufficient to the scholar, I think Kasamir is still with us. You could ask him about that. De Greiff: I didn't know this. Sciama: I remember as him standing there and saying, "Let us not interfere with the scientific proceedings, but we do want to discuss these important and controversial issues. Let us have a session where those issues are specifically discussed." De Greiff: How was it viewed, the fact that people like Murray Gell-Mann, Wigner — well, even Weinberg and very important theoreticians worrying about State Department problems like the Jason division. I mean, how was it viewed by the other colleagues, the Europeans colleagues? Sciama: I think probably everybody had a personal reaction to that. Some good friends of mine I think worked for Jason in the summer without being strongly right wing or something, because they thought that some of the things that were being done was let's say in the interest of the United States, but to some extent were on the right side after all you know, because the opponents were likely to be very — call it dictator types or something, you know what I mean, or fascistic. Most of us thought people like Wigner and Salam [correct name?] were too right wing to be acceptable. I was closest to John Wheeler of those people, and through the link with relativity, and it was John who invited me to be a sort of part-time professor in Austin, Texas before I came here to Cesar [correct word?; spelling?]. But I never discussed politics with him. I knew he was very right wing. De Greiff: Wheeler. Sciama: Wheeler. When we discussed mass [correct word?] principle of relativity or my going to Austin he was always very courteous with me but I guess left — I am not myself politically activist. I have views, and I don't like strongly right-wing views, but I'm not busybody, you know, it's a not a main thing for me. So I might know someone like Wheeler who was rather strongly and overtly politically minded and it would bother me slightly, but it wouldn't get in the way if I was friendly with him and we talked well about relativity. If you like, J was a big you might say "copping out," since political problems are important for us all. But I tended not to be activist at all, and obviously I cared, had views, but I wouldn't make a big of them. I might talk privately with friends about these things, but I wouldn't have a row with a right-wing person as part of the program or anything like that. So it didn't play any part in my relationship with Wheeler. De Greiff: I think this is another difficult question, but where would you put Abdus Salam in the political spectrum? Where would you put Hoyle? Sciama: Oh, gosh. I don't know that I know. See, Salam had this very special desire to help third world physicists. But I wouldn't call that exactly political, but it's got political associations, like helping people in a difficult situation is like a politically sympathetic thing to do. But it's not the same as politics meaning are your left wing or right wing or what; it's more, "Here are people who are disadvantaged scientifically, and let's help them." So the political aspect is a big — is not really the main point you see. So honestly if you ask me what his political views were other than wanting to help the third world, I'm not sure that I would know, because to be honest, he [inaudible word] books with articles full of visionary messages. I'm afraid I didn't read them, and I wouldn't be able to tell you really. In a technical sense of politics rather than just wanting to hurt third world scientists I wouldn't be able to tell you what his political views were. And in Hoyle's case I would imagine he was somewhat left wing, I would guess, but I don't know, I'm only guessing. And I read his book of memoirs and he probably said, but I've forgotten. I mean unless the person was very strongly political — well I'd say Wheeler on the right or Pat Blackett [spelling?] on the left, you see. De Greiff: On the left. Sciama: Who made quite a cause of being political. I would know that Blackett was strongly left, because he made a big deal of it you see. And in that sense I wouldn't particularly know what Fred's views were, but I would imagine they would be strong views, because he always had strong views. So again with Abdus you see, it's not something that — Because I'm not so politically conscious myself, I don't sort of seek out to know the political views of people I come across, unless the matter was very prominent like in the Blackett or Wheeler case where it would be obvious. I wouldn't necessarily know. De Greiff: About in 1968 and 1972, coming back to the ICTP, how was it viewed by someone from a prestigious university like Oxford or Cornell or Princeton the fact that Dirac and Heisenberg were coming to ICTP, was it a [inaudible word] that there was high quality research in the place? What was the significance —? Sciama: Let me answer you indirectly, because by chance the following incident took place during that meeting. I found myself in the elevator at ICTP with Heisenberg — who I didn't know. But remember, I knew Dirac well. Not only had I been his student, I called him Paul after a few years, although he was rather reserved. But I mean I didn't think it was cheeky of me by then. After all those years I couldn't keep calling him Professor Dirac. So I found myself in the lift with Heisenberg. And I thought, "I ought to say something." So I said to him — something I had felt about Cambridge. Cambridge was a very snooty place you see. I said, "What a shame it is that Cambridge has done nothing to celebrate Dirac's birthday. He had to come here as it were for the celebration." And Heisenberg looked at me very superior and said, "Dirac belongs to the world." And fortunately the doors opened very soon after that and I ran away. It was such a putdown, you know, but not quite the [inaudible word]. I mean, related to your question but not quite answering your question. But Cambridge was very snooty. However great a person like Dirac, they wouldn't necessarily organize a party or a conference for the birthday you see. And because he had connections here and he knew Abdus from St. John's and from visits here it was a natural place to hold [inaudible word]. De Greiff: I knew he came regularly. Sciama: And he would come regularly, indeed. Absolutely. And I met him here a number of times. De Greiff: I'm trying to figure out the significance of Dirac here trying to understand the difference from someone who had Dirac at hand [correct two words?] to say [inaudible phrase], I mean on a daily basis [inaudible phrase] and someone coming from the third world in which Dirac or Heisenberg [inaudible phrase] they'd be a big name or sort of [inaudible word]. Sciama: Well it's very interesting that Abdus so admired Dirac because they were so utterly different in personality you see. Whereas Abdus was a — well, you know, a very, very strong, forthright man who dealt with all these senior administrators and government people to set up ICTP. He was a lion [inaudible 2 words] you see. And Dirac was a sheep. I mean apart from being a great genius in his work, once I was in Warsaw with him at a meeting and he was just [inaudible word] a bit worried he'd get lost or something, and he was absolutely you know worried about the situation. So in those ways they were completely opposite, but Abdus so admired — he might have also admired Dirac's moral [inaudible word] etcetera, but primarily his wonderful combinations to physics you see and his pure nature if you like. He admired him tremendously you see, whereas he might have said, "Yes, he's done some great work in physics but he's not a lion." That was not his attitude; it was, as far as I understand it, it was tremendous admiration. And the fact that Dirac paid this attention to ICTP was a terrific boost to Abdus. And so they set up these Dirac prizes and so on, which as it happens we have the one tomorrow. There is the thing, the notice. So that always interested me you see that Abdus so admired someone whose character was reserved and quite beyond belief outside the dynamic power of his reign as a physicist. So there you are. That's the way the world is you see. You might admire your opposite as long as they've got something tremendous that they gave the world, you know. De Greiff: The 1972 conference, would you say it was more historical than scientific or more scientific than historical? Its relevance. Sciama: Probably more historical. De Greiff: And the 1968, I assume something like that as well. Sciama: Yeah, see, because it was so bored, you see, it was so bored. I must tell you. Do you know the story of Vander Vadins' [spelling?] lecture? De Greiff: No. Sciama: Dh, it's a lovely story out of the '72 meeting. Vander Vadin, do you know was a pure mathematician who had also written a book on group theory and quantum mechanics. And he was given an historical talk about the development of quantum mechanics at this meeting — at which every living founder of quantum mechanics must have been present you see. So in the middle of his talk he was telling us a story about Pauli [spelling?]. And, "Perhaps Pauli's one mistake," he said, "because there was a chap called Lankshoss [spelling?]" — you don't know this story? De Greiff: No. [Inaudible phrase] story. Sciama: — "who had written a paper on Green's [spelling?] functions in quantum mechanics" in '25 or '26 or something. "And Pauli wrote a paper to say that Lankshoss' paper was wrong. But actually Pauli was wrong," Vander Vadin told us, "but in a trivial way because it was a question of how the Green's function was defined and the reciprocal of the normal had been defined" or something, and if you didn't notice that you'd think some of the formulae were wrong; that the formulae were right if you paid attention to it. So he said, "So this was Pauli's one mistake you see." At that moment a little old man sitting in the middle of the auditorium, looking a little like a pocket-sized Einstein with sort of long white hair, vaguely like, but small, got up and said, "I am Lankshoss." You see, Vander Vadin spoke as though Lankshoss had been dead for twenty years. Lankshoss was being a professor in Ireland for many years. He was probably long retired by then, but he was still alive and had come to the meeting. And he got up looking like a ghost because of his frailty and his white hair, and he said, "I am Lankshoss" and the effects on Vander Vadin was electric — as I say, because he thought he was talking about you know somebody that had been dead, twenty years. And it was marvelous. I was in audience [inaudible phrase], so Vander Vadin did like that and [inaudible phrase] and said — I can't even say it, it's so funny, "You are Lankshos." And everybody cheered. It was the top moment of the meeting. Nothing to do with Abdus, but I mean part of the scene as it were you see, but that was a great moment. De Greiff: [Inaudible phrase] was there as well. Sciama: That was my next going to be — But unfortunately I think [inaudible phrase] C. P. Snow [spelling?] is dead. C. P. Snow more or less invited himself to give the main speech at the banquet. De Greiff: What do you mean that he invited himself? Sciama: Well, he wanted to — You know Snow was a rather pompous fellow who had a scientific education and then became a novelist and wrote these things about the two cultures and so on, and he wanted to perform as the main banquet speaker. I don't know if he literally invited himself. We said that a bit nastily you see, because we didn't really approve of him. He'd done nothing to harm me, but he was just a bit pompous. And so he gave this utterly inappropriate banquet speech to this international audience so Cambridge [correct word?]. His main topic was who was more important — if I remember right — G. H. Hardy [spelling?] — De Greiff: Yeah. Sciama: You know this. Or Dirac. De Greiff: Yeah. It was exactly that. Sciama: And Hardy was [inaudible phrase] mad and I knew him, and he'd been at Trinity, but also I met him at Trinity but he'd also been at Oxford. So I appreciated — And then of course Snow had been a Cambridge man. So I appreciated that there was a mild interest in this question to someone from that particular tradition you see, but to this cosmopolitan audience to spend most of the time discussing this point, it just seemed to be completely the wrong [inaudible word]. But part of the Snow style, you see, to make a big deal of these pompous cultural things. Anyway, it was awful. So that was that. And then people started telling their Dirac stories. [Inaudible phrase] had a connection with him, but I didn't think they were quite international level stories, you see. They were more private stories. So I didn't say anything you see. So afterwards I saw Dirac. We were leaving the hall together. I said, "Paul" I said, "I have some Dirac stories, but I didn't think they were good enough to tell." And he said, "You should have told them." You know he always in that efragrammatic [spelling?] way. That's exactly what he said. He said, "You should have told them." So I told him one or two, which I won't bother to tell you now because it gets too far away from Abdus. But Dennis… De Greiff: Would you mind to tell me one of them? I'm curious. Sciama: All right. Well, I'll tell you the one that I really enjoyed the most. When I was his student I went to see Dirac and I told him what I was doing and he said, "Shall I tell you what I'm doing?" This was 1951 I suppose. "Shall I tell you what I'm doing?" So of course I said, "Yes." So he said he was then working on a classical theory of the electron because he was arguing that in the following ways, he argued that if you take a point electron that was really a quantum mechanical concept from the beginning. Classically you would think of electrons as a sort of streaming wavelike things, and then when you quantized you would get point objects. And so he had a classical theory of a flowing stream that represented, as it were, an electron or electrons. And he was telling me, "So I've got this hydrodynamic theory of the electron and I use hydrodynamic variables to describe it. In particular," he said, "my original scheme that I published there was no vorticity in the stream." And then Gado [spelling?] told me that people who work with electron beams find that quite easily there is vorticity in the beam. Although those were real electrons of course, not classical electrons, but Dirac, he said, "Don't you think you should generalize your theory to bring vorticity?" So Dirac said, "So I've done that. Shall I tell you about it?" So of course I said yes. So he said, "Well, in the late 1880s people in fluid dynamics like Stokes and others had variables. It was Kletch [spelling?] variables for ordinary hydrodynamics with vorticity, you see, and they had [inaudible phrase ]” Sciama: ...following their lines but then adapted it to my own way of looking at it and then preparing for quantization you see. So he explained this to me for about ten or fifteen minutes. Well I have to tell you, I didn't understand a single word. I was rather — first of all I didn't work in that kind of thing, and secondly I was rather immature as a physicist. I didn't understand a word. But I thought, "I've got to say something. What to say?" So I said, "Is that the most general way of doing it?" I thought that was safe, you see. So he said, "I don't know," and then I shortly after left. That's Act 1. In Act II of the story, a few weeks later there goes up a notice on the board, "Professor P. A. M. Dirac will give a seminar." And although his work was getting rather disjointed from the mainstream development of physics at that time, he was still the great guru or the great man in Cambridge at least. And the place was packed with the audience. Every mathematician and physicist in Cambridge was there to hear his seminar. So he starts telling this story about, "I assumed there was no vorticity and then Gado said, and so I introduced Kletch variables and carried out the following procedure. And then he suddenly says, "And at that point Mr. Sciama made the important point to me that that was not the most general way of doing it." Obviously if the floor could have opened then I could have sunk into it. Because I mean, his reputation correctly was supreme, you see, and I was a nothing. But the main point is it wasn't even of course — what did I know? [Inaudible phrase] I hadn't understood a single word he said! So I was so embarrassed. And it's not that I wanted to have false glory around me. I mean, you know, that didn't suit me. Anyway, that's the story. So I repeated this story to him as one of my stories you see when I saw him after the banquet. And he was so nice and kind, and he said, "Well, I understand that, but no doubt what you said nudged me." It's a silly story and it's more about me than about him perhaps, I don't know, but anyway it's just slightly strange. So that's an example. De Greiff: Any other [inaudible word] memory of that 1972 meeting? I'm trying to reconstruct as well. Sciama: No, the highlights for me at least were the Vander Vadin thing, the student rebellion, a little moment with Heisenberg, and then this little chat with Dirac after the banquet. I told him one or two other stories I think from then, but that was the main one. It was of course for me, also in the false position of giving the first talk after Dirac's. I mean, as I explained to you, because they booked cosmology first, but nevertheless it made me a bit prominent. It embarrassed me somewhat, but it was also very exhilarating. You know how you can be ambivalent about these things. So that was for me exciting. But you see, you asked me about like its’ working value, it was more a celebration. You learnt of course from the other talks, but it wasn't like a conference on a topic that's made recent progress and you want to hear what the other experts think about something because it influences your research you see. It was more cultural than social. De Greiff: Apart from these two occasions in 1968 and '72 which were mainly cultural as you said, did you attend at all [inaudible word] courses or conferences? There was one in '75 on general relativity, but I'm not sure if you came. Sciama: I'm not sure. No. De Greiff: I'm not interested in a particular conference, but did you —? Sciama: Well, yeah, I'm sorry, I can't remember all the different occasions. I do remember the '68 one, the '72 one and the one I organized in the Casteleto on astronomy. And — De Greiff: Which was also those years more or less? Sciama: Well, I suppose it was around that time, but I can't remember when. It must be in the record, but [inaudible phrase]. De Greiff: Sorry. I haven't checked about that. Sciama: No, I mean it's nothing to do with Abdus, but it was like activities that the [inaudible word] promoted. De Greiff: No, no, no. It's my fault. Sciama: But they promote so many activities you wouldn't want to pick on that one. De Greiff: The point that I want to address is, when you organized the one here I suppose it was bearing in mind the fact that [inaudible word] at ICTP with third world holdings [correct word?] mainly. Or not. Sciama: Well, some of the main lecturers were amongst the top younger astrophysicists. I'd say my own [inaudible phrase] giving the talks, but like Martin Reece [spelling?] was there, and Pachinsky [spelling?]. I remember those two in particular. I presume most of the audience was third world people, but there was always a mix you see. With all these meetings at ICTP as you know — and it makes sense. It's much better for the third world people to meet physicists from the first world. These names are terrible, but you know what I mean. De Greiff: Yeah, I understand. Sciama: [Inaudible phrase]. Rather than just be amongst themselves they are getting more benefit by talking to the more rather experienced people, so but I can't remember what the mix was. De Greiff: Right. Well what I'm trying to understand is, what was the criterion used by those who organized conferences or courses here to select the subject and the people to come. Was it to [inaudible word] a conference or more to train people or to give a taste of what it's about? Sciama: I can tell you one thing about that. Because that interested me a lot. Abdus came under a lot of criticism and eventually changed his policy. Because in the early years particle physics was particularly prominent amongst the subjects done at ICTP — which was his subject. And when he was told that this wasn't a suitable subject for many of the third world countries, particularly the less advanced ones — because he was sophisticated and technical and had no industrial implications whatever which might have been useful back home. He had a reply then. "Don't be patronizing," he said, in effect. I don't know if he used that word, but in effect he said that. "This is part of our fundamental understanding of nature. Why shouldn't the physicists of the third world be trained in and do research in this most basic fundamental thing? It's patronizing to give them engineering to do or something." That was his — I mean he developed that theme, but that was the guts of it. Later he came to recognize — I think that was a mistake in fact. That was wrong. Nothing to do with being patronizing; it just wasn't appropriate to concentrate almost entirely on this one extremely sophisticated topic when there were all Dennis De Greiff: You think it was wrong to first approach? Sciama: I mean Salam's defense was wrong. De Greiff: Right. Sciama: Although I see his point, but I think the third world did need lots of physics that would be more of the real world. You know what I mean. Come on. De Greiff: Yes, yes. Sciama: Okay. Later he came to accept that, though it may have been grudgingly. But I mean and so they started having plasma physics and this and that and the other. But it was a bit of a fight to get him to do it. So I do remember that incident. And his defense was — I remember hearing him say that, you see. He said, "Why should we? I mean after all we try to treat the third world physicists as real, real physicists, try to help them and train them and where they have inadequate facilities back home and we can give them this superb library and meet colleagues from all over the world and so on. How can we deprive them of the most fundamental branch of physics? So I very well remember that was his view. So my view would have been, "No, have some of that because it's fundamental, but have other things as well." Then of course he had also a question of dividing his resources and so on. You know, it's not quite simple. De Greiff: [Inaudible phrase] was very, was pure at times [inaudible phrase] applied science. Sciama: Do you mean my science —? De Greiff: Yeah, when you were organizing the Casteleto [inaudible phrase]. Sciama: Oh yeah. It was astrophysics, but again it was nothing to do with industrial. Absolutely. De Greiff: Right. Sciama: But if I was offered to do that and it interested me and I was pleased to do it and perhaps even slightly flattered you know and thought it would be a good occasion to meet various astrophysicists. I didn't say this isn't the right thing for the third world. But in any case, if it had been chemistry I couldn't have organized it. De Greiff: Yes. That's not what I intended to — Sciama: What I'm trying to say is, it didn't particularly cross my mind when I organized that, the question of how it fitted in with a total policy for the center as to what topics it did. In fact, ironically, Abdus wasn't that keen on astrophysics and when I came here I had to argue with him quite a bit to set up an astrophysics program in ICTP — which exists to this day which I run together with a colleague Murray Kabanovitz [spelling?] who is now a professor at Goetingbaum [spelling?] but he's here on a — De Greiff: Who? I'm sorry. Sciama: Murray Kabanovitz, but he's in Crete at the — he's here for the summer, but he's in Crete at the moment. But I had to fight Abdus, to be honest, to say, "Look, astrophysics is great." I mean, lots of — You see, it's one of these cultural battles. So you're talking about tensions. You see there is tension, or there used to be, between particle physics and astrophysics. People like Murray Gell-Mann were rather scornful about astrophysics. Abdus, I wouldn't say he was actually scornful, but he wasn't very enthusiastic about it. Later he got a bit more because astrophysics starting telling the particle physicists certain things you see. But when I came here in '81 he wasn't very enthusiastic about astrophysics. And I'm not suggesting you put this in anything you write, but I mean it's interesting. I had to sort of insist with him that it's a worthy subject and just as fundamental as — in fact the origin of the universe may be even more fundamental, I don't know. And he kind of slightly reluctantly gave me a grant to set up a little program to invite people from the third world in astrophysics. But it's not something he enthusiastically — He didn't say it's nothing to do with industry. It just wasn't particle physics you see. So he wasn't enthusiastic about doing it, and I had to push him a bit. De Greiff: That is a very interesting point, because it seems it's not only he wanted pure physics, but he explicitly wanted particle physics. Sciama: Yes, because that was his great joy and love and what he devoted his whole life too, and he correctly thought it was fundamental, but you can't say it's more fundamental than cosmology, can you? Although you see, as I say, the particle physics —Don't forget also cosmology is now emerged as a fully-fledged science, but when I started doing it, it was considered so speculative and there were very few facts known. So particle physicists would be not scornful about the universe or its origin, but scornful about our knowledge of the universe, you see. And therefore not that cosmology wasn't potentially a great subject, but it wasn't as practiced a great subject. You see that was really the point. De Greiff: [Inaudible phrase] the fact that you had perhaps [inaudible word] highest level physicists as audience, the fact there were people coming from third world countries? Sciama: Not especially that I can remember, no. De Greiff: Was it a course or more a seminar? I mean in the sense of was it a discussion about what was happening in the very last years or more a course to give an [inaudible word]? Sciama: You know, I don't remember too well. It was little lectures. People gave either one or several lectures on topics that we chose collectively. But frankly, in things that like and other workshops here, I wouldn't say the level of those workshops is at all seriously reduced because the audience comes from handicapped countries. Because the nature of the handicap acts in a different way. You see they don't have proper journals maybe and they don't have a decent library and they don't have many people to talk to, but if they're at all trained as physicists and written papers on physics some, they could hear in lectures material as serious as a Westerner you see. The problem lies in other — I would say — in other directions. And I can't remember. I think we were just giving normal expositions I would say. De Greiff: That course at that meeting was on your suggestion or you were invited to do it? Sciama: I don't even remember. Because I wasn't here then you see as a — Cesar didn't exist at that time. Do you know I don't remember. I must have had enough of a link here that they thought of asking me, right? But it's not that I came regularly every year or something. Do you know I honestly — I'm terrible, my memory's gone. I remember being in Casteleto and I remember people like Martin and Pachinsky being there, but if you ask me, I doubt that I would have proposed it. But who approached me and how, do you know I don't remember? De Greiff: Okay. Once you were here, how was the interaction with the, let's day, directorship of the center in the sense that were you completely or mainly independent to organize the course? Sciama: Oh yes. De Greiff: [Inaudible phrase]? Sciama: As far as I remember, I wasn't interfered with in any way. I just — for one thing there was so much activity they couldn't very well interfere with much. Because I don’t remember later perhaps was more even than in earlier years. But certainly I can't recall any if you'd call it problems at all. We were just given so much money to invite people on such a stay and then we just went ahead. And they weren't astronomers anyway those people you see so they wouldn't know how to interfere, if you see what I mean. De Greiff: From your point of view outside those years there were two figures here, [inaudible name] and Abdus Salam. Sciama: Yes. De Greiff: How did you see that? If you had any idea about that. Sciama: Well, I got to know [inaudible name; Powell?] quite well later when I came to Cesar, which of course he founded and was director of for many years after I came here. And he was quite interested in speculative ideas I had, and often he — until quite recently — he'd come and sit where you're sitting and tell me his latest speculative ideas at 81 or something. Wonderful So if anything I was closer to him than to Abdus, just because of the way personal chemistry works, you know. Abdus was a bit fierce and Powell was very — is, I mean he's sort of a bit more diplomatic. I mean he's a strong fellow inside and he built these wonderful institutions here and he was a major influence as you know in getting ICTP here. Because he was then a professor at the university. And he's got great strength with the ministry and so on — or had. I mean I don't know now. He's of course in his early eighties. But probably still. He's still very active. But his manner socially or in conversation is more diplomatic, more, more, more, more — Abdus was a bit fierce. De Greiff: How did you see the relationship between the two? Sciama: I have no idea. Because of that difference I don't know, but I mean no doubt Powell was very valuable to Abdus as his number two for many years, and he knew that [inaudible phrase] bring the center here. Whenever there was a ceremonial occasion — you know we used to have Andrioti [spelling?] visit and so on — you know all about Andrioti in the center probably. De Greiff: In the eighties. Is that right? Sciama: Probably. But I'll tell you one story about Andrioti which in case you don't know [inaudible phrase], but often Powell would be on the rostrum you see among, with the senior people all giving a talk about the history of the center. I mean it was a tremendous power for the center, you see, and obviously Abdus valued that. But that doesn't say what their personal chemistry together was, and I have no idea. The Andrioti story I know, Andrioti was foreign minister at the time of this story, and the money for ICTP came from the ministry, foreign affairs — not the university thing, because of the link with the third world you see. So Andrioti played a part in the funding. And they decided at that point — perhaps UNESCO [spelling?] had previously funded it. Anyway, Italy was going to be the main source of funds. So they went to Andrioti at that time and said, "Could we please have $8 million a year?" And Andrioti said, "No. You could have $10 million a year." Have you come across that story? De Greiff: No, I didn't. I knew about Andrioti. Sciama: Well he was a great friend of the center that. I mean he'd visit from time to time, and you would see his hunched back and so on, on the rostrum. But that story amused me anyway. That was all before he became in disrepute of course. De Greiff: There is a scientist which is quite close to Andrioti who is Antonio Zukiki [spelling?]. Sciama: Ah, that's another matter. Yes. De Greiff: It's a character I know something about. Sciama: Right. De Greiff: Because I used to come to [inaudible word] you see. Sciama: Oh you did? Yes. De Greiff: And I used to be a physicist. Sciama: Right. De Greiff: And but [inaudible phrase] know much the relationship was between Salam and Zukiki or Zukiki and the ICTP. What? Sciama: I don't know. Zukiki of course is another of these — what's the right word for a person that is very prominent and then has their own empire and so on? De Greiff: Some [inaudible phrase]? Sciama: Prima donna call it. I think. Yes. So there were several prima donnas in the story, and he's one of them. But what the relationship with Abdus was I don't know I'm afraid. You'll obviously find out from other people, and you can ask Zukiki himself no doubt. He's [inaudible phrase]. De Greiff: Will you explain a little [inaudible phrase]? Sciama: Can I say, if you don't mind, because I get tired at a certain point. De Greiff: No, I don't want to — Sciama: I would like — I mean I am finding this very interesting, though most of it is not totally relevant, but you're asking for it. But if we could stop in sort of about five minutes if you don't mind, because otherwise I get too tired. De Greiff: Yes, yes. Just a couple of more questions. Yes. Sciama: But if you want to and if you don't mind the delay, when I come back [inaudible phrase]. De Greiff: I'm not sure [inaudible phrase] late August, but you are going to be in England? Sciama: I'll be in Oxford if you want to come and see me there. De Greiff: Yes, I can. Yes, I can. Sciama: [Inaudible word] 29th of August, but I can change the booking with the air company. So if it suits my wife I might leave a week earlier. De Greiff: Okay. Sciama: But we might very well overlap, so — De Greiff: Right. Okay. Just a couple last questions. Sciama: Yes. De Greiff: What was the reputation of the ICTP outside the ICTP, for example in Oxford or in Cambridge? Was it a high level research center or had it [inaudible phrase]? Sciama: Well, I must be honest with you. I think it had a mixed reputation, insofar as people thought about — not, people perhaps didn't think about it all that much, but mixed in the sense that some would say, "What a noble cause it is doing" and other would feel its standards were about to be a bit uncertain because of its very nature. But physics is such a severe mistress that that would be regarded as, you know — De Greiff: Okay. Let me [inaudible phrase] with an example. One was a reputation ICTP preprints had among the scientific community. Sciama: Yes. De Greiff: I mean, what was the idea people had? It's because when I have asked about the preprints the idea I've got from people in the U.S. and the UK is that it was a quite low level. Sciama: Well, I have to say — now see, I hate this business you know you're writing something and so on, but I ought to be honest. That is the case. That is the case. De Greiff: Why do you think that was the case? Sciama: Well, it was probably true. De Greiff: No. Right. But why — Sciama: Because of a kind of unreasonable prejudice. It's because it would be totally expected. You understand? In fact I can't bear it, because the idea of working without a library and journals and colleagues is just murder you see. So I think it's wonderful what they do, but you can't expect them to come here for a few months, except the one or two very exceptions and write a brilliant paper, it's not reasonable. But if these preprints came out, and the lot would be rather indifferent, or on the topic it was just chosen to write a paper on rather than you know really advancing the subject. So I'm afraid they didn't have a very high reputation. De Greiff: What strikes me about it, it's the number of papers produced was very large. Sciama: Well, perhaps they that they had, you know, to justify being here they had to show something for it beyond the — I mean the benefit to themselves must have been tremendous you see. For instance I think the library there is one of the best physics I know in the world. Not that I know that many, but you know it's terrific. And the colleagues, and the decent working conditions you see. So to be there for anything from a month to a year — fantastic. But if they feel that they ought to show something for it and they write a perfunctory paper — not all, but let's say X percent were like that, you understand. Some were very good, but quite a few were a bit perfunctory or on feeble topics or routine or just a mathematical problem just made up and not much connection to the real world but with a bit of the real world attached to it. You know what I mean. De Greiff: Right. Yes, yes. Sciama: So, yes, I'm afraid that is true. But I don't think that matters you see, because the focus of the place is difference. But if you're asking me, that is I think true. De Greiff: Very last question. There was a boycott in 1975 against the center. I'm not going to ask you about the boycott itself but about the issue. In case you remember something we can talk later on. It's an [inaudible phrase] in UNESCO [correct word?] which Israel was expelled from Europe [correct word?] at least in the sense of some formalities in UNESCO. It's more complicated than that. Do you remember the — at least the fact that [inaudible phrase] Israel? Sciama: I remember something like that, and I don't know if it's connected with that, but there was going to be a Fred Hoyle birthday conference at ICTP. De Greiff: Right. Yes. Sciama: And was it because of that — you can remind me — that it was moved to Venice in fact? I have links with Venice you see, because my wife is Venetian and we have an apartment there, etcetera, and the Cini Foundation laid on the Fred Hoyle birthday conference because people didn't want it here. It was something to do with problems with Israelis or something. Now I don't remember the year of that. Was it at that time? De Greiff: It coincides with the year. I don't know if that happened. I know that a number of people from Israel, among them [inaudible name], refused to come to Hoyle's birthday. Sciama: Right. De Greiff: And there was a number of other countries which were canceled because of the problem. Sciama: Right. De Greiff: So it doesn't strike me particularly that Hoyle's birthday was moved to Venice because of that. But thank you for — Sciama: No, no, no. It definitely was a [inaudible word]. You see, as I was attending that meeting I remember very well that it was going to be here and then had to be moved for that sort of reason and it was moved to Venice. So surely — whether it was connected with other — I suppose it was connected with [inaudible word] at that time, but I don't want to tell you more than I know or remember. De Greiff: No, no, no. Sciama: But I do remember that it was explicitly moved because of troubles. And it may have been because Israelis refused to come, or it may be also they feared other problems. I don't know if they feared demonstrations becoming a problem. I don't remember the complete details, but the fact that it was moved of course I remember, because I remember the meeting very well at the Cini Foundation. De Greiff: So Hoyle's birthday was celebrated in Venice. I didn't know that. Sciama: Yes. De Greiff: It was you said at the Cini’s Foundation? Sciama: Well, you know in Venice there is a little island called the Island of San Georgio [spelling?] which if you stand on some marked square with your back to the cathedral looking across the lagoon and the place called the Dudecka [spelling?], then on the left of what you can see you can see a Palladio church, and there's an island. There's an island called San Georgio, and there is a lovely, lovely foundation called the Cini Foundation which lays on [correct word?; liaison?] conferences and workshops and things in lovely surroundings there, and it's superb. And that's where it was held. And that was the reason. I mean, I well remember the reason for the change was - I'm sure it involved — I mean it was certainly a political thing, but I'm sure it involved Israeli aspects. De Greiff: [Inaudible phrase]. Sciama: Yes. De Greiff: But you didn't know [inaudible phrase]. Sciama: Indeed. De Greiff: Thank you very much, Professor Sciama. Thank you very much indeed. Sciama: Not at all.
1098	dbpedia	0	17	https://www.amazon.de/-/en/George-Ellis/dp/0521021081	en	Amazon.de			[ "https://images-na.ssl-images-amazon.com/captcha/fmvtfjch/Captcha_soyoacbdac.jpg", "https://fls-eu.amazon.de/1/oc-csi/1/OP/requestId=0R50N7K6C3BWW9J886DE&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null
1098	dbpedia	2	59	https://www.sciencealert.com/stephen-hawking	en	Who Is Stephen Hawking?	https://www.sciencealert…g_topic_1024.jpg	https://www.sciencealert…g_topic_1024.jpg	[ "https://www.sciencealert.com/images/2020-06/processed/hawking_topic_600.jpg", "https://b.scorecardresearch.com/p?c1=2&c2=10055482&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[ "ScienceAlert Staff" ]	2020-06-24T08:05:01+00:00	Stephen Hawking was a theoretical physicist and cosmologist best known for advancing theoretical models on black holes and cosmic inflation, which he discusses in his popular writing on time and space.	en	https://www.sciencealert…avicon-32x32.png	ScienceAlert	https://www.sciencealert.com/stephen-hawking	Stephen Hawking was a theoretical physicist and cosmologist best known for advancing theoretical models on black holes and cosmic inflation, which he discusses in his popular writing on time and space. Hawking's university education began in 1959, when, at age 17, he attended University College, Oxford, to study physics. Seeking a PhD at University of Cambridge, Hawking was disappointed to learn that the esteemed astronomer Fred Hoyle – who is now famous for coining the term ' Big Bang' theory by mocking it on radio – wouldn't be taking any more students. His supervisor was a relatively unknown researcher by the name of Dennis Sciama. What Sciama lacked in fame he more than made up for in mentorship, encouraging a young Hawking to follow his interests. Where Hoyle was dismissive of the Big Bang, Hawking became its champion. What was Stephen Hawking's discovery on the Big Bang? Following Roger Penrose's work on the infinitely dense point of spacetime at the centres of black holes, Hawking used the mathematics of general relativity to argue the origins of the Universe itself could be found in similar physics. In 1970, Hawking and Penrose published their now famous theory on cosmological singularities, which describes the starting energy of the Universe all contained in an infinitely small volume. What were Stephen Hawking's discoveries on black holes? A key concern with the concept of black holes at that time was that according to the second law of thermodynamics, the overall amount of disorder (or entropy) in a closed system like the Universe increases with time. Since black holes can't reflect or emit light or matter, this disorder could in effect disappear. Either the long-established law on entropy was wrong, or somehow, a measure of this disorder sticks around. A theoretical physicist named Jacob Bekenstein had an answer. A graduate student at the time, Bekenstein reasoned that if the area of a black hole's 'event horizon' surface expands as light and matter falls in, it could provide a measure of its entropy. If true, this increased disorder would result in an amount of heat in relation to the black hole's surface. Hawking, aiming to disprove Bekenstein's hypothesis, instead uncovered a mathematical relationship between thermal radiation and the expanding event horizon. Referred to as ' Hawking radiation', the discovery was initially controversial, as it implied even large black holes could evaporate away over a long period of time, creating yet another paradox over the conservation of information in the Universe. While it has yet to be observed, Hawking radiation is now a largely accepted feature of these exotic cosmic objects. Why is Stephen Hawking so popular today? In 1979, Hawking was elected Lucasian Professor of Mathematics at the University of Cambridge, a position once held by the mathematician Isaac Newton. Over the ensuing years Hawking earned fame for his ideas, not just in the scientific community but in households around the world. Published in 1988, his popular science book on the strange nature of time and space, A Brief History of Time, broke records by remaining on the Times of London bestseller list for 237 weeks. That's more than four and a half years. Bio Born: 8 January 1942 to tropical medicine researcher Frank Hawking and economics and philosophy student, Isobel Eileen Hawking. Died: 14 March 2018, age 76. As a person: Hawking was diagnosed with 'amyotrophic lateral sclerosis' (ALS), a type of motor neurone disease, at the age of 21. Though initially given just two years to live, the degenerative condition progressed slower than expected, and he continued working for decades with the support of his family and friends. All topic-based articles are determined by fact checkers to be correct and relevant at the time of publishing. Text and images may be altered, removed, or added to as an editorial decision to keep information current.
1098	dbpedia	3	54	https://www.kavliprize.org/andrew-fabian-autobiography	en	Andrew Fabian life story	https://cdn.sanity.io/im…49cc-188x252.jpg	https://cdn.sanity.io/im…49cc-188x252.jpg	[ "https://www.kavliprize.org/logo-gold.svg 1x, /logo-gold.svg 2x", "https://www.kavliprize.org/logo-symbol-gold.svg 1x, /logo-symbol-gold.svg 2x", "https://www.kavliprize.org/_next/image?url=%2Fshapes%2Ftrinagle-2.png&w=1080&q=75 1x, /_next/image?url=%2Fshapes%2Ftrinagle-2.png&w=1920&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fshapes%2Fhexagon-1.png&w=640&q=75 1x, /_next/image?url=%2Fshapes%2Fhexagon-1.png&w=1200&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fshapes%2Fcircle-3.png&w=828&q=75 1x, /_next/image?url=%2Fshapes%2Fcircle-3.png&w=1920&q=75 2x", "https://cdn.sanity.io/images/qpjzy3y9/production/fd303622d13c91ecc7e3462b088da35256ff2c89-2000x1314.jpg?w=2048&q=75&fit=clip&auto=format 1x, https://cdn.sanity.io/images/qpjzy3y9/production/fd303622d13c91ecc7e3462b088da35256ff2c89-2000x1314.jpg?w=3840&q=75&fit=clip&auto=format 2x", "https://cdn.sanity.io/images/qpjzy3y9/production/c7c30b1bc3071a5f2ccc60f7060d71f428f5834d-744x492.jpg?w=750&q=75&fit=clip&auto=format 1x, https://cdn.sanity.io/images/qpjzy3y9/production/c7c30b1bc3071a5f2ccc60f7060d71f428f5834d-744x492.jpg?w=1920&q=75&fit=clip&auto=format 2x", "https://cdn.sanity.io/images/qpjzy3y9/production/b41730aed14404dc70a747ed8ed5c8f706cf601e-933x539.gif?w=1080&q=75&fit=clip&auto=format 1x, https://cdn.sanity.io/images/qpjzy3y9/production/b41730aed14404dc70a747ed8ed5c8f706cf601e-933x539.gif?w=1920&q=75&fit=clip&auto=format 2x", "https://www.kavliprize.org/_next/image?url=%2Flogo-white.png&w=384&q=100 1x, /_next/image?url=%2Flogo-white.png&w=640&q=100 2x", "https://www.kavliprize.org/_next/image?url=%2Fsome%2Ffacebook.png&w=32&q=75 1x, /_next/image?url=%2Fsome%2Ffacebook.png&w=48&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fsome%2Ftwitter.png&w=32&q=75 1x, /_next/image?url=%2Fsome%2Ftwitter.png&w=48&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fsome%2Flinkedin.png&w=32&q=75 1x, /_next/image?url=%2Fsome%2Flinkedin.png&w=48&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fsome%2Finstagram.png&w=32&q=75 1x, /_next/image?url=%2Fsome%2Finstagram.png&w=48&q=75 2x", "https://www.kavliprize.org/_next/image?url=%2Fsome%2Fyoutube.png&w=32&q=75 1x, /_next/image?url=%2Fsome%2Fyoutube.png&w=48&q=75 2x" ]	[]	[]	[ "" ]	null	[]	null	Andrew Fabian life story				null	I was hooked on astronomy by the age of about seven, having read in a children’s encyclopedia that astronomers could work out the composition of a star from the light it emits. That seemed wonderful. I recall seeing Comet Arend-Roland when I was nine and I followed the emerging Space Progammes and spent time studying the night sky with a one-inch refractor from our back garden. Asthma meant that I missed junior school several days a month but, provided I sat still, I could read which was the main way my horizons expanded. We had no television till I was about nine. My parents were shopkeepers and not interested in science but left me to experiment, learn the constellations and read by myself. "At home in the evenings I did electronics with crystal sets, thermionic valves and then transistors, which were just becoming affordable." After the village junior school, I went to the state grammar school in nearby Daventry where I enjoyed most lessons but especially physics and chemistry. My asthma soon disappeared. At home in the evenings I did electronics with crystal sets, thermionic valves and then transistors, which were just becoming affordable. At 15, I ground and silvered a six-inch mirror and assembled a simple Newtonian telescope. The Moon at 200 times magnification was magnificent. Space and astronomy drew me in and I resolved to take study physics. At 17 I spent a couple of weeks at the Jeremiah Horrocks Observatory in Preston, Lancashire, to gain some experience. Much of my time was taken up by measuring and counting sunspots on drawings that had regularly been made a few decades earlier. It was far from exciting but did not dissuade me from wanting to find out more about the Universe. X-ray astronomy I studied physics for my first degree at King’s College, London. Having lived in a village until then, I felt ready for a city and London seemed right. It was an exciting place at times in the late 1960s, although for a penniless student keen on studying science, opportunities were limited. Astronomy did not feature in my lecture course, although I do clearly remember Professor Herman Bondi giving a lecture on “Why is the Sky Dark at Night?” No visual aids, no black board, just clear speaking – taking something which sounds too obvious to discuss and extracting profound cosmological consequences! For my PhD I considered several options, including radio astronomy at Cambridge led by Martin Ryle and space astronomy at University College London with Robert Boyd. I chose the latter and started my research in the autumn of 1969 at the Mullard Space Science Laboratories in the Surrey Hills between Guildford and Dorking. By December, I had changed supervisors several times and my new supervisor, Pete Sanford, suggested I write a proposal for a Skylark sounding rocket to observe the granularity of the X-ray Background. He had been at a conference that summer where Martin Rees had discussed the origin of this background radiation in terms of seven radio galaxies per square degree. If true, then the granularity should be measurable. I travelled to Cambridge to meet Martin and was deeply impressed by his friendliness and the generosity with his time to someone who was just starting out. I also consulted David Lindley of the UCL statistics department about how to obtain limits and was told to read his books. A proposal was submitted before Christmas and accepted in January. Things could happen rapidly. The proportional counter detector was the workhorse of X-ray astronomy back then. The X-ray Background was going to be readily detectable, but what I needed to do was reduce the non-cosmic background in the detector that was due to cosmic rays. Pete Sanford had devised a pulse-shape discrimination method for doing that (X-rays produce a compact cloud of electrons in the detector whereas cosmic rays leave an extended cloud). My immediate task was to design the electronics, using integrated circuits which had not been used for that purpose before at the Mullard Space Science Laboratories. I gave myself a crash course in electronics which was far removed from my home lab work years before. After some months it came together, and by autumn I was testing the assembled equipment on a Skylark payload module. Weeks were spent trying to suppress radio frequency interference. A transmitter was only a few metres away from the very sensitive preamplifier which detected minute electrical signals from the detector. All sharing the same powerlines. Sometimes I would think it was working well, then step back and everything would go haywire. Eventually it was suppressed and the instrument became robust. At the same time I was learning about X-ray astronomy and astronomy in general. At the time it was reckoned that the total exposure to the X-ray sky by rocket-borne detectors was just a few hours, meaning that I could easily read and digest every paper written on the subject in my spare time. Skylark SL1001 was launched from Woomera in Australia in late January 1971. I spent six weeks in Australia having flown there on a three-day, Ministry of Defence, turbojet flight to Adelaide followed by train to Woomera out in the desert. (The name Woomera is the indigenous name for a throwing stick.) The flight gave about 15 minutes of exposure to cosmic X-rays during the upper part of its trajectory. Fortunately the data were telemetred down during the flight as the parachutes became tangled and the payload smashed to pieces on hitting the ground. I spent the next day in a helicopter making the recovery, which was exciting at first but, as it was extremely hot outside and the desert was dotted with salt pans, there were strong convection currents: we went up and down like a lift, and I spent the last hours feeling nauseous. First publications I obtained the telemetry tapes some weeks after my return and read them onto an IBM mainframe in London, analyzing them at the space laboratory. The results became my first publication, “Rocket Observations of the Cosmic X-ray Background” by Fabian & Sanford, Nature Physical Sciences, May 1971. Publication could happen fast back then. I felt that I was in competition with the X-ray astronomy group of Riccardo Giacconi at American Science and Engineering in the US. (Riccardo started cosmic X-ray astronomy with a US rocket flight in 1962.) The American Science and Engineering group had launched a satellite from Kenya named Uhuru which had several proportional counters back in December 1970. By my launch they had buckets of data. Fortunately for me they were making new discoveries every week (X-ray binaries, X-rays from supernova remnants, clusters of galaxies and so on) and didn’t get around to the X-ray background. As luck had it, I was generously given and published the Uhuru background data after a visit to them in 1975. The rocket results showed that the background was very smooth, requiring more than two million sources over the whole sky, and was to be confirmed and extended with a second rocket flight, this time from the European Space Research Organisation (later becoming ESA). Preparation for that meant many trips to the European Space Research and Technology Centre in Noordwijk in the Netherlands, and the launch successfully took place from Sardinia, Italy, in June 1972. In the meantime, I had studied the problem of fluctuations in a background of point sources and found that it overlapped with observations of radio sources in what was known as P(D) – the probability distribution of deflections in the pen recorder as a radio telescope scanned the sky. Through Martin Rees, I was introduced to Peter Scheuer of the Cambridge Radio Astronomy Group who had studied the problem 15 years earlier, and also Dennis Sciama, then at Oxford, who had a student looking at it. Both were interested, friendly and helpful. A couple of years later I worked on the origin of the X-ray Background with cosmologist Michael Rowan-Robinson and later in the 1980s, Xavier Barcons, with whom I wrote a review on the topic in 1992. In a way we were finding why the X-ray Sky is dark at night. Riccardo Giacconi and others finally resolved most of the X-ray Background into distant active galactic nuclei with the Chandra Observatory in the early 2000s. Continuous work on X-ray data My PhD viva was in July 1972 and rather rushed as I thought I was about to head off to Cambridge Massachusetts to work at American Science and Engineering with Giacconi’s group. The problem was the visa. They were then hard to get, and I waited and waited until February 1973 and learned that the job no longer existed as the High Energy Astronomy Observatory project I was to be funded on The AXAF Science Working Group where I am second from left. Nobelist Riccardo Giacconi (who started X-ray astronomy) is 8th from left was cancelled by NASA. It was reinstated a few years later, but I was no longer going to the US. I was lucky to remain at Mullard Space Science Laboratories as a postdoc and began working on the small X-ray detectors just launched on the Copernicus satellite. Pete Sanford was the Project Scientist for the instrument and indeed had spent most of his time in the US over the previous two years. I was probably the only person working full time on the X-ray data for the first six months or so. The satellite carried a UV observatory taking spectra of bright O stars. We could choose the pointing direction for about 10 percent of the time. We looked at X-ray binaries, supernova remnants, clusters of galaxies and active galaxies, which led to many discoveries and much reading, studying and understanding diverse processes. I learned an enormous amount of astronomy and astrophysics. One key target we observed was the Perseus cluster of galaxies, showing that its X-ray emission peaked around the central galaxy NGC1275. I successfully applied for an Semiconductor Research Corp postdoctoral fellowship to work with Martin Rees who was then a professor at Sussex University. A few months later Martin had accepted the Plumian Professorship at Cambridge, so I joined the Institute of Astronomy at Cambridge in October 1973. That summer there was a conference on compact objects that I attended and heard talks from many of the leading theorists on neutron stars and black holes. "I was hooked even more." New questions and opportunities Over the next eight years I held several postdoc positions at the Institute of Astronomy including the first UK Radcliffe five-year Fellowship in Astronomy. I was using whatever X-ray data I could obtain and also tried theory, finding my math skills were not up to easily solving differential equations and my computer programming was not up to the precise standards necessary for detailed numerical work. I was coming up with lots of questions and ideas and beginning to work with bright research students and my own postdocs on their solution, both observationally and theoretically. I enjoyed the phenomenology of astrophysics. Around 1980, I was tempted by an offer of a Professorship at Utrecht University, which though attractive would have been a major upheaval. Initially it was at a junior level but that changed in 1981. However, by that autumn I was offered and accepted a Royal Society Research Professorship starting in 1982 and held at the Institute of Astronomy. I retained that post until 2013 and can say it was a great privilege and a dream job. It provided for my professorial salary, research expenses and often a postdoc. I was not obliged to teach but did lecture to final year Physics students on Relativistic Astrophysics initially, and later combined with Cosmology from Anthony Lasenby for the past 20 years. Owing to arcane rules the university classified me until 2003 as an “unestablished research worker,” which is not quite as bad as it sounds. The main thing was that the Institute of Astronomy supported me and my growing research group of students, postdocs and visitors. In 1983, I became a Fellow of Darwin College, where I could happily chat to physicists, chemists, biologists and others from the Social Sciences, Arts and Humanities. My delight in exploring everything found an outlet in the annual Lecture Series, starting in 1986 with Origins. I have in total co-organised six of the series. The Lecture Series has become the largest public series in Cambridge and are still going strong; I was recently part of the discussion preparing for 2022. I also did a stint as Vice-Master of Darwin for 14 years. In 1977, my student Paul Nulsen and I explored the consequences of radiative cooling in the cores of clusters of galaxies, prompted by the Copernicus observation of the Perseus cluster and similar hints from other clusters and workers. This lead to our paper on cooling flows published after similar work by Len Cowie and James Binney. We related the expected cooling flow to the enormous optical H alpha nebulosity seen around NGC1275, which must surely be connected. Under the generosity of Giacconi’s group, I visited the Center for Astrophysics in the other Cambridge for two months in 1979 to work on data from the recently launched Einstein Observatory (the third mission of the revived High Energy Astronomy Observatory program). It was wonderful to see and work on many images from the powerful X-ray telescope that it carried. This included the Perseus cluster, the images of which confirmed and extended the work on cooling flows. President of the Royal Astronomical Society Around 1983, I joined the Science Working Group of NASA’s Advanced X-ray Astronomy Facility, as an Interdisciplinary Scientist with a proposal to study the Perseus Cluster and other cooling flows. This meant that up and until the launch in 1999, after which AXAF was renamed Chandra, I regularly travelled to the US, particularly to Marshall Space Flight Center in Huntsville, Alabama. I was also shifting the main focus of my research onto clusters of galaxies and Active Galactic Nuclei (AGN). I also carried out committee work in the UK (ASR Board of the Space Engineering Research Center) and European Space Agency (AWG and future planning with Horizon then Horizon Plus). In 1979, I joined the editorial board of Monthly Notices of the Royal Astronomical Society dealing with papers in X-ray and Gamma-ray astronomy up until 2008, being managing editor for the final 14 years). I stopped editing when I became President of the Royal Astronomical Society in 2008. Why are you doing science? Research funding in the UK for astronomy had been hit hard and we mobilised an Astronomy Forum which included a senior representative from all UK departments researching astronomy and approached government. I found it easier to talk with Science Ministers than with their civil service advisors and gave a Presidential Address on the Impact of Astronomy, at a time when Impact Factors were the centre of funding discussions. I outlined “the impact astronomy has had on our society historically, and at present, in terms of cultural, technological and economic benefits. Also why these benefits are so difficult to quantify in terms of the contribution made by basic science. I hoped to show that we all need to do what we can to promote the worth of our work in the wider world, at this difficult time for public spending” (A&G June 2010). Sometimes it is good to step back and ask why you are doing your science and why someone should pay you to do it! Propagating the scientific method may be a good place to start. My observational work in the early 80s expanded to include optical studies, particularly of clusters cores and the H alpha nebulosities seen there. Theoretically, I explored the possibility of pair plasmas being created around luminous accreting black holes. I picked this up in 2015 in work with Ann Lohfink using data from Fiona Harrison’s NuSTAR observatory. A new path of relativistic reflection Stimulated by work by my ex-student and postdoc, Paul Guilbert, with Martin Rees, in which they argued that it was plausible for relatively cold gas to occur in accretion flows close to a black hole, in 1988 I considered the X-ray irradiation of a cold accretion disc in that situation. I realised that a fluorescent iron emission line was likely produced, and that it would be relativistically broadened by the strong gravity effects - doppler and gravitational redshifts - close to the black hole. This could explain a puzzling broad iron line seen by Nick White and others from Cyg X-1 using EXOSAT. I discussed it with Nick and he suggested I contact his colleague Luigi Stella who computed the expected line profiles. Our joint paper written together with Martin was published in 1989 and launched what was for me a new path in relativistic reflection. Juggling different projects One of my postdocs, Ian George, and I used Monte-Carlo methods to generate X-ray spectra of X-rays reflected from cold gas. Long-standing collaborator and visitor Randy Ross computed the spectra from gas ionized by the irradiating flux. A theoretical picture had emerged but clear observational evidence was lacking. Ginga spectra from Ken Pounds, Paul Nandra and others showed the expected hard X-ray emission hump from reflection but relativistic effects needed higher spectral resolution. That came after the 1993 launch of the Japanese-US observatory Advanced Satellite for Cosmology and Astrophysics (ASCA), which carried the first charge-coupled device detectors for cosmic X-ray astronomy. I had joined the ASCA team as a science advisor at the generous invitation of Yasuo Tanaka, the Principal Investigator of the mission. My wife, Carolin, and I spent a happy three and a half months in Japan in the summer of 1993 working on ASCA data at Institute of Space and Astronautical Science with other visitors including Richard Mushotzky from Goddard Space Flight Center and MIT student Keith Gendreau. It was an exciting time with many observations yielding new discoveries. Observations of the bright active galactic nuclei, MCG-6-30-15, showed rapid variability and a strong iron line with a hint of broadening. A long observation was required to substantiate this and was arranged by Yasuo for four days in 1994. A broad iron line with a shape similar to our predictions in 1989 emerged from the spectrum and was published in Nature in 1995. Later that year, I led a paper discussing why alternative origins for the skewed broad shape were either incorrect or implausible. Although instantly accepted by some, it took a long time for others to adopt the model. At the same time I was working on data from clusters of galaxies, from ASCA and from ROSAT (ROentgen SATellite), which had been launched in 1990. Led by Hans Bohringer, analysis of ROSAT High Resolution Imager data from the centre of the Perseus cluster showed that the double radio source had displaced the hot X-ray emitting gas. The active galactic nuclei was disturbing the inner gas but not necessarily anything else. There was much other work on clusters going on in my group, including the measurement of gas fractions and its implications for the mass fraction of the universe, identification and study of new massive cooling flows clusters from the ROSAT All Sky Survey, and a wide variety of active galactic nuclei phenomena. Whole-body events Both Chandra and XMM-Newton were launched in 1999 and a fantastic flood of exciting data began. My family and I witnessed the night Shuttle launch of Chandra, when night turned into day. A month later we saw the inverse in the total eclipse of the Sun from Alderney in the Channel Islands. The launch and the eclipse are both ‘whole-body’ events that have to be experienced rather than viewed in photos. We have seen two further total eclipses but no more launches. I spent much of my Chandraguaranteed time looking at Perseus and similar clusters, with Jeremy Sanders and others, which rewarded us with immense detail and improving with subsequent longer exposures until we had about a megasecond of data with 100 million photons by 2006. Eugene Churazov had a model for expanding bubbles generated by the central active galactic nuclei matching the ROSAT image and now seen in considerable detail with Chandra. How energy would be spread widely into the hot gas was unclear until we discovered ripples in 2003. They looked to me like sound waves generated by the bubbles. Whether this is the correct interpretation or not still awaits an even longer exposure. A vital step The Reflection Grating Spectrometer (RGS) on XMM clearly showed that although the hot gas dropped in temperature towards the centre of many clusters, it was not radiatively cooling much below ten million K. The energy lost in radiating the X-rays we see was being balanced by heat being supplied, presumably by the central active galactic nuclei. Such clusters became known as cool core clusters and account for about one half of all clusters. The details of the processes involved are still strongly debated. The central black hole controls the behaviour of gas out to a radius a billion times or more its own (event horizon) radius. The overall process is one aspect of black hole feedback and involves jets from matter very close to the black hole blowing bubbles in the surrounding gas. X-ray spectroscopy capable of measuring the flows of gas in a cool core is a vital step in making further progress. This was taken with the Japan-NASA-ESA observatory satellite ASTRO-H, renamed Hitomi following its February 2015 launch. I was again a scientific advisor eager to look at the spectra expected from the microcalorimeter array, which operated at 50 mK, giving an unprecedented spectral resolution in space of 5 eV. The centre of the Perseus Cluster was the first target and was observed for about 200 ks producing a fantastic spectrum of the emission-line rich intracluster gas. I spent 2 weeks in March at ISAS in Tokyo at the invitation of PI Tad Takahashi working with the Rich Kelley and the Hitomi team on the spectra, revealing that the gas had a mean random velocity of about 160 km/s, with an uncertainty of less than 10 km/s. An amazing result, with a June publication in Nature. This for me emphasised that something more than turbulence was required to transport the active galactic nuclei energy across the core, with sound waves a strong contender. The excitement engendered by the enormous success of this first spectrum was tempered by the loss of the spacecraft, and instruments, a few weeks after the Perseus spectrum was obtained. I was honoured to give a talk on the results in May at the American Astronomical Society meeting in Naples, Florida. One evening there I saw Hitomi flashing in the dusk sky, reflecting sunlight as it spun rapidly in its orbit and reflected that the path of observational research is not necessarily a straight one. Black-hole mass It has been known for decades that massive black holes are likely to occur in many galaxies: Donald Lynden-Bell discusses dead quasars in his prescient 1969 paper. If gas falls into them they can become very luminous and known as AGN or quasars. In a sense they were seen as more of an ornament in the galaxy centre, almost separate from the rest of the galaxy. In the late 1990s, the black hole mass of a galaxy was found to correlate with the mass of the galaxy (or the bulge part of the galaxy). This sparked the idea, in a 1998 paper by Joe Silk and Martin Rees, that the black hole might control the galaxy, not the other way round. They showed that energy from the black hole can expel gas from the galaxy, stopping star formation and making old galaxies red and dead. A year later I published a paper arguing that momentum was more important for lifting gas out of a galaxy, by analogy with the Eddington limit and the rocket equation which is centred on momentum. A little later I pointed out that this approach led to a relation that agreed well with the observed black hole mass - galaxy mass relation. Radiation pressure on dust might be the active process in such feedback. I have since continued playing and working on this process with students and postdocs. Wako Ishibashi and I have shown that it can produce outflows resembling those observed and, with Robert Maiolino, that observable stars might form in the outflows. Active galactic nuclei feedback can both stop existing star formation and start new star formation on low angular momentum orbits. It can change the shape of a galaxy. The action of radiation pressure on dust appears to agree with the column density distribution of absorbing gas in active galactic nuclei as a function of their Eddington fraction. It will be exciting to see whether the shaping of galaxies by active galactic nuclei radiation acting on dust is supported by the ongoing eROSITA X-ray surveys. Relativistic reflection in active galactic nuclei and black hole X-ray binaries has become commonplace with XMM observations and more recently with NuSTAR and NICER. Relativistic light bending has been needed to explain our XMM data as shown in work with Giovanni Miniutti. Jon Miller showed that reflection is common in X-ray binaries. Reverberation, which was mentioned at the end of the 1989 paper was first spotted in our XMM data of 1H 0707-491 by Phil Uttley. It has been explored further by my students Abdu Zoghbi and Erin Kara and by postdoc Will Alston, as well as by others. It is a strong confirmation of the relativistic reflection interpretation. When 1H 0707 dropped into a low state I found that the spectrum was best interpreted as originating from within two or three gravitational radii around a rapidly spinning black hole. Early work with Kazushi Iwasawa and Anthony Lasenby in the 1990s suggested that we see evidence for black hole spin from the small disc inner radii inferred from spectral fits of broad lines, including MCG-6. Chris Reynolds and Laura Brenneman have more recently systematised this and shown that we have a powerful tool for measuring spin. Together we have explored the observing systematics taking into account the spin dependence of radiative efficiency of accretion and shown that current flux-limited surveys favour rapidly spinning objects. Recent work with Javier Garcia and others has led to computations and testing of high-density reflection, matching the conditions expected in X-ray binaries and lower mass active galactic nuclei. Much more can be done with current instrumentation such as XMM + NuSTAR but our work is basically photon-starved, particularly in the case of reverberation studies. It is true for both luminous accreting black holes and cool core clusters. It has been great fun and very productive to look at bright Galactic sources with Keith Gendreau’s NICER on the International Space Station. I was very fortunate to have an ERC Advanced Grant to fund my group from 2013-2018. These generous European awards enable a strong focus on the best science for a five-year period and I was able to build a very strong group working well with each other, my students and myself on the topic of active galactic nuclei Feedback. We covered many of the topics mentioned above and benefitted from successful observations with a variety of satellites and telescopes. We exceeded the “critical mass for which the whole exceeds the sum of its separate parts.” Most of the postdocs from the group have been awarded fellowships or faculty positions. A tangled web I have thoroughly enjoyed my life as an observational X-ray astronomer. Most of the work has been in collaboration with others and I have benefitted greatly from their teaching, mentorship, discussion, hard work and humour. The international spread of collaborators is enormous and highly beneficial. I like to work through the simple theoretical aspects and explanations of the objects and phenomena we have observed. That has often led to further ideas and observations. Although my work has covered a very wide range of objects, I see useful interconnections throughout. A talk on stars or planets can stimulate ideas on quasars and galaxies. There is a tangled web both in the physics and in the interactions with students, postdocs and collaborators. I’m a firm believer in the value of serendipity in science in the Pasteur sense of “chance favours the prepared mind.” "I tell my students that I am helping to prepare their minds. I also tell them that I do two things for them: one is to start them off with some good ideas that are do-able but have not yet been done, the other is to tell them when they’ve done enough on a project, since all projects are semi-infinite." I also like Harwit’s concept of Discovery Space in which the coordinates are space, time, resolving power, collecting area, wavelength, etc. When we look tenfold deeper in any parts of this space then we are likely to discover something really new. I have seen this happen again and again. The success of our telescopes is often measured in terms of new things they discover, yet the proposals for building those telescopes depend on what is already known and how much better that can be measured. There is a tension here that is unresolved. It is also a tension in observing proposals for using a telescope in that you rarely win time by arguing that you just want to look deeper without stating clearly what you will find or test. Maybe there is a parallel here to Churchill’s quote on democracy? (No one has come up with a better method of proposal selection). In 2013, I was part of a small team, led by Paul Nandra, that wrote a successful proposal to ESA for the Athena mission, a billion euro orbiting X-ray observatory for studying the hot and energetic Universe. I became a member of the Science Study Team and again made many visits to ESteC, over 40 years after my visits for SL91. Athena is due for launch in the early 2030s, and I look forward to learning of the new discoveries it has made. That is if I last that long! I am very grateful to my many students, postdocs and collaborators for working and exploring the Universe with me and to Roderick Johnstone and Judith Moss for long-term support. I am indebted to Carolin for love, support and companionship. We share a deep interest in astronomy. Our (biologist) sons, Sam and Laurie, have tolerated many overseas trips with us to the extent that at one stage they preferred to drive to Snowdonia rather than fly to California. Now they view us with bemused good humour. The coronavirus lockdown means that Carolin and I continue to explore the night sky with a small telescope in our back garden. There are always new things to see and new ways to see them.
1098	dbpedia	2	18	https://www.themoviedb.org/person/3227585-dennis-sciama/translations	en	Dennis Sciama	https://www.themoviedb.o…197a37b367b5.png	https://www.themoviedb.o…197a37b367b5.png	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Dennis William Siahou Sciama, FRS, was a British physicist who, through his own work and that of his students, played a major role in developing British physics after the Second World War.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/person/3227585-dennis-sciama/translations	Dennis William Siahou Sciama, FRS, was a British physicist who, through his own work and that of his students, played a major role in developing British physics after the Second World War.
1098	dbpedia	0	6	https://latticelabyrinths.wordpress.com/tag/dennis-sciama/	en	LatticeLabyrinths	https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=200&ts=1723324401	https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=200&ts=1723324401	[ "https://latticelabyrinths.wordpress.com/wp-content/uploads/2013/11/cropped-giftwrapdiamnond131.jpg", "https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=48", "https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=48", "https://2.gravatar.com/avatar/ecbbed5ae696c248b03ad3cf51139132f7981b4719e338a5dfe905ee88b478d8?s=48&d=identicon&r=G", "https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Dennis Sciama written by davescarthin	en	https://secure.gravatar.com/blavatar/1cc1a62dba1212c99f22d0863925191bc3d586ab977452def866fae069417571?s=32	LatticeLabyrinths	https://latticelabyrinths.wordpress.com/tag/dennis-sciama/	While The Theory of Everything , the Stephen Hawking biopic film, is topical, I interrupt this blog, which is the outcome of one Eureka Moment, to tell you the tale of another such experience. This Eureka Moment was concerned with … Continue reading →
1098	dbpedia	1	61	http://blankonthemap.blogspot.com/2015/10/change-of-scenery.html	en	Blank On The Map: Change of scenery	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_suZPrTtUdzuVWnH5IIh4Gj-mtQZFrDuWTIdqQjFx0zduOSYhRdzfqLzlLLFP3N_cyL5SxYxUHAQFhP0vUhXKjVOeoqZT_zF6VXlkrTmS8C0Is_vRS6nZ9rvMgu68BhIkKIWSrftbTyVpSakA=w1200-h630-p-k-no-nu	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_suZPrTtUdzuVWnH5IIh4Gj-mtQZFrDuWTIdqQjFx0zduOSYhRdzfqLzlLLFP3N_cyL5SxYxUHAQFhP0vUhXKjVOeoqZT_zF6VXlkrTmS8C0Is_vRS6nZ9rvMgu68BhIkKIWSrftbTyVpSakA=w1200-h630-p-k-no-nu	[ "https://upload.wikimedia.org/wikipedia/commons/9/93/Marie_Curie_1903.jpg", "https://upload.wikimedia.org/wikipedia/en/f/f9/Sciama2.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLa4wjSUrNd0AbCu4Qat_c8tTjrMbZ2irMzXmPjbVHqAeiaEp9b2t-Jgnv2VNGcrBTGORGw1P5CqDWicR0gOZIanQRE7qaTr63EaPwFLjWIc4NqvaVNGbW8nCr3Bu3g/s45-c/TYCHO.GIF", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLa4wjSUrNd0AbCu4Qat_c8tTjrMbZ2irMzXmPjbVHqAeiaEp9b2t-Jgnv2VNGcrBTGORGw1P5CqDWicR0gOZIanQRE7qaTr63EaPwFLjWIc4NqvaVNGbW8nCr3Bu3g/s45-c/TYCHO.GIF", "http://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLa4wjSUrNd0AbCu4Qat_c8tTjrMbZ2irMzXmPjbVHqAeiaEp9b2t-Jgnv2VNGcrBTGORGw1P5CqDWicR0gOZIanQRE7qaTr63EaPwFLjWIc4NqvaVNGbW8nCr3Bu3g/s45-c/TYCHO.GIF", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLa4wjSUrNd0AbCu4Qat_c8tTjrMbZ2irMzXmPjbVHqAeiaEp9b2t-Jgnv2VNGcrBTGORGw1P5CqDWicR0gOZIanQRE7qaTr63EaPwFLjWIc4NqvaVNGbW8nCr3Bu3g/s45-c/TYCHO.GIF", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6ULvBsd4IxTCUWjkNv05Im5s9SMIx8HJivzTV6aL74GNHguS8a1WpUodGZRHXkJcxvi8oBqD09P7oIdfahancfuz1JSa3Bb5voh9bPGc_a_nxqXLvdO5pWWOf6fB7sw/s45-c/spinorwork.png", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLa4wjSUrNd0AbCu4Qat_c8tTjrMbZ2irMzXmPjbVHqAeiaEp9b2t-Jgnv2VNGcrBTGORGw1P5CqDWicR0gOZIanQRE7qaTr63EaPwFLjWIc4NqvaVNGbW8nCr3Bu3g/s45-c/TYCHO.GIF", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "http://c.statcounter.com/10414663/0/2150437e/1/" ]	[]	[]	[ "" ]	null	[ "Sesh Nadathur", "View my complete profile" ]	null	Blank On The Map is a blog about physics and cosmology - and whimsical diversions.		http://blankonthemap.blogspot.com/favicon.ico		http://blankonthemap.blogspot.com/2015/10/change-of-scenery.html
1098	dbpedia	3	97	https://www.mewburn.com/news-insights/david-deutsch-making-more-sense-than-common-sense	en	David Deutsch – making more sense than common sense	https://www.mewburn.com/…Mulitverse-1.jpg	https://www.mewburn.com/…Mulitverse-1.jpg	[ "https://www.mewburn.com/hs-fs/hubfs/MBE%202023%20-%20Blend%20-%20Website/images/mewburn-logo-white.webp?width=1181&height=495&name=mewburn-logo-white.webp", "https://www.mewburn.com/hubfs/MBE%202023%20-%20Blend%20-%20Website/images/mewburn-logo.webp", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/en.png", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/en.png", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/zh-hans.png", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/germany.jpg", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/ja.png", "https://www.mewburn.com/hubfs/4.%20Icons/Language%20Flags/ko.png", "https://www.mewburn.com/hs-fs/hubfs/David%20Deutsch.jpg?width=337&height=432&name=David%20Deutsch.jpg", "https://www.mewburn.com/hs-fs/hubfs/Mulitverse-1.jpg?width=662&height=414&name=Mulitverse-1.jpg", "https://www.mewburn.com/hs-fs/hubfs/3D%20render%20of%20qubit.jpg?width=686&height=359&name=3D%20render%20of%20qubit.jpg", "https://www.mewburn.com/hs-fs/hubfs/Quantum%20Computer%203D%20Render%20(Split).jpg?width=453&height=453&name=Quantum%20Computer%203D%20Render%20(Split).jpg", "https://www.mewburn.com/hs-fs/hubfs/Mulitverse%20Concept-1.jpg?width=562&height=422&name=Mulitverse%20Concept-1.jpg", "https://www.mewburn.com/hs-fs/hubfs/2.%20People%20Images/Feb-21/Jack-edit%20(002)%201.jpeg?width=100&height=100&name=Jack-edit%20(002)%201.jpeg", "https://www.mewburn.com/hubfs/sky-1.png", "https://www.mewburn.com/hubfs/medical%20devices-1.png", "https://www.mewburn.com/hubfs/Disputes-1-1.png" ]	[]	[]	[ "" ]	null	[ "Jack Davies" ]	2022-11-30T15:47:09+00:00	It was recently announced that David Deutsch would be one of four recipients of the 2023 Breakthrough Prize in Fundamental Physics.	en	https://www.mewburn.com/…fs/favicon-1.png		https://www.mewburn.com/news-insights/david-deutsch-making-more-sense-than-common-sense	“Our best theories are not only truer than common sense, they make more sense than common sense.” — David Deutsch in The Fabric of Reality It was recently announced that David Deutsch would be one of four recipients of the 2023 Breakthrough Prize in Fundamental Physics, alongside Peter Shor, Charles H. Bennett and Gilles Brassard. The Breakthrough Prizes (known as the ‘Oscars of Science’) were first set up in 2012 to celebrate the achievements of the world’s top scientists, and every year sees the presentation of three main awards, worth $3 million each, in the fields of Life Sciences, Fundamental Physics and Mathematics. This year’s Fundamental Physics award celebrates the work of some of the most important pioneers in the field of quantum information. Charles H. Bennett and Gilles Brassard were part of a team of collaborators who discovered quantum teleportation, and they also developed an unbreakable cryptographic key distribution scheme built on the rules of quantum mechanics. On the other side of the quantum cryptographic tug of war, Peter Shor developed a factorisation algorithm (Shor’s algorithm) that is capable of breaking some of the most important cryptographic schemes used today. David Deutsch Clearly Dr Deutsch will be in good company at the award ceremony, but his own achievements are no less impressive. Though many point to Richard Feynman as the founder of quantum computation, it was David Deutsch who described both the first universal quantum computer and the first universal quantum gate. On top of this, he also showed that a quantum computer could solve certain problems faster than any known classical counterpart. Not at all bad for a man who has never had a conventional job! Early years David Deutsch got his undergraduate degree in Natural Sciences from Clare College, Cambridge where he undertook Part III of the Mathematical Tripos, a one-year master’s program considered to be one of the hardest mathematical courses in the world. After graduation, he went on to Wolfson College, Oxford, where he studied quantum field theory in curved space-time for his doctorate under Dennis Sciama and Philip Candelas. In what might be considered foreshadowing of Deutsch’s own work, Dennis Sciama earned his own PhD under the supervision of Paul Dirac, making Deutsch the PhD grandchild of one of the founders and pioneers of quantum mechanics. It was also whilst at Oxford that Deutsch learned of the Many Worlds Interpretation (MWI) of Quantum Mechanics, developed by Hugh Everett in his 1957 doctoral thesis. In the MWI, we live in just one of an uncountably large number of universes (an MCU-style multiverse if you will) that collectively represent every possible state of every quantum system that has ever existed. Think of this like there being universes for every different choice that you either made or could have made in your life (whether to go out partying or stay in, whether to call that girl back, whether to take a chance on the out-of-date milk etc.). Each time you chose one of the options available to you, but in other universes other yous chose differently. Taken together, your multiverse would contain versions of you that have lived every possible different life that you could have possibly lived. In the Many Worlds Interpretation, we live in just one of an uncountably large number of universes that collectively represent every possible state of every quantum system that has ever existed Bringing this back to quantum, the starting point is a quantum mechanical system that exists in a ‘quantum superposition’ of different states, literally meaning that the system is in each of the multiple states simultaneously. When this multi-state system is then measured, it switches to a single state system corresponding to the measurement result, which is most commonly interpreted by physicists as the multi-state system ‘collapsing’ to a single state at the precise moment of measurement. But in the MWI, it is instead postulated that there exist different universes where the system is in each of the different possible states, and that it is a cross-universe interaction between these different (uni)versions of the system that cause the multi-state phenomena of quantum systems prior to measurement. Therefore, rather than the measurement collapsing the system, the MWI says that the measurement instead stops the (already single state) quantum system interacting with other versions of itself in other universes. Whilst this interpretation of quantum mechanics lacks widespread acceptance within the physics community, it would have (and still has) a large influence on Deutsch’s own research and philosophy. Quantum research Dr Deutsch continued his quantum research after completing his PhD in 1978, resulting in the publication of his 1985 paper: ‘Quantum theory, the Church-Turing principle and the universal quantum computer’. This represented the first formulation of the concept of a true quantum computer, built on the rules of quantum (rather than classical) mechanics. Apparently, the insight for this work came from a conversation Deutsch had with Charles H. Bennett (one of the same men that Deutsch is now sharing the Breakthrough Prize with) in the early 1980’s. In this conversation, Deutsch complained that those who were working on the relatively new theory of computational complexity were somewhat wasting their time, as there was no standard computer with respect to which the complexity of a task could be determined. In other words, it could only be determined how complex a task was in reference to some computer, not how complex the task was fundamentally. Bennett, however, pointed out that there was in fact such a standard computer, that being physics itself. Deutsch realised that Bennet was right, but also realised that the complexity theorists were using the wrong physics. In particular, they were using classical physics, which is just an approximation of the real physical laws at a large scale (i.e., the scale that we experience life at every day). In fact the problem ran deeper than this, as the modern concept of computing itself was built on the basis of classical physics, with Alan Turing’s own ‘universal computing machine’ (a mathematical machine that can compute any computable programme) being classical in nature. So Deutsch went back to the drawing board, and developed a quantum generalization of the Turing machine. The result was his universal quantum computer. But why does it matter whether quantum or classical laws form the foundation of a computer? Put simply, both quantum and classical computers work by taking an input, performing a function on said input, and returning the result as an output. The input into a classical computer is made up of one or more bits, where each bit can be in either a ‘0’ state or a ‘1’ state. With a single bit, the two possible inputs to a computer are thus the ‘0’ and ‘1’ states themselves, but multiple bits can be combined to make larger inputs. For example, two bits can make four different inputs (00, 01, 10, 11), three bits can make eight different inputs (000, 001, 010, 011, 100, 101, 110, 111), and 300 bits can make 2300 different inputs (i.e., more inputs than there are atoms in the observable universe). Quantum computers, on the other hand, use qubits instead, which can be in both the ‘0’ state and the ‘1’ state at the same time. Therefore, whilst a classical computer would need to perform a function on the ‘0’ and ‘1’ states in separate steps (i.e., as two separate inputs), a quantum computer can compute the results for both the ‘0’ and ‘1’ inputs simultaneously. In other words, a one-bit classical computer would take twice as long as a one-qubit quantum computer to compute the function on both possible inputs. This idea can also be extended to multiple qubits. For instance, two qubits can simultaneously occupy all four of the input states that two classical bits can form, and so a two-qubit quantum computer can do in one step what a two-bit classical computer could only do in four. Similarly, a three-qubit computer can act on eight states simultaneously, and a 300-bit quantum computer can act on 2300 inputs simultaneously. This (quantum mechanical) ability to perform a computational step on multiple input states simultaneously is known as ‘quantum parallelism’, and is at the heart of the speed advantage that quantum computers can offer. Quantum computers use qubits which can be in both the ‘0’ state and the ‘1’ state at the same time. Whilst a classical computer would need to perform a function on the ‘0’ and ‘1’ states in separate steps (i.e., as two separate inputs), a quantum computer can compute the results for both the ‘0’ and ‘1’ inputs simultaneously. Quantum parallelism is not the whole story however, because even though a quantum computer can compute all of this information simultaneously, you can only actually find out one of the results each time the computation is done. Remember that multi-state quantum systems transition to single state systems when measured, and so all the information about the other states is lost. In other words, if you use a quantum computer like a classical computer, then you might as well just use the classical computer to begin with! But what if, instead of wanting to know each individual result of the function acting on each individual input, you wanted to know some global property of all the calculated results. For instance, consider the case where the input is a piece of a jigsaw puzzle, and the output is that piece’s position within the jigsaw puzzle as a whole. You’re not going to be interested in each individual result, but rather the sum total of the results (i.e., the completed jigsaw puzzle picture). So if there was some way to use all of the results in a computable problem to calculate a global property of the system (i.e., the picture on the jigsaw puzzle) that could give you the answer you wanted in a single measurement, then maybe quantum computers would be useful after all. In his 1985 paper, Deutsch not only formulated the idea of a quantum computer, but also gave an example of exactly this. The problem being solved was determining whether a function that could act on one of two inputs was constant or balanced. In other words, did the function always return either a ‘0’ or a ‘1’ regardless of whether there was a ‘0’ or ‘1’ input (a constant function), or did it return a ‘0’ for one of the inputs and a ‘1’ for the other input (a balanced function). In the classical case, the answer could only be determined by inputting both the ‘0’ and ‘1’ inputs into the function. I.e., performing the function twice. Deutsch, however, was able to show that a quantum computer could obtain the answer after evaluating the function only once! In fairness, there were some caveats to ‘Deutsch’s algorithm’. Namely, it only worked for a maximum of two inputs, and only resulted in a definitive answer 50% of the time. But both of these problems would be solved seven years later when Deutsch and Richard Jozsa created the Deutsch-Jozsa algorithm in 1992. This revised version of Deutsch’s algorithm, while of little practical importance, represented one of the earliest examples of a quantum algorithm that is exponentially faster than any possible deterministic classical algorithm. In other words, it proved that a quantum computer could perform algorithmic processes for certain tasks faster than was possible on its classical equivalent, a concept that is now termed ‘quantum supremacy’. But Deutsch wasn’t done with quantum computation there, and published another paper in 1989 in which he developed the first universal gate. In general, a universal gate is any gate that can be used a finite number of times to produce any other operation that is possible on a set of (bit/qubit) inputs. For example, in classical computation, the Toffoli gate (a three-bit reversible gate developed by Toffoli in 1981) can be used to reproduce any operation that can be performed on a Boolean algebraic logic circuit. Deutsch was able to extend this idea to quantum computation by showing that the Deutsch gate (a controlled-controlled-unitary gate) could be used to reproduce all n-bit quantum gates. Further, he showed that the Deutsch gate could also reproduce the Toffoli gate itself, proving that this single gate could be used to reproduce any classical or quantum operation to an arbitrary level of precision. Proving the multiverse of madness? With just the three papers discussed above, Deutsch was able to lay some of the most important groundwork for the second quantum revolution, just as Dirac had done for the first quantum revolution over 50 years prior. And yet Deutsch’s main interest in the real-world construction of a quantum computer seems to be less about what it could do, and more about why it would be able to do it. Specifically, computers perform a physical process when they make a computation, requiring physical resources. If a 300-qubit quantum computer were to be built, then the operations performed on this computer could conceivably use more resources than appear to be available in the entire observable universe. So where do these resources come from? Deutsch believes that the answer lies in the MWI of quantum mechanics. As a recap, the MWI postulates that there is a multiverse containing different universes for every possible state of every quantum system that has ever existed. In this interpretation, rather than a qubit existing in two states at once, it instead exists in one of the two states in each of two respective universes, with the interaction between these two universes causing the strange ‘multi-state’ quantum phenomena that we observe. Using this interpretation then, rather than a single quantum computer (the one in our universe) calculating a one-qubit function for both input states simultaneously, it is in fact two quantum computers in two different universes that each do half the calculation. Extrapolating this to a quantum computer computing an n-qubit function, each operation that is computed would involve 2n quantum computers across 2n universes, each one calculating the result for just one of the 2n input states. In this way, each quantum computer would essentially be doing the same calculation as a classical computer (i.e., computing a function on a single input to get a single output), and so it is not hard to see how the collective resources of all of the universes would be able to carry out the collective calculation. The MWI postulates that there is a multiverse containing different universes for every possible state of every quantum system that has ever existed. Using this interpretation, rather than a single quantum computer (the one in our universe) calculating a one-qubit function for both input states simultaneously, it is in fact two quantum computers in two different universes that each do half the calculation. Deutsch believes that there is no other interpretation of quantum mechanics that can answer this question as well as the MWI, specifically stating in his 1985 paper that quantum computer properties such as quantum parallelism place “an intolerable strain on all interpretations of quantum theory other than Everett’s” (referring to the MWI). So according to Deutsch, if a sufficiently powerful quantum computer is developed, and does operate as theory predicts, it would be very compelling evidence for the MWI. Or at the very least, it might force physicists to confront the weirdness of quantum mechanics more directly, and come up with alternative explanations. Reconstructing physics These days, Deutsch is content to step back and let the engineers figure out how to bring his quantum computer into reality. In the meantime, he is instead working with Dr Chiara Marletto on a new theory that could potentially subsume quantum computation and the quantum mechanical theory from which it springs. This new theory, known as constructor theory, aims to provide a new approach to formulating the fundamental laws of physics. In other words, constructor theory aims to change the underlying foundation of physics rather than the physical laws themselves, much like if you were to change the language in which a law book is written. The laws themselves remain the same, but the key point being that there might be certain concepts that can be better expressed in one or the other of the languages. Even more intriguingly, the new language might encapsulate new concepts that lead to new laws. Currently, most of physics is explained in terms of dynamical laws. In other words, if you have a system with a certain set of initial conditions, there will be a law which will tell you how that system will (or, at least, how it is likely to) evolve over time. But there are certain things that this formulation of physics fails to explain (or fails to explain very well anyway). The interaction of quantum systems with gravity is one example. Einstein’s general relativity theory specifies that spacetime is curved by mass, but a quantum system with some mass may be in two or more positions simultaneously, breaking the structure of general relativity. A somewhat more abstract example is life itself. At some point, the universe went from containing just inert matter, to containing living things capable of highly accurate and reliable self-replication (i.e., one cell becoming two). Explaining this transition in terms of particles obeying the laws of motion would be incredibly difficult. Constructor theory aims to change the underlying foundation of physics rather than the physical laws themselves, much like if you were to change the language in which a law book is written. Constructor theory takes a different approach, seeking instead to formulate physics based on the question ‘what tasks are possible, what are impossible, and why’. More specifically, the ‘what tasks are possible/impossible’ part would redefine physics in terms of a set of counterfactual statements, which specify what can and can’t be done. The ‘why’ part would then be about explaining why that set of counterfactual statements best expresses what we know about physical reality. It should be noted of course that physics already includes counterfactual statements, such as ‘energy in a closed system cannot be created or destroyed’ and ‘the speed of light is fixed’. But rather than these principles appearing because of the dynamical laws, constructor theory is seeking to use these statements as the very foundation of physics, and then build everything else on top. One example of the theories use so far is in the field of quantum gravity. Whilst constructor theory does not itself provide a method for unifying the theories of quantum mechanics and gravity, it’s principles have been used to devise an experiment that could test whether gravity has quantum properties. This test involves two quantum masses which only interact with each other through gravity. If these two quantum masses entangle (interact) through gravity, then constructor theory heavily implies that gravity must be quantum. Specifically, a constructor theoretic principle called ‘interoperability’ implies that if entanglement can be generated in a medium (i.e., via gravity), then that medium must itself be quantum. In this way, constructor theory could point physicists in the right direction in the quest to unify quantum mechanics and gravity. Whether or not constructor theory ultimately proves successful remains to be seen. But Deutsch himself believes in it, and you certainly can’t fault his academic intuition up to this point. In fact, it is precisely the ability to think differently that allowed him to do his ground-breaking research in quantum computation, and so it will be interesting to see where Constructor theory can be taken in the coming years.
1098	dbpedia	1	20	https://www.newsweek.com/brief-history-friend-stephen-hawking-man-who-changed-our-times-844300	en	A Brief History of My Friend Stephen Hawking, the Man Who Changed Our Times	https://d.newsweek.com/e…phen-hawking.jpg	https://d.newsweek.com/e…phen-hawking.jpg	[ "https://g.newsweek.com/www/images/newsweek-desktop-tablet.svg", "https://d.newsweek.com/en/full/832328/03-06-stephen-hawking-exploration.jpg?w=1200&f=7617c9082f5c94b498bb64cd77beb20c", "https://d.newsweek.com/en/full/288603/stephen-hawking.jpg?w=1200&f=2704fe9eeab87c9e0484044982e70e1b", "https://d.newsweek.com/en/full/292413/eddie-redmayne-theory-everything.jpg?w=1200&f=543168d7b36f407c56900e57e48daa3a", "https://d.newsweek.com/en/full/435393/20-06-2007-stephen-hawking.jpg?w=1200&f=da2fad3dace9ede3c874f87cb1376250", "https://d.newsweek.com/en/full/2447124/heidi-heitkamp.png?w=80&h=80&f=4ba40b39b7a512e7d05b668bcee0cba8", "https://d.newsweek.com/en/full/2355314/paul-du-quenoy.png?w=80&h=80&f=d6b690874d17425d8a345913992a041d", "https://g.newsweek.com/www/images/newsletter-white.svg", "https://d.newsweek.com/en/full/2280621/subscription-newsweek-premium.png", "https://d.newsweek.com/en/full/2222596/subscription-digital.png", "https://d.newsweek.com/en/full/2447316/israeli-airstrike.jpg", "https://d.newsweek.com/en/full/2447308/trump-vs-harris.jpg", "https://d.newsweek.com/en/full/2447335/jesse-ventura.jpg", "https://d.newsweek.com/en/full/1752217/jeremiah-johnson.png", "https://g.newsweek.com/img/footer/NW-LOGO-001.svg", "https://g.newsweek.com/img/footer/linkedin.svg", "https://g.newsweek.com/img/footer/instagram.svg", "https://g.newsweek.com/www/images/twitter-icon-white.svg", "https://g.newsweek.com/img/footer/facebook.svg", "https://d.newsweek.com/en/full/2443047/cover-august-16-23-2024.jpg?w=400&f=58a090a65411b186a00e386fe33eab38" ]	[]	[]	[ "" ]	null	[ "Martin Rees" ]	2018-03-14T09:18:29-04:00	Millions have had their cosmic horizons widened by his best-selling books; and even more, around the world, have been inspired by a unique example of achievement against all the odds.	en	https://g.newsweek.com/t…e-touch-icon.png	Newsweek	https://www.newsweek.com/brief-history-friend-stephen-hawking-man-who-changed-our-times-844300	Soon after I enrolled as a graduate student at the University of Cambridge in 1964, I encountered a fellow student who was two years ahead of me in his studies. He was unsteady on his feet and spoke with great difficulty. This was Stephen Hawking. He had recently been diagnosed with a progressive neurodegenerative disease, amyotrophic lateral sclerosis (ALS), and it was thought that he might not survive long enough to even finish his PhD. But, amazingly, he lived on to the age of 76. Even mere survival would have been a medical marvel, but of course he didn't just survive. He became one of the most famous scientists in the world—acclaimed as a world-leading researcher in mathematical physics, for his best-selling books about space, time and the cosmos, and for his astonishing triumph over adversity. Astronomers are used to large numbers. But few numbers could be a large as the odds I'd have given, back in 1964 when Stephen received his 'death sentence', against witnessing this uniquely inspiring crescendo of achievement sustained for more than 50 years. Few, if any, of Einstein's successors have done more to deepen our insights into gravity, space and time. Stephen went to school in St Albans, near London, and then to Oxford University. He was, by all accounts, a 'laid back' undergraduate, but his brilliance nonetheless earned him a first class degree in physics, and an 'entry ticket' to a research career in Cambridge. Within a few years of the onset of his disease he was wheelchair-bound, and his speech was an indistinct croak that could only be interpreted by those who knew him. But in other respects fortune, had favored him. He married a family friend, Jane Wilde, who provided a supportive home life for him and their three children, Robert, Lucy and Tim. The 1960s were an exciting period in astronomy and cosmology; this was the decade when evidence began to emerge for black holes and the big bang. In Cambridge, Stephen joined a lively research group. It was headed by Dennis Sciama, an enthusiastic and effective mentor who urged him to focus on the new mathematical concepts being developed by Roger Penrose, which were initiating a renaissance in the study of Einstein's theory of general relativity. Stephen mastered Penrose's techniques and quickly came up with a succession of insights into the nature of black holes (then a very new idea), along with new arguments that our universe had expanded from a 'big bang'. The latter work was done jointly with George Ellis, another of Sciama's students, with whom Stephen wrote a monograph entitled The Large-Scale Structure of Space-Time. Especially important was the realization that the area of a black hole's horizon (the 'one-way membranes' that shroud the interior of black holes, and from within which nothing can escape) could never decrease. The analogy with entropy (a measure of disorder, that likewise can never decrease) was developed further by the late Israeli theorist Jacob Bekenstein. In the subsequent decades, the observational support for these ideas has strengthened—most spectacularly with the 2016 announcement of the detection of gravitational waves from colliding black holes. Stephen was elected to the Royal Society, Britain's main scientific academy, at the exceptionally early age of 32. He was by then so frail that most of us suspected that he could scale no further heights. But, for Stephen, this was still just the beginning. He worked in the same building as I did. I would often push his wheelchair into his office, and he would ask me to open an abstruse book on quantum theory—the science of atoms, not a subject that had hitherto much interested him. He would sit hunched motionless for hours—he couldn't even to turn the pages without help. I wondered what was going through his mind, and if his powers were failing. But within a year he came up with his best-ever idea—encapsulated in an equation that he said he wanted on his memorial stone. The great advances in science generally involve discovering a link between phenomena that seemed hitherto conceptually unconnected. For instance, Isaac Newton famously realized that the force making an apple fall was the same as the force that held the moon and planets in their orbits. Stephen's 'eureka moment' revealed a profound and unexpected link between gravity and quantum theory; he predicted that black holes would not be completely black, but would radiate in a characteristic way. Bekenstein's concept that black holes had 'entropy' was more than just an analogy. This radiation is only significant for black holes much less massive than stars—and none of these have been found. However 'Hawking radiation' had very deep implications for mathematical physics—indeed one of the main achievements of string theory has been to corroborate his idea. It is still the focus of theoretical interest—a topic of debate and controversy more than 40 years after his discovery. Indeed, the Harvard theorist Andrew Strominger (with whom Stephen recently collaborated) said that this paper had caused "more sleepless nights among theoretical physicists than any paper in history." The key issue is whether information that is seemingly lost when objects fall into a black hole is in principle recoverable from the radiation when it evaporates. If it is not, this violates a deeply believed general physical principle. In 2013 he was one of the early winners of the Breakthrough Prize, worth three million dollars, which was intended to recognize theoretical work. Cambridge was Stephen's base throughout his career, and he became a familiar figure navigating his wheelchair around the city's streets. By the end of the 1970s, he had advanced to one of the most distinguished posts in the University—the Lucasian Professorship of Mathematics, once held by Newton himself. He held this chair with distinction for 30 years; but reached the retiring age in 2009 and thereafter held a special research professorship. He travelled widely. He was an especially frequent visitor at the California Institute of Technology (Caltech) in Pasadena; and at the Texas A&M University. He continued to seek new links between the very large (the cosmos) and the very small (atoms and quantum theory) and to gain deeper insights into the very beginning of our universe—addressing questions like 'was our big bang the only one?' He had a remarkable ability to figure things out in his head. But latterly he worked with students and colleagues who would write a formula on a blackboard; he would stare at it, and say whether he agreed with it, and perhaps what should come next. In 1987, Stephen contracted pneumonia. He had to undergo a tracheotomy, which removed even the limited powers of speech he then possessed. It had been more than 10 years since he could write, or even use a keyboard. Without speech, the only way he could communicate was by directing his eye towards one of the letters of the alphabet on a big board in front of him. But he was saved by technology. He still had the use of one hand; and a computer, controlled by a single lever, allowed him to spell out sentences. These were then declaimed by a speech synthesizer, with the androidal American accent that has thereafter become his trademark. His lectures were, of course, pre-prepared, but conversation remained a struggle. Each word involved several presses of the lever, so even a sentence took several minutes. He learnt to economize with words. His comments were aphoristic or oracular, but often infused with wit. In his later years, he became too weak to control this machine effectively, even via facial muscles or eye movements, and his communication—to his immense frustration—became even slower. At the time of his tracheotomy operation, he had a rough draft of a book, which he'd hoped would describe his ideas to a wide readership and earn something for his two eldest children, who were then of college age. On his recovery from pneumonia, he resumed work with the help of an editor. When the US edition of A Brief History of Time appeared, the printers made some errors (a picture was upside down), and the publishers tried to recall the stock. To their amazement, all copies had already been sold. This was the first inkling that the book was destined for runaway success . The feature film The Theory of Everything (where he was superbly impersonated by Eddie Redmayne, in an Oscar-winning performance) portrayed the human story behind his struggle. It surpassed most biopics in representing the main characters so well that they themselves were happy with the portrayal (even though it understandably omitted and conflated key episodes in his scientific life). Even before this film, his life and work had featured in movies. In an excellent TV docudrama made in 2004, he was played by Benedict Cumberbatch. The Theory of Everything conveyed with sensitivity how the need for support (first from a succession of students, later from a team of nurses), strained his marriage to breaking point, especially when augmented by the pressure of his growing celebrity. Jane's book, on which the film is based, chronicles the 25 years during which, with amazing dedication, she underpinned his family life and his career. This is where the film ends. But it left us only halfway through Stephen's adult life. After the split with Jane, Stephen married, in 1995, Elaine Mason, who had been one of his nurses, and whose former husband had designed Stephen's speech synthesizer. But this partnership broke up within a decade. He was sustained, then and thereafter, by a team of helpers and personal assistants, as well as his family. His daughter Lucy has written books for children with her father as coauthor. His later theories were described, and beautifully illustrated, in other books such as Our Universe in a Nutshell and The Grand Design. These weren't bought by quite as many people as his first book—but more readers probably got to the end of them. The success of A Brief History of Time catapulted Stephen to international stardom. He featured in numerous TV programs; his lectures filled the Albert Hall, and similar venues in the US and Japan. He featured in Star Trek and The Simpsons, and in numerous TV documentaries, as well as advertisements. He lectured at Clinton's White House and was back there more recently when President Obama presented him with the US Medal of Freedom, a very rare honor for any foreigner—and of course just one of the many awards he accumulated over his career. In the summer of 2012, he reached perhaps his largest-ever audience when he had a star role at the opening ceremony of the London Paralympics. Why did he become such a cult figure? The concept of an imprisoned mind roaming the cosmos plainly grabbed people's imagination. If he had achieved equal distinction in, say, genetics rather than cosmology, his triumph of intellect against adversity probably wouldn't have achieved the same resonance with a worldwide public. His 60th birthday celebrations, in January 2002, were a memorable occasion for all of us. Hundreds of leading scientists came from all over the world to honor and celebrate Stephen's discoveries, and to spend a week discussing the latest theories on space, time and the cosmos. But the celebrations weren't just scientific—that wouldn't have been Stephen's style. Stephen was surrounded by his children and grandchildren; there was music and singing; there were 'celebrities' in attendance. And when the week's events were all over, he celebrated with a trip in a hot air balloon. His 70th birthday was again marked by an international gathering of scientists in Cambridge, and also with some razzmatazz. So was his 75th birthday, though now shared by several million people via a live-stream on the internet. In these last years he was plainly weakening. But he was still able to 'deliver' entertaining (and sometimes rather moving) lectures via his speech synthesizer and with the aid of skillfully prepared visuals. Stephen continued, right until his last decade, to co-author technical papers, and speak at premier international conferences—doubly remarkable in a subject where even healthy researchers tend to peak at an early age. Especially influential were his contributions to cosmic inflation—a theory that many believe describes the ultra-early phases of our expanding universe. A key issue is to understand the primordial seeds which eventually develop into galaxies. He proposed (as, independently, did the Russian theorist Viatcheslav Mukhanov) that these were quantum fluctuation—somewhat analogous to those involved in 'Hawking radiation' from black holes. He hosted an important meeting in 1982 where such ideas were thoroughly discussed. Subsequently, particularly with James Hartle and Thomas Hertog, he made further steps towards linking the two great theories of 20th century physics; the quantum theory of the microworld and Einstein's theory of gravity and space-time. He continued to be an inveterate traveler—despite attempts to curb this as his respiration weakened. This wasn't just to lecture. For instance, on a visit to Canada he was undeterred by having to go two miles down a mine-shaft to visit an underground laboratory where famous and delicate experiments had been carried out. And on a later trip, only a last-minute health setback prevented him from going to the Galapagos. All these travels—and indeed his everyday working life—involved an entourage of assistants and nurses. His fame, and the allure of his public appearances, gave him the resources for nursing care, and protected him against the 'does he take sugar?' type of indignity that disabled people often suffer. Stephen was far from being the archetype unworldy or nerdish scientist—his personality remained amazingly unwarped by his frustrations and handicaps. As well as his extensive travels, he enjoyed trips to theatre or opera. He had robust common sense, and was ready to express forceful political opinions. However, a downside of his iconic status was that that his comments attracted exaggerated attention even on topics where he had no special expertise—for instance philosophy, or the dangers from aliens or from intelligent machines. And he was sometimes involved in media events where his 'script' was written by the promoters of causes about which he may have been ambivalent. But there was absolutely no gainsaying his lifelong commitment to campaigns for the disabled, and (just in the last few months) in support of the NHS—to which he acknowledged he owed so much. He was always, at the personal level, sensitive to the misfortunes of others. He recorded that, when in hospital soon after his illness was first diagnosed, his depression was lifted when he compared his lot with a boy in the next bed who was dying of leukemia. And he was firmly aligned with other political campaigns and causes. When he visited Israel, he insisted on going also to the West Bank. Newspapers in 2006 showed remarkable pictures of him, in his wheelchair, surrounded by fascinated and curious crowds in Ramallah. Even more astonishing are the pictures of him 'floating' in the NASA aircraft (the 'vomit comet' that allows passengers to experience weightlessness)—he was manifestly overjoyed at escaping, albeit briefly, the clutches of the gravitational force he'd studied for decades and which had so cruelly imprisoned his body. Tragedy struck Stephen Hawking when he was only 22. He was diagnosed with a deadly disease, and his expectations dropped to zero. He himself said that everything that happened since then was a bonus. And what a triumph his life has been. His name will live in the annals of science; millions have had their cosmic horizons widened by his best-selling books; and even more, around the world, have been inspired by a unique example of achievement against all the odds—a manifestation of amazing will-power and determination. Martin Rees is a British cosmologist and astrophysicist who was appointed to the House of Lords in 2005.
1098	dbpedia	2	75	https://www.port.ac.uk/about-us/structure-and-governance/our-people/our-staff/christopher-lovell	en	Christopher Lovell	https://www.port.ac.uk/s…opher_lovell.jpg	https://www.port.ac.uk/s…opher_lovell.jpg	[ "https://www.port.ac.uk/themes/custom/portsmouth/logo.svg", "https://www.port.ac.uk/themes/custom/portsmouth//images/logo-mobile.png", "https://www.port.ac.uk/sites/default/files/styles/event_blog_news_mobile/public/person-header-image/19633109-66c6-47fd-8770-dbaacfe17617-christopher_lovell.jpg?itok=-odU3g94", "https://www.port.ac.uk/sites/default/files/styles/embedded_image_part_width_mobile/public/media/images/footer_map_0.png?itok=Y8EmpEti" ]	[]	[]	[ "" ]	null	[]	null	I am a computational astrophysicist working at the interface of theory and observations. My work utilises numerical simulations, novel statistical methods and artifical intelligence.	en	/themes/custom/portsmouth/favicon.ico	University of Portsmouth	https://www.port.ac.uk/about-us/structure-and-governance/our-people/our-staff/christopher-lovell	Summary I am a computational astrophysicist working at the interface of theory and observations. My work utilises numerical simulations, novel statistical methods and artifical intelligence. Biography I joined the University of Portsmouth as a Dennis Sciama postdoctoral fellow in October 2022. Before this I completed a postdoctoral appointment at the University of Hertfordshire with Prof. James Geach, and a JSPS short-term fellowship at the University of Tokyo with Prof. Masami Ouchi. I completed my Ph.D. at the University of Sussex in July 2019 under the supervision of Prof. Peter Thomas and Prof. Stephen Wilkins. Research interests My research interests span a broad range of topics in galaxy evolution, though I am particularly focused on early galaxy formation in the first billion years after the big bang. This nascent period in the Universe's history is now being probed in unprecedented detail by a number of state of the art observatories, such as the James Webb Space telescope. I run and analyse large numerical cosmological simulations, creating mock observations of the real Universe to better understand the data, and understand the physical processes driving galaxy transformation. I also employ artifical intelligence techniques, using these to improve the performance of the simulations and reveal new insights.
5438	dbpedia	2	7	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	en	Claudia Cardinale Retrospective in New York’s Museum of Modern Art	https://goldenglobes.com…murder.-1959.jpg	https://goldenglobes.com…murder.-1959.jpg	[ "https://goldenglobes.com/wp-content/uploads/2023/10/01-un-maledetto-imbroglio-the-facts-of-murder.-1959.jpg?w=2000", "https://goldenglobes.com/wp-content/uploads/2023/11/gg_stacked_whiteversion.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/dickclark.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/ernst-and-young.png" ]	[]	[]	[ "" ]	null	[ "Armando Villanueva" ]	2023-02-15T01:00:00+00:00	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations.	en	https://goldenglobes.com…image-1.jpg?w=32	Golden Globes	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. “The loveliest compliment I’ve ever received was from David Niven. When we were shooting The Pink Panther (1963), he said: ‘After spaghetti, you’re Italy’s happiest invention,’” Cardinale added on that occasion, when she was receiving the Actor’s Mission Award in Slovakia. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations. Born in Tunisia (Africa) to Sicilian parents on April 15th, 1938, Cardinale will be 85 this spring. Her first film appearance was in 1958, a minor role in Goha, with Omar Sharif, and since then she has never stopped working in films and, occasionally, theater. Even last year a new movie of hers came out: The Island of Forgiveness, written and shot by Ridha Behi in Tunisia. A truly international actress, fluent in Italian, French, English, Spanish, Sicilian dialect, and Tunisian Arabic, she has worked with the most famous Italian filmmakers and screenwriters, including Federico Fellini, Luchino Visconti, Pier Paolo Pasolini, Dario Argento, Bernardo Bertolucci, Valerio Zurlini and Sergio Leone. Curiously, because of her natural French accent, it was not until 1963 in Fellini’s Otto e mezzo (8½) that Cardinale’s own voice was used in her Italian films. “When I arrived for my first movie, I couldn’t speak a word. I thought I was on the moon. I couldn’t understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice,” she told The Guardian in May 2003. Luckily, she added, “In Italy in the sixties, it was the magic moment of Italian cinema. We were always together, the directors, the actors, it was an incredible atmosphere.” In the same interview, Cardinale commented: “Bridgett Bardot says: ´You’re not a woman, you’re a man´.” And: “I don’t think I’m an actress. I think I have the capacity and the possibility to become the woman I’m supposed to… I like silence… I don’t like the star system… For me, work is something, and private life is something else, very separate… I’m a normal person. I like to live in Europe. I mean, I’ve been going to Hollywood many, many times, but I didn’t want to sign a contract.” In over five decades (1961-2014) she has won six out of seven nominations for the David di Donatello Awards, the biggest honor bestowed by the Accademia del Cinema Italiano. The prestigious Venice Film Festival has given her two awards: for Best Actress (1984) and Career Golden Lion (Leone d’oro alla carrier, 1993). And in 2002 she received an Honorary Golden Bear at the Berlin International Film Festival. She is also an active feminist and has been a UNESCO goodwill ambassador for the Defense of Women’s Rights since 2000. In February 2011, The Los Angeles Times Magazine listed Cardinale among the 50 most beautiful women in film history. The legendary actress, who currently lives in Paris, did not attend the opening night at the MoMA, but was represented by her daughter, Claudia Squitieri, who also directs The Fondazione Claudia Cardinale. The ceremony started with the screening of Un Cardinale donna (2023), “a short poetical portrait” of the actress directed by Manuel Maria Perrone. Also part of the retrospective is the publication of the Cinecittà book “Claudia Cardinale. L’indomabile -The indomitable”, curated by her daughter. Among so many other details, the book reminds us that Visconti described Cardinale as “a splendid tabby cat that for the time being scratches at the cushions in the living room (…) but that one of these days we will realize is a tiger.” F. Murray Abraham (Golden Globe winner in 1985) attended the opening at MoMA, fresh from his recent nomination as Best Supporting Actor – Television Limited Series/Motion Picture for The White Lotus. Next to him was his “son” from that show, Michael Imperioli, two-time Golden Globe nominee for The Sopranos. This retrospective has been curated by Joshua Siegel (MoMA), and Camilla Cormanni and Paola Ruggiero (Cinecittà). Some of the movies included are: (in chronological order) Un maledetto imbroglio (The Facts of Murder). 1959. Italy. Directed by Pietro Germi (Golden Globe winner in 1963 for Divorce, Italian Style). Screenplay by Ennio de Concini. Rocco e i suoi fratelli (Rocco and His Brothers). 1960. Italy. Directed by Luchino Visconti (1968 Golden Globe nominee for The Stranger). Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Alain Delon (1964 Golden Globe nominee for Il Gattopardo). Il bell’Antonio (Handsome Antonio). 1960. Italy. Directed by Mauro Bolognini. Screenplay by Vitaliano Brancati, Pier Paolo Pasolini. With Marcello Mastroianni (1963 and 1965 Golden Globe winner). La ragazza con la valigia (Girl with a Suitcase). 1961. Italy. Directed by Valerio Zurlini. Screenplay by Zurlini, Enrico Medioli, Piero de Bernardi, Leo Benvenuti, Giuseppe Patroni Griffi. Cardinale won her first David di Donatello Award with this film, which also competed in Cannes. La viaccia (The Lovemakers). 1962. Italy. Directed by Mauro Bolognini. Screenplay by Mario Pratesi, Vasco Pratolini. With Jean-Paul Belmondo. La ragazza di Bube (Bebo’s Girl). 1963. Italy. Directed by Luigi Comencini. Screenplay by Comencini, based on the novel by Carlo Cassola. With George Chakiris (1962 Golden Globe winner for West Side Story). Il Gattopardo (The Leopard). 1963. France/Italy. Directed by Luchino Visconti. Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Burt Lancaster (1961 Golden Globe winner for Elmer Gantry) and Alain Delon (1964 Golden Globe nominee for this role). Otto e mezzo (8½).1963. Italy. Directed by Federico Fellini (1966 Golden Globe winner). Screenplay by Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi. With Marcello Mastroianni and Anouk Aimée (1967 Golden Globe winner). This movie won the Oscar as Best Foreign Language Film and Best Costume Design Black-and-White in 1964. The Professionals. 1966. USA. Written and directed by Richard Brooks (1959 and 1961 Golden Globe nominee). With Burt Lancaster, Lee Marvin, Robert Ryan. This movie received two Golden Globes nominations in 1967, including Best Picture/Drama. Don’t Make Waves. 1967. USA. Directed by Alexander Mackendrick. Screenplay by Maurice Richlin, George Kirgo, Ira Wallach. With Tony Curtis (1958 and 1961 Golden Globe winner), and Sharon Tate (1968 Golden Globe nominee). Il giorno della civetta (The Day of the Owl). 1968. Italy. Directed by Damiano Damiani. Screenplay by Damiani, Ugo Pirro, adapted from the novel by Leonardo Sciascia. With Franco Nero (1968 Golden Globe nominee). Cardinale won her second David di Donatello Award with this film. Once Upon a Time in the West. 1968. USA/Italy. Directed by Sergio Leone (1985 Golden Globe nominee for Once Upon a Time in America). Screenplay by Leone, Sergio Donati, from a story by Leone, Dario Argento, Bernardo Bertolucci. With two Golden Globe winners – Henry Fonda and Charles Bronson – and nominee Jason Robards Jr. Bello onesto emigrato Australia sposerebbe compaesana illibata (A Girl in Australia). 1971. Italy. Directed by Luigi Zampa. Screenplay by Zampa and Rodolfo Sonego. With Alberto Sordi (1964 Golden Globe winner). Cardinale won her third David di Donatello Award with this film. Enrico IV (Henry IV). 1984. Italy. Directed by Marco Bellocchio. Screenplay by Bellocchio, Tonino Guerra, based on Luigi Pirandello’s classic play. With Marcello Mastroianni. O Gebo e a sombra (Gebo and the Shadow). 2012. Portugal/France. Written and directed by Manoel de Oliveira. Adapted from a play by Raul Brandão. More info about these and the other movies presented in this retrospective could be found here: https://www.moma.org/calendar/film/5550
5438	dbpedia	3	16	https://www.joblo.com/tag/leonardo-benvenuti/	en	Leonardo Benvenuti	https://www.joblo.com/favicon-32x32.png	https://www.joblo.com/favicon-32x32.png	[ "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/joblo-logo-2021-v1.svg", "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/joblo-logo-2021-v1-mobile.svg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-movies.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/joblo-movie-clips.jpg", "https://www.joblo.com/wp-content/uploads/2021/10/joblo-top-trailers.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/joblo-superheroes.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/joblo-animated-videos.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-originals.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-behind-the-scenes.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/joblo-streaming-tv-trailers.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/joblo-celebrity-interviews.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-en-espanol.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-horror-movies.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/joblo-horror-originals.jpg", "https://www.joblo.com/wp-content/uploads/2023/04/arrow-in-the-head-podcasts.jpg", "https://image.tmdb.org/t/p/original/7H0n2KmSwq6Zsut5rZtv8Wob3I8.jpg", "https://www.joblo.com/wp-content/uploads/2018/09/coogballfb.jpg", "https://www.joblo.com/wp-content/uploads/2021/07/joblo-reviews-archive.jpg", "https://www.joblo.com/wp-content/uploads/2021/07/joblo-reviews-archive.jpg", "https://www.joblo.com/wp-content/uploads/2021/07/joblo-reviews-archive.jpg", "https://www.joblo.com/wp-content/uploads/2021/07/joblo-reviews-archive.jpg", "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/joblo-placeholder.png", "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/joblo-placeholder.png", "https://www.joblo.com/wp-content/uploads/2024/08/alien_romulus_reactions_2-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/07/deadpool-and-wolverine-what-did-you-think-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/08/Jackpot-review-awkwafina-fb-2-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/08/kraven-the-hunter-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/08/all-star-weekend-still-copy-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/05/wolfs_teaser_trailer-1-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2021/09/t-shirtsec-.gif", "https://www.joblo.com/wp-content/uploads/2024/08/sniper-1993-berenger-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/07/the-beach-2000-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/03/Jack-Black-Minecraft-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/07/w1500_199166-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2022/02/nobody-2-bob-odenkirk-300x158.jpg", "https://www.joblo.com/wp-content/uploads/2024/02/best-of-the-best-2-300x158.jpg", "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/joblo-logo-footer.svg", "https://www.joblo.com/wp-content/themes/face3-joblo/assets/images/icons/close-dark.svg" ]	[]	[]	[ "" ]	null	[]	2018-09-19T15:14:00-04:00		en	/apple-touch-icon.png	JoBlo	https://www.joblo.com/tag/leonardo-benvenuti/	LeBron James calls Ryan Coogler to the court to produce Space Jam sequel Mmmmmm'yeah, what's up, Doc? What's up is that we've got some significant movement on the long-gestating and anticipated sequel to… Justin Lin says that he’s “getting closer every day” to filming Space Jam 2 Do you know what time it is? That's right, it's time to bust out your SPACE JAM 2 bingo cards,… Come on and slam! Space Jam returns to select theaters! There's been some talk about a SPACE JAM sequel these last couple of years because why not? LeBron James has… Space Jam director has a few words of advice for the sequel: “Don’t do it” Here's your daily "shit, I'm old" moment, it's been twenty years since SPACE JAM first hit theaters. The sports/comedy which… Space Jam 2 finally happening with LeBron James and Justin Lin Fans of the original SPACE JAM have been calling for a sequel to happen for a number of years. Rumors… Cool Videos: Live read of Space Jam with Blake Griffin and Seth Green When SPACE JAM came out in 1996, I was obsessed with it. I loved basketball and for some reason I…
5438	dbpedia	1	19	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	en	Claudia Cardinale Retrospective in New York’s Museum of Modern Art	https://goldenglobes.com…murder.-1959.jpg	https://goldenglobes.com…murder.-1959.jpg	[ "https://goldenglobes.com/wp-content/uploads/2023/10/01-un-maledetto-imbroglio-the-facts-of-murder.-1959.jpg?w=2000", "https://goldenglobes.com/wp-content/uploads/2023/11/gg_stacked_whiteversion.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/dickclark.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/ernst-and-young.png" ]	[]	[]	[ "" ]	null	[ "Armando Villanueva" ]	2023-02-15T01:00:00+00:00	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations.	en	https://goldenglobes.com…image-1.jpg?w=32	Golden Globes	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. “The loveliest compliment I’ve ever received was from David Niven. When we were shooting The Pink Panther (1963), he said: ‘After spaghetti, you’re Italy’s happiest invention,’” Cardinale added on that occasion, when she was receiving the Actor’s Mission Award in Slovakia. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations. Born in Tunisia (Africa) to Sicilian parents on April 15th, 1938, Cardinale will be 85 this spring. Her first film appearance was in 1958, a minor role in Goha, with Omar Sharif, and since then she has never stopped working in films and, occasionally, theater. Even last year a new movie of hers came out: The Island of Forgiveness, written and shot by Ridha Behi in Tunisia. A truly international actress, fluent in Italian, French, English, Spanish, Sicilian dialect, and Tunisian Arabic, she has worked with the most famous Italian filmmakers and screenwriters, including Federico Fellini, Luchino Visconti, Pier Paolo Pasolini, Dario Argento, Bernardo Bertolucci, Valerio Zurlini and Sergio Leone. Curiously, because of her natural French accent, it was not until 1963 in Fellini’s Otto e mezzo (8½) that Cardinale’s own voice was used in her Italian films. “When I arrived for my first movie, I couldn’t speak a word. I thought I was on the moon. I couldn’t understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice,” she told The Guardian in May 2003. Luckily, she added, “In Italy in the sixties, it was the magic moment of Italian cinema. We were always together, the directors, the actors, it was an incredible atmosphere.” In the same interview, Cardinale commented: “Bridgett Bardot says: ´You’re not a woman, you’re a man´.” And: “I don’t think I’m an actress. I think I have the capacity and the possibility to become the woman I’m supposed to… I like silence… I don’t like the star system… For me, work is something, and private life is something else, very separate… I’m a normal person. I like to live in Europe. I mean, I’ve been going to Hollywood many, many times, but I didn’t want to sign a contract.” In over five decades (1961-2014) she has won six out of seven nominations for the David di Donatello Awards, the biggest honor bestowed by the Accademia del Cinema Italiano. The prestigious Venice Film Festival has given her two awards: for Best Actress (1984) and Career Golden Lion (Leone d’oro alla carrier, 1993). And in 2002 she received an Honorary Golden Bear at the Berlin International Film Festival. She is also an active feminist and has been a UNESCO goodwill ambassador for the Defense of Women’s Rights since 2000. In February 2011, The Los Angeles Times Magazine listed Cardinale among the 50 most beautiful women in film history. The legendary actress, who currently lives in Paris, did not attend the opening night at the MoMA, but was represented by her daughter, Claudia Squitieri, who also directs The Fondazione Claudia Cardinale. The ceremony started with the screening of Un Cardinale donna (2023), “a short poetical portrait” of the actress directed by Manuel Maria Perrone. Also part of the retrospective is the publication of the Cinecittà book “Claudia Cardinale. L’indomabile -The indomitable”, curated by her daughter. Among so many other details, the book reminds us that Visconti described Cardinale as “a splendid tabby cat that for the time being scratches at the cushions in the living room (…) but that one of these days we will realize is a tiger.” F. Murray Abraham (Golden Globe winner in 1985) attended the opening at MoMA, fresh from his recent nomination as Best Supporting Actor – Television Limited Series/Motion Picture for The White Lotus. Next to him was his “son” from that show, Michael Imperioli, two-time Golden Globe nominee for The Sopranos. This retrospective has been curated by Joshua Siegel (MoMA), and Camilla Cormanni and Paola Ruggiero (Cinecittà). Some of the movies included are: (in chronological order) Un maledetto imbroglio (The Facts of Murder). 1959. Italy. Directed by Pietro Germi (Golden Globe winner in 1963 for Divorce, Italian Style). Screenplay by Ennio de Concini. Rocco e i suoi fratelli (Rocco and His Brothers). 1960. Italy. Directed by Luchino Visconti (1968 Golden Globe nominee for The Stranger). Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Alain Delon (1964 Golden Globe nominee for Il Gattopardo). Il bell’Antonio (Handsome Antonio). 1960. Italy. Directed by Mauro Bolognini. Screenplay by Vitaliano Brancati, Pier Paolo Pasolini. With Marcello Mastroianni (1963 and 1965 Golden Globe winner). La ragazza con la valigia (Girl with a Suitcase). 1961. Italy. Directed by Valerio Zurlini. Screenplay by Zurlini, Enrico Medioli, Piero de Bernardi, Leo Benvenuti, Giuseppe Patroni Griffi. Cardinale won her first David di Donatello Award with this film, which also competed in Cannes. La viaccia (The Lovemakers). 1962. Italy. Directed by Mauro Bolognini. Screenplay by Mario Pratesi, Vasco Pratolini. With Jean-Paul Belmondo. La ragazza di Bube (Bebo’s Girl). 1963. Italy. Directed by Luigi Comencini. Screenplay by Comencini, based on the novel by Carlo Cassola. With George Chakiris (1962 Golden Globe winner for West Side Story). Il Gattopardo (The Leopard). 1963. France/Italy. Directed by Luchino Visconti. Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Burt Lancaster (1961 Golden Globe winner for Elmer Gantry) and Alain Delon (1964 Golden Globe nominee for this role). Otto e mezzo (8½).1963. Italy. Directed by Federico Fellini (1966 Golden Globe winner). Screenplay by Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi. With Marcello Mastroianni and Anouk Aimée (1967 Golden Globe winner). This movie won the Oscar as Best Foreign Language Film and Best Costume Design Black-and-White in 1964. The Professionals. 1966. USA. Written and directed by Richard Brooks (1959 and 1961 Golden Globe nominee). With Burt Lancaster, Lee Marvin, Robert Ryan. This movie received two Golden Globes nominations in 1967, including Best Picture/Drama. Don’t Make Waves. 1967. USA. Directed by Alexander Mackendrick. Screenplay by Maurice Richlin, George Kirgo, Ira Wallach. With Tony Curtis (1958 and 1961 Golden Globe winner), and Sharon Tate (1968 Golden Globe nominee). Il giorno della civetta (The Day of the Owl). 1968. Italy. Directed by Damiano Damiani. Screenplay by Damiani, Ugo Pirro, adapted from the novel by Leonardo Sciascia. With Franco Nero (1968 Golden Globe nominee). Cardinale won her second David di Donatello Award with this film. Once Upon a Time in the West. 1968. USA/Italy. Directed by Sergio Leone (1985 Golden Globe nominee for Once Upon a Time in America). Screenplay by Leone, Sergio Donati, from a story by Leone, Dario Argento, Bernardo Bertolucci. With two Golden Globe winners – Henry Fonda and Charles Bronson – and nominee Jason Robards Jr. Bello onesto emigrato Australia sposerebbe compaesana illibata (A Girl in Australia). 1971. Italy. Directed by Luigi Zampa. Screenplay by Zampa and Rodolfo Sonego. With Alberto Sordi (1964 Golden Globe winner). Cardinale won her third David di Donatello Award with this film. Enrico IV (Henry IV). 1984. Italy. Directed by Marco Bellocchio. Screenplay by Bellocchio, Tonino Guerra, based on Luigi Pirandello’s classic play. With Marcello Mastroianni. O Gebo e a sombra (Gebo and the Shadow). 2012. Portugal/France. Written and directed by Manoel de Oliveira. Adapted from a play by Raul Brandão. More info about these and the other movies presented in this retrospective could be found here: https://www.moma.org/calendar/film/5550
5438	dbpedia	1	35	http://www.englishgratis.com/elingue/elingue/en/wikimag/serie10/14.htm	en	Sophia Loren			[ "http://www.kivio.net/elingue/elingue-logo100.png", "http://www.kivio.net/elingue/home.png", "http://www.kivio.net/elingue/serie1.png", "http://www.kivio.net/elingue/serie2.png", "http://www.kivio.net/elingue/serie3.png", "http://www.kivio.net/elingue/serie4.png", "http://www.kivio.net/elingue/serie5.png", "http://www.kivio.net/elingue/serie6.png", "http://www.kivio.net/elingue/serie7.png", "http://www.kivio.net/elingue/serie8.png", "http://www.kivio.net/elingue/serie9.png", "http://www.kivio.net/elingue/serie10.png", "http://www.kivio.net/elingue/serie11.png", "http://www.kivio.net/elingue/ascolto.png", "http://www.kivio.net/elingue/1pixel.png", "http://www.kivio.net/elingue/start.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Sophia_Loren_-_1955.JPG/220px-Sophia_Loren_-_1955.JPG", "http://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/'La_baia_di_Napoli%22.jpg/230px-'La_baia_di_Napoli%22.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Five_Miles_to_Midnight_1962.JPG/230px-Five_Miles_to_Midnight_1962.JPG", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg/220px-Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Sophia_Loren_impronte.jpg/220px-Sophia_Loren_impronte.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Sophia_Loren_in_London.jpg/220px-Sophia_Loren_in_London.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Sophia_Loren_-_1959.jpg/220px-Sophia_Loren_-_1959.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Wikiquote-logo-en.svg/40px-Wikiquote-logo-en.svg.png", "http://www.kivio.net/elingue/stop.png", "http://www.kivio.net/elingue/elingue-logo100.png" ]	[]	[]	[ "" ]	null	[]	null					null	Sophia Loren (Italian pronunciation: [soˈfiːa ˈlɔːren]; born Sofia Villani Scicolone [soˈfiːa vilˈlaːni ʃʃikoˈloːne]; 20 September 1934) is an Italian actress. Loren is widely recognized as Italy's most renowned and honored actress. She was the first actress of the talkie era to win an Academy Award for a non-English-speaking performance, for her portrayal of Cesira in Vittorio De Sica's Two Women. Her other awards include a Grammy Award, five special Golden Globes, a BAFTA Award and a Laurel Award. In 1995 she received the Cecil B. DeMille Award for lifetime achievements, one of many such awards. Her films include: Houseboat (1958), El Cid (1961), Yesterday, Today and Tomorrow (1963), Marriage Italian-Style (1964), and A Special Day (1977). In later years she has appeared in American blockbusters such as Grumpier Old Men (1995), and Nine (2009). In 1994 she starred in Robert Altman's Prêt-à-Porter, which earned her a Golden Globe nomination the same year. She has also achieved critical and commercial success in TV movies such as Courage (1986). Early life Loren was born in the Clinica Regina Margherita in Rome, Italy,[1][2] daughter of Romilda Villani (19141991) and Riccardo Scicolone, a construction engineer. Scicolone refused to marry Villani, leaving Romilda, a piano teacher and aspiring actress, without support.[3] Loren's parents had another child together, her sister Anna Maria Villani Scicolone, in 1938. Loren has two younger paternal half-brothers, Giuliano and Giuseppe.[4] Romilda, Sofia and Maria lived with Loren's grandmother in Pozzuoli, near Naples.[5] During World War II, the harbour and munitions plant in Pozzuoli was a frequent bombing target of the Allies. During one raid, as Loren ran to the shelter, she was struck by shrapnel and wounded in the chin. After that, the family moved to Naples, where they were taken in by distant relatives.[citation needed] After the war, Loren and her family returned to Pozzuoli. Grandmother Luisa opened a pub in their living room, selling homemade cherry liquor. Villani played the piano, Maria sang and Loren waited on tables and washed dishes. The place was very popular with the American GIs stationed nearby. When she was 14 years old, Loren entered a beauty contest in Naples and, while not winning, was selected as one of the finalists. Later she enrolled in acting class and was selected as an extra in Mervyn LeRoy's 1951 film Quo Vadis, launching her career as a motion picture actress. Career 195057 (beginnings and Hollywood stardom) After being credited professionally as Sofia Lazzaro, she began using her current stage name in 1952's La Favorita. Her first starring role was in Aida (1953), for which she received critical acclaim.[6] After playing the lead role in Two Nights with Cleopatra (1953), her breakthrough role was in The Gold of Naples (1954), directed by Vittorio De Sica.[6] Too Bad She's Bad, also released in 1954, became the first of many films in which Loren co-starred with Marcello Mastroianni. Over the next three years she acted in many films such as Scandal in Sorrento (1955) and Lucky to Be a Woman (1956). In 1957, Loren's star had begun to rise in Hollywood, with the films Boy on a Dolphin (her U.S. film debut), Legend of the Lost with John Wayne, and The Pride and the Passion in which she starred opposite Cary Grant and Frank Sinatra. International fame Loren became an international film star following her five-picture contract with Paramount Pictures in 1958. Among her films at this time were Desire Under the Elms with Anthony Perkins, based upon the Eugene O'Neill play; Houseboat, a romantic comedy co-starring Cary Grant; and George Cukor's Heller in Pink Tights, in which she appeared as a blonde for the first time. In 1961, she starred in Vittorio De Sica's Two Women, a stark, gritty story of a mother who is raped while trying to protect her daughter in war-torn Italy. Originally cast as the daughter, Loren fought against type and was re-cast as the mother (actress Eleonora Brown would portray the daughter). Loren's performance earned her many awards, including the Cannes Film Festival's best performance prize, and an Academy Award for Best Actress, the first major Academy Award for a non-English-language performance and to an Italian actress. She won 22 international awards for Two Women. The film proved to be extremely well accepted by the critics and it was a huge commercial success. Loren is known for her sharp wit and insight. One of her most frequently quoted sayings is a quip about her famously voluptuous figure: "Everything you see, I owe to spaghetti". However, on the 20 December 2009, episode of CBS News Sunday Morning, Loren denied ever delivering the line. During the 1960s, Loren was one of the most popular actresses in the world, and she continued to make films in the United States and Europe, starring with prominent leading men. In 1964 her career reached its pinnacle when she received $1 million to appear in The Fall of the Roman Empire. In 1965, she received a second Academy Award nomination for her performance in Marriage Italian-Style. Among Loren's best-known films of this period are Samuel Bronston's epic production of El Cid (1961) with Charlton Heston, The Millionairess (1960) with Peter Sellers, It Started in Naples (1960) with Clark Gable, Vittorio De Sica's triptych Yesterday, Today, and Tomorrow (1963) with Marcello Mastroianni, Peter Ustinov's Lady L (1965) with Paul Newman, the 1966 classic Arabesque with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Loren received four Golden Globe Awards between 1964 and 1977 as "World Film Favorite Female".[7] 197088 Loren worked less after becoming a mother. During the next decade, most of her roles were in Italian features. During the 1970s, she was paired with Richard Burton in the last De Sica-directed film, The Voyage (1974), and a remake of the film Brief Encounter (1974). The film had its premiere on U.S. television on 12 November 1974 as part of the Hallmark Hall of Fame series on NBC. In 1976 she starred in The Cassandra Crossing, a classic disaster film featuring such veteran stars as Richard Harris, Martin Sheen, and Ava Gardner. It fared extremely well internationally, and was a respectable box office success in U.S. market. She also co-starred with Marcello Mastroianni in Ettore Scola's A Special Day (1977). This movie was nominated for eleven international awards such as two Oscars (best actor in leading role, best foreign picture). It won a Golden Globe award and a César award for best foreign movie. Loren's performance was awarded with a David di Donatello award, the seventh in her career. In addition the movie was extremely well received by American reviewers and was a box office hit and kick Following this success, Loren starred in an American thriller Brass Target. This movie received mixed reviews, although it was moderately successful in the United States and internationally. In 1978 she won her fourth Golden Globe for "world film favourite". Other movies of this decade were Academy award nominee Sunflower (1970) which was a critical success and Arthur Hiller's Man of La Mancha (1972) which was a critical and commercial failure despite being nominated for several awards including two Golden Globes awards. O'Toole and James Coco were nominated for two NBR awards, in addition the NBR listed Man of La Mancha in its best 10 pictures of 1972 list. In 1980, after the international success of the biography Sophia Loren: Living and Loving, Her Own Story by A. Hotchner, Loren portrayed herself and her mother in a made-for-television biopic adaptation of her autobiography, Sophia Loren: Her Own Story. Ritza Brown and Chiara Ferrari each portrayed the younger Loren. In 1981, she became the first female celebrity to launch her own perfume, Sophia, and a brand of eyewear soon followed.[6] In 1982, while in Italy, she made headlines after serving an 18-day prison sentence on tax evasion chargesa fact that failed to hamper her popularity or career. In fact, Bill Moore, then employed at Pickle Packers International advertising department, sent her a pink pickle-shaped trophy for being "the prettiest lady in the prettiest pickle". She acted infrequently during the 1980s and turned down the role of Alexis Carrington in 1981 for the TV series Dynasty. Although she was set to star in thirteen episodes of CBS's Falcon Crest in 1984 as Angela Channing's half-sister Francesca Gioberti, negotiations fell through at the last moment and the role went to Gina Lollobrigida instead. Sophia preferred devoting more time to raising her sons.[8][9] In 1988 she starred in the miniseries The Fortunate Pilgrim. Loren has also recorded well over two dozen songs throughout her career, including a best-selling album of comedic songs with Peter Sellers; reportedly, she had to fend off his romantic advances. It was partly owing to Sellers' infatuation with Loren that he split with his first wife, Anne Howe. Loren has made it clear to numerous biographers that Sellers' affections were reciprocated only platonically. This collaboration was covered in The Life and Death of Peter Sellers where actress Sonia Aquino portrayed Loren. It is said that the song "Where Do You Go To (My Lovely)?" by Peter Sarstedt was inspired by Loren.[citation needed] Later career In 1991 Loren received the Academy Honorary Award for her contributions to world cinema and was declared "one of the world cinema's treasures". In 1995 she received the Golden Globe Cecil B. DeMille Award.[10] She presented Federico Fellini with his Honorary Oscar. In 2009 Loren stated on Larry King Live that Fellini had planned to direct her in a film shortly before his death in 1993.[11] Throughout the 1990s and 2000s, Loren was selective about choosing her films and ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. She received a Golden Globe nomination for her performance in Robert Altman's film Ready to Wear (1994), co-starring Julia Roberts. In 1994, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to her.[12] In the comedy Grumpier Old Men (1995), Loren played a femme fatale opposite Walter Matthau, Jack Lemmon, and Ann-Margret. The film was a box-office success and became Loren's biggest U.S. hit in years.[6] At the 20th Moscow International Film Festival in 1997, she was awarded an Honorable Prize for contribution to cinema.[13] In 2001, Loren received a Special Grand Prix of the Americas Award at the Montreal World Film Festival for her body of work.[14] She filmed two projects in Canada during this time: the independent film Between Strangers (2002), directed by her son Edoardo and co-starring Mira Sorvino, and the television miniseries Lives of the Saints (2004). In 2009, after five years off the set and fourteen years since she starred in a prominent US theatrical film, Loren starred in Rob Marshall's film version of Nine, based on the Broadway musical that tells the story of a director whose midlife crisis causes him to struggle to complete his latest film; he is forced to balance the influences of numerous formative women in his life, including his deceased mother. Loren was Marshall's first and only choice for the role. The film also stars Daniel Day-Lewis, Penélope Cruz, Kate Hudson, Marion Cotillard, and Nicole Kidman. As a part of the cast she received her first nomination for a Screen Actors Guild Award. In 2010, Loren played her own mother in a two-part Italian television miniseries about her early life, directed by Vittorio Sindoni, entitled La Mia Casa È Piena di Specchi (translated My House Is Full of Mirrors), based on the memoir written by her sister Maria.[15] In July 2013, it was reported that Loren was to make her film comeback in an Italian adaptation of Jean Cocteau's 1930 play The Human Voice (La Voce Umana) which charts the breakdown of a woman who is left by her lover with her youngest son, Edoardo Ponti, as director. Filming is to take under a month during July in various locations in Italy including Rome and Naples. It will be Loren's first significant feature film since the 2009 film Nine in which critics received it to mixed reviews.[16] Personal life Loren's primary residence has been in Geneva, Switzerland since late 2006.[17] She also owns homes in Naples and Rome. In September 1999 Loren filed a lawsuit against 76 adult websites for posting altered nude photos of her on the internet.[18][19] Loren is a huge fan of the football club S.S.C. Napoli. In May 2007, when the team was third in Serie B, she told the Gazzetta dello Sport that she would do a striptease if the team won.[20] Loren posed scantily clad at 72 for the 2007 Pirelli Calendar, along with such actresses as Penélope Cruz and Hilary Swank.[21] Loren is a Roman Catholic,[22] though on various issues, such as modesty in dress and her marriage, she has been at odds with the Church.[23] Marriage and family Loren first met Carlo Ponti in 1950 when she was 15 and he was 37. They married on 17 September 1957. However, Ponti was still officially married to his first wife Giuliana under Italian law because Italy did not recognize divorce at that time. The couple had their marriage annulled in 1962 to escape bigamy charges.[24] In 1965, Ponti obtained a divorce from Giuliana in France, allowing him to marry Loren on 9 April 1966.[25] They became French citizens after their application was approved by then French President Georges Pompidou.[26] They had two children: Carlo Ponti, Jr. born on 29 December 1968 (age 44) Edoardo Ponti born on 6 January 1973 (age 40) Loren remained married to Carlo Ponti until his death on 10 January 2007 of pulmonary complications.[27] When asked in a November 2009 interview if she were ever likely to marry again, Loren replied "No, never again. It would be impossible to love anyone else."[28] In 1962 her sister, Anna Maria Villani Scicolone, married the youngest son of Benito Mussolini, Romano, with whom she had a daughter, the neofascist Italian politician Alessandra Mussolini. Her daughters-in-law are Sasha Alexander and Andrea Meszaros.[4][29] Loren has four grandchildren: Lucia Sofia Ponti (born 12 May 2006),[30] Vittorio Leone Ponti (born 3 April 2007).[4] Leonardo Fortunato Ponti (born 20 December 2010) and Beatrice Lara Ponti (born 15 March 2012). Filmography Year Title Role Notes 1950 I Am the Capataz Secretary of the Dictator 1950 Barbablu's Six Wives Girl kidnapped 1950 Tototarzan A tarzanide 1950 I Devote, Thee A popular to the party of piedigrotta 1950 Hearts at Sea Extra Uncredited 1951 White Leprosy A girl in the boardinghouse 1951 Owner of the Vapor Ballerinetta 1951 Milan Billionaire Extra Uncredited 1951 Magician for Force The bride 1951 Quo Vadis Lygia's slave Uncredited 1951 It's Him!... Yes! Yes! Odalisca 1951 Anna Night club assistant Uncredited 1952 And Arrived the Accordatore Amica di Giulietta 1952 I Dream of Zorro Conchita As Sofia Scicolone 1952 Leonora 1953 Bonbon 1953 Pilgrim of Love 1953 We Find Ourselves in Arcade Marisa 1953 Two Nights with Cleopatra Cleopatra/Nisca 1953 Girls Marked Danger Elvira 1953 Good Folk's Sunday Ines 1953 Aida Aida 1953 Africa Under the Seas Barbara Lama 1954 Neapolitan Carousel Sisina 1954 Anna 1954 1954 Poverty and Nobility Gemma 1954 Sofia Segment "Pizze a Credito" 1954 Attila Honoria 1954 Too Bad She's Bad Lina Stroppiani 1955 Agnese Tirabassi 1955 Carmela 1955 Nives Mongolini 1955 Scandal in Sorrento Donna Sofia 1956 Lucky to Be a Woman Antonietta Fallari 1957 Boy on a Dolphin Phaedra 1957 Juana 1957 Legend of the Lost Dita 1958 Desire Under the Elms Anna Cabot 1958 Stella 1958 Rose Bianco Volpi Cup-Venice Film Festival 1958 Houseboat Cinzia Zaccardi 1959 That Kind of Woman Kay 1960 Heller in Pink Tights Angela Rossini 1960 It Started in Naples Lucia Curio Nominated Golden Globe Award for Best Actress Motion Picture Musical or Comedy 1960 Epifania Parerga 1960 Princess Olympia 1960 Two Women Cesira 1961 Chimena 1961 Madame Sans-Gêne, a.k.a., "Madame" Catherine Hubscher, known as "Madame Sans-Gêne" 1962 Boccaccio '70 Zoe Segment "La Riffa" 1962 Five Miles to Midnight Lisa Macklin 1963 Yesterday, Today and Tomorrow Adelina Sbaratti/Anna Molteni/Mara David di Donatello for Best Actress 1964 Lucilla 1964 Marriage Italian-Style Filumena Marturano 1965 Operation Crossbow Nora 1965 Lady L Lady Louise Lendale/Lady L 1966 Judith Judith 1966 Arabesque Yasmin Azir 1967 Natasha 1967 More Than a Miracle Isabella Candeloro 1968 Ghosts - Italian Style Maria Lojacono 1970 Sunflower Giovanna David di Donatello for Best Actress Nominated Fotogramas de Plata Best Foreign Performer 1971 Lady Liberty Maddalena Ciarrapico 1971 Valeria Billi 1972 Man of La Mancha Aldonza/Dulcinea 1973 The Sin Hermana Germana 1974 The Voyage Adriana de Mauro 1974 Verdict Teresa Leoni 1974 Brief Encounter Anna Jesson TV movie(Hallmark hall of fame) 1975 Sex Pot Pupa 1976 Jennifer Rispoli Chamberlain 1977 Antoinette David di Donatello for Best Actress Globo d'Oro Award for Best Actress Nastro d'Argento for Best Actress 1978 Blood Feud Titina Paterno 1978 Brass Target Mara/cameo role 1978 Angela Angela Kincaid 1979 Firepower Adele Tasca 1980 Sophia Loren: Her Own Story herself/Romilda Villani (her mother) 1984 Aurora Aurora Television film 1986 Courage Marianna Miraldo Television film 1988 Lucia Television miniseries 1989 Running Away Cesira TV miniseries(remake of "two women") 1990 Saturday, Sunday and Monday Rosa Priore premiered during the Chicago film festival 1994 Prêt-à-Porter Isabella de la Fontaine 1995 Grumpier Old Men Maria Sophia Coletta Ragetti 1997 Soleil Maman Levy 2001 Francesca e Nunziata Francesca Montorsi TV miniseries 2002 Between Strangers Olivia 2004 Too Much Romance... It's Time for Stuffed Peppers Maria 2004 Lives of the Saints Teresa Innocente TV miniseries 2009 Nine Mamma 2010 My House Is Full of Mirrors Romilda Villani TV miniseries 2011 Cars 2 Mama Topolino voice (in non-English speaking countries) 2013/14 La Voce Umana One-woman film role Short film; currently filming References
5438	dbpedia	2	60	https://www.kimkim.com/c/luxury-italian-highlights-venice-florence-amalfi-coast-rome-more-14-days	en	Luxury Italian Highlights: Venice, Florence, Chianti, Rome & Amalfi Coast - 14 Days	https://cdn.kimkim.com/f…3a9989bb8fc4.jpg	https://cdn.kimkim.com/f…3a9989bb8fc4.jpg	[ "https://www.kimkim.com/assets/logo-ccf291f0e1db970821afc9a00bbdd423e8bf9e3b3a5f18ae6029d560266fad23.svg", "https://cdn.kimkim.com/files/a/images/a98b0f04411556c732603454987ac248993faab2/original-34acdda2ee911f25bbe63a9989bb8fc4.jpg", "https://cdn.kimkim.com/files/a/maps/ee0bd1caeb6e5a04e84d54d1795f2ecde30a9f2b/original-cdab899e843596804270d7e4e31fa60a.jpg", "https://cdn.kimkim.com/files/a/images/3e66eaeb57ae717ad046efa46f96743dbd5374a7/original-db138b7f3d081af54fb038635936f353.jpg", "https://cdn.kimkim.com/files/a/images/6896c27ed5f1d559a0e590086c3430064a4d01d7/original-0958869c51c84df3748a7bc1a38e6e66.jpg", "https://cdn.kimkim.com/files/a/images/fb1a91fc1777e9714c4aea2d4164d5a9d8ace47a/original-42d06849542fd5ca243d52399afeee2d.jpg", "https://cdn.kimkim.com/files/a/images/b00de7a2f7004fafd6c3fc62d57f1d9e7844a99c/original-b489165bf19a3fb9f247b720318bf849.jpg", "https://cdn.kimkim.com/files/a/images/cdb8dedc6c8c206638e0922edd42d9fe151305e1/original-be9fb8b6530617c986065232e6340763.jpg", "https://cdn.kimkim.com/files/a/images/0ef7cc362e124ba0355803f6c5c932c106ebcd2e/big-2c214d4e30f7e8a45ea22fbe2032adf3.jpg", "https://cdn.kimkim.com/files/a/images/b34dba7c9d31119e486a89b763ae0fbfc295688d/original-48f2e772e8d6b96ec03a660f445b147f.jpg", "https://cdn.kimkim.com/files/a/images/e4e314bccda08d83f7c1525ec2ea1d69a49a20d2/original-c0c68595d07bbd0beb127864ad51bf2e.jpg", "https://cdn.kimkim.com/files/a/images/8eac6fd73d8f4befb03df291d7b6815f4b762d4d/big-1bde242e59699725bc49c32ee677a876.jpg", "https://cdn.kimkim.com/files/a/images/6bcb97ff97d7dee7c55e4be8bca4c6732c832f4d/original-876403e6197b73c1723b5e59b38e390c.jpg", "https://cdn.kimkim.com/files/a/images/9a02a6ff6f8c6f487b7dd5a62bb684d4b3b0ee2f/big-a21cbf783db4b813fabab555cc11c454.jpg", "https://cdn.kimkim.com/files/a/images/8c1b574bddd949fdc2db83a64d315f5dfc99f466/original-fe77a994a804a3de5683bb97313b9ea7.jpg", "https://cdn.kimkim.com/files/a/images/bd556173584c77edd4cb051a2ff6bcec4bac888b/original-e0321508fc776f435c8efcc7b939b467.jpg", "https://cdn.kimkim.com/files/a/images/114ba6bb3b7cdf1809913a172b4d82edb90067a9/original-9c9c518038eb58bcc92e0da07ebb1aea.jpg", "https://cdn.kimkim.com/files/a/maps/ee0bd1caeb6e5a04e84d54d1795f2ecde30a9f2b/original-b332b137a4c2946bb5b4667986b6b19b.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/fb7767cb5bb08bea35b7b0389f257de28066b286/thumb-3f999df9bcbd3af4f3ea319177ff1b92.jpg", "https://cdn.kimkim.com/images/kimkim/logo-bbc.png", "https://www.kimkim.com/assets/logo_tc-7b9079fee1a243e16a3c084e6637f8aa9b5b9f526049fd5490c17790bc700953.png", "https://www.kimkim.com/assets/logo_lp-b138cf422f3b47767c0cb544af22761c2d9c8cdba92b40021a5b445c946b9fec.png", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/c8aa688435a39d322c2b3af99e2ece14f050fc91/thumb-f4a55cca278a3681eb8482816359768d.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/d641682e06dac229846e30e9293d1d62891e3b40/thumb-9b8371cf51e7099ba7d03d071d86443d.jpg", "https://cdn.kimkim.com/files/a/images/5cef61a0edc55106c338393aacdfd64ef949a2b3/original-0c77bb11abf581718f4175ba281fe5f1.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/19cfd2ffd61f8f57b3cb3b508bc48810c5156c2f/thumb-53aaefca610346f6142be64f0b43e504.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/8f7e48eed507e7e61f7554791b8aa2d8eb57e445/thumb-1f393f80cf5db59456c7c1d66a3971e0.jpg", "https://cdn.kimkim.com/files/a/images/284b8bbb3f9a169d71890772e285bbba635634a0/original-a48dd1d0caf90491638d07ad4202a6b6.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/6f26c7212cdec1757e0648c01b3d7a117108e424/thumb-cd7b509a65a887392e6ce8f17534bbe0.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/c68f024c63b7c5459f35ae6bbf691087f3257c0c/thumb-c4c51b02e567108255857646a085bdc3.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/a3be207b8ffec9ed617049d32b683a965eadff35/thumb-20e419a6cfa0dbd82f3cc80d2dd8cdae.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/510b0176ff6559372268f25c828fa5bc9ec36674/thumb-9bb0335367671564054c7284687b28b3.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/bcc344214a51f2802a20f32cf47dc70abaa41d7b/thumb-7fc364cd497c06446629529d48fd085f.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/0618c8d9d511f7d1f983240b0b69ac81f88d29db/thumb-243ec7fc0d850dad80b3b05cfe84a9c7.jpg", "https://cdn.kimkim.com/files/a/images/261118ce062208ea1a131efb23a580d2cad3ad8d/thumb-0b9926a246d580e1ba3f6f5fa682741c.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/6edcd3632ba38bf2f7b3fe659a47b2762f5c0d18/thumb-85aaf9bad36fd4ad991d550f5995b061.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/61c60eaa34d5cbf98af3311394535478c3010a2d/thumb-6f52be2160577adf02123ad9c9d4fdad.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/6e594ef14028da2dc2f8794c4728a0694c2b60bb/thumb-1fd5feef20db9587e059112a1dd3156c.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/85c2a0521486787e93c96c0b0d869ebe18c2f758/thumb-b6ae5fa3e8c6ac8e70d5edfb2b81e427.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/a60b8dde35c8d322207dbb4da2606b703fc615c0/thumb-e09ec87baf14fa775522e6f895d44a51.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/f165f8a3022005e387968acf49d599846ded57bb/thumb-83dfd81aa32b4f49d395868d10a49d91.jpg", "https://cdn.kimkim.com/files/a/images/261118ce062208ea1a131efb23a580d2cad3ad8d/thumb-0b9926a246d580e1ba3f6f5fa682741c.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/73789b4a0b5c007fdcc332fc111bc9022abbc2da/thumb-e0f20c3e377a8d33703fe8e2d9a1d77d.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/d6444a307fd57665306c3e268101df33aa67fa61/thumb-efaaf99301ea8770c59b5d1c88356b32.jpg", "https://cdn.kimkim.com/files/a/images/261118ce062208ea1a131efb23a580d2cad3ad8d/thumb-0b9926a246d580e1ba3f6f5fa682741c.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/232fd9759597afb51dd794f589cfb040c8940884/thumb-982c7fcaa91454612fe3c15215a21e57.jpg", "https://cdn.kimkim.com/files/a/images/6b51ca99610780d36a7f5ef5afe261cdb0743ec9/original-92fcc055433a3221a960d760034373c1.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/3d4d00de42c81dd7ed82fa7ae8c0942b15d0c8fe/thumb-739f000390547a29584b2851d45f4e1a.jpg", "https://cdn.kimkim.com/files/a/images/c3c1948ac7e51bdfcea025fb6ed10104914ca517/original-a1a29f4d81047f825edb14c60e80912e.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/c8aa688435a39d322c2b3af99e2ece14f050fc91/thumb-f4a55cca278a3681eb8482816359768d.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/d641682e06dac229846e30e9293d1d62891e3b40/thumb-9b8371cf51e7099ba7d03d071d86443d.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/99d662e726dbd282f2ab70396cf209421eebe1c2/thumb-697e909606324504278f3dd43ef87dd0.jpg", "https://cdn.kimkim.com/files/a/images/55d7ea8718fda7b5b1c4c3a68f239c128e5b29a6/original-1a3fe20388b13a5b7e3ccd8dfdd3f0d3.jpg", "https://cdn.kimkim.com/files/a/images/36df9765db169f38394ce3376c72b30a91dd0654/original-335d42934c0ec593db200dc1d7900231.jpg", "https://cdn.kimkim.com/files/a/images/883e09af9f01e59a34ad3af6e13203450b8d7095/original-ee746396cffcd9a257fc10e3b0af170d.jpg", "https://cdn.kimkim.com/files/a/images/398150cb464e1aeb5951be831521063ea9888762/original-e39086fb5aaa5b52697d3473750a17cd.jpg", "https://cdn.kimkim.com/files/a/images/ad022feac44478ea8486ba3eb0524cc180504a1e/original-5298a2d924ec481ced4b5f7d295ff736.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/2622d19e068b70e01d2b8b633d94b924d0e8b9fb/thumb-17628e0092c1a888bbddc95421cffeeb.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/89b7784f74186be16b21ac86a62287c6f0bc88ca/thumb-8d0b17a3237c04293d07957337e4d098.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/35e915e7e62604dc8869a1a86edec3bd324b4e50/thumb-3689ba47af9a13e98c014b995531e53c.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/5dc2719a84fc633588ae71cbb4eb346b847021c9/thumb-c05bf2d54d489105067e679e52ff2cc1.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/d09a48ae86b83f9d7bd69409521846f90a957ce4/thumb-7bd5fe3d14c2f3d7797cc904f104701b.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/7f00acd34f56ee646fd313396644e2f29d2d2f86/thumb-06e93d9a6608fecb5d61487d10d42e8e.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/9cfca9ba3cfd18b589b99960d5c7b8902535655a/thumb-9f28b7927d649242f6fe0f0981b0d114.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/eb38289dedc54c744bd90466dabbc52cb3a09ebf/thumb-c77b242b3511ee24d9fe4156a20e7a36.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/64f3b1a65f8680089c5d1503656ed512aedd97aa/thumb-e1bb9e5afdab148b5fdb189cd729b0cd.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/fa3f9df6618ec011c6060a8db64cfec9d924c54b/thumb-31105759ca6506f1589ca64de29cd8dd.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/e56d695665b716627241df16177299b32c02d8de/thumb-46681746382bf223e334c32b6670b8b6.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/07b0078af3cab92b128c7f2fa7a97043f4d0a3ff/thumb-aaecb6d4828f8a955918424b87eccd91.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/c2d887e3de1a0d952b5a5ef8cb61d101de40d694/thumb-a357576570939817a4913444ab6e1fcd.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/685881ef1ee4981595251c9eddea082d27867d64/thumb-138a1017726e91af349f82a074a31702.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/232fd9759597afb51dd794f589cfb040c8940884/thumb-982c7fcaa91454612fe3c15215a21e57.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/46ed3f3f79ebc743129bb60256e4d1db3536faef/thumb-ecee78bf2ea03dd51fb916a04e259aed.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/1eab1db224254f026e58b1ba4937529219a7fe6f/thumb-e1fb8753dea72e963fcdec728514ce60.jpg", "https://cdn.kimkim.com/files/a/destinations/hero_images/596a418f13a075c8ac5fd826011ad9c4edcaa272/original-a9a132c80dac46d72ef3712a1f200c0e.jpg", "https://cdn.kimkim.com/files/a/images/883e09af9f01e59a34ad3af6e13203450b8d7095/original-ee746396cffcd9a257fc10e3b0af170d.jpg", "https://cdn.kimkim.com/files/a/images/398150cb464e1aeb5951be831521063ea9888762/original-e39086fb5aaa5b52697d3473750a17cd.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/8ae6b5357f5cf29da8fdc119435ec36f98fa0543/thumb-2b5f1ee020245bfa7993e8c106cd8267.jpg", "https://cdn.kimkim.com/files/a/images/36df9765db169f38394ce3376c72b30a91dd0654/original-335d42934c0ec593db200dc1d7900231.jpg", "https://cdn.kimkim.com/files/a/content_articles/featured_photos/adc75b17804098d6d6f2b409fe8923d758baf20d/thumb-467ae41cea1d4eb1471c595adadcdbca.jpg", "https://cdn.kimkim.com/files/a/images/284b8bbb3f9a169d71890772e285bbba635634a0/original-a48dd1d0caf90491638d07ad4202a6b6.jpg", "https://cdn.kimkim.com/files/a/images/76d8806879a032e28df9e51b6dd88f040b96bf2b/original-19401787517d292f8247ee7d54b6c2dc.jpg", "https://cdn.kimkim.com/files/a/images/515f6d25ea9d4cb45a02619f3ef68683288cdde1/original-c285d948e025c75bd0d4e7c87894e4a8.jpg", "https://cdn.kimkim.com/files/a/images/28d6bfa2cca92a8a2e074a7125e40f0d2f42538e/original-dbf08cbb9784c47710fb13b745fe93e4.jpg", "https://cdn.kimkim.com/files/a/images/731b25a68d068d38149c678da7b8f038f02f36dd/original-458f50b192f85f956ab5e233c5454d2c.jpg", "https://cdn.kimkim.com/files/a/images/4438efab727432fedf845f793a80069531c6c823/thumb-7fe5844387af0da7c462792e95c683a4.jpg", "https://cdn.kimkim.com/files/a/images/cb1ba537eb657ae718da3c395f1e157b818c684b/thumb-c398c081fe78ec738607d63f43ff1df2.jpg", "https://cdn.kimkim.com/files/a/images/3500b962c394c8b1245192bda09f3a4b01a5fb55/thumb-9109ecc8ed9f9f5540b963ffaa9f6960.jpg", "https://cdn.kimkim.com/files/a/images/ee103613aeeaa5cda41cef52db94ddb3e6ab5eba/thumb-0db5c70d0c72e1006812b0f9e78cbdb4.jpg", "https://cdn.kimkim.com/files/a/images/a5e0336298c34e431f111499668095154df01be4/thumb-541dc3d98dc5ce5fdb42a381cfbc289e.jpg", "https://cdn.kimkim.com/files/a/images/35a715d1188e05b3ad3c33366c7cd3ceb58f6523/thumb-5820ec7dcea8f4bd44b8787b5b3ae130.jpg", "https://cdn.kimkim.com/files/a/images/086f88af002e05fad7d39588e0385daf54d8c340/thumb-ffa20577fe26dc984683c17883917c5b.jpg", "https://cdn.kimkim.com/files/a/images/1ec3cff1be1fd32c6445b36e28bac3e2af0cb637/thumb-d7b1a7c796ca82262e427bec66b3067b.jpg", "https://cdn.kimkim.com/files/a/images/4ae18b912b30a8832a44de6540681d079beec816/thumb-a24e0c21b81c77c41a3915d9208eb59e.jpg", "https://cdn.kimkim.com/files/a/images/f2d5e41e642fc7b9492869662026b4f358ababc0/thumb-0ff38f58971cf10fe434e552d14a91d3.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/becb20d7001806be901d2c9ac8bc9af2bca0eb39/original-2396ee6aeb94962df257d8204c23d4a8.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/b1f85065d5d34dfe6b9716d3e75037245348b682/original-2d36062a395e539533d017d9914c8220.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/757fb9bb5872a8a60aa34fba30f0a51c0d403530/original-796d7b0e68d25650d970923183b88292.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/d90292965a544561610bb62c2e9616840572356a/original-ada8054af9ec94731729db29933cec6e.jpg", "https://cdn.kimkim.com/files/a/users/profile_photos/b4a8385ecbaeaff6c06db37175dfb6172d8851f8/original-fce1c6c8f66961ec08b1fbdad0341d2a.jpg", "https://www.kimkim.com/assets/logo_nyt-d96f4b44980c2e013645824fcaeb00384c790bd64ab953e2acfdd51054c5ed9b.png", "https://www.kimkim.com/assets/logo_tc-7b9079fee1a243e16a3c084e6637f8aa9b5b9f526049fd5490c17790bc700953.png", "https://cdn.kimkim.com/images/kimkim/logo-bbc.png", "https://cdn.kimkim.com/images/kimkim/logo-atta.png", "https://cdn.kimkim.com/images/kimkim/logo-washington-post.png" ]	[]	[]	[ "" ]	null	[ "Sabrina Strippoli" ]	2019-05-26T22:05:47+00:00	Experience Italy's cities, countryside, and coast over two weeks with this luxurious grand tour. Start in Venice to see ornate palaces and visit a traditional gondola workshop. Get an insider's look at Renaissance gems in Florence, then continue into Chianti for wine tasting and a hot-air balloon	en	/assets/favicon-32x32-4c40cd5c1fbba9930edd56da7295980d29875e191b2d4795406ec67eb45b9569.png	kimkim	https://www.kimkim.com/c/luxury-italian-highlights-venice-florence-amalfi-coast-rome-more-14-days	Highlights Go on a luxurious wine tour in the Tuscan countryside Dive deep into history with a private tour of Rome's Colosseum See the incredible Mount Vesuvius crater and the ruins of Pompeii by helicopter Sail to the "enchanted isle" of Capri on a luxury private yacht Brief Itinerary Day Highlights Overnight Day 1 Arrive in Venice, Guided City Tour Venice Day 2 Explore Venice's Art & Culture, Venetian Boatyard Tour Venice Day 3 Train to Florence, Guided City Tour Florence Day 4 Accademia Gallery Visit, Sunset River Boat Tour Florence Day 5 Transfer to Tavarnelle Val di Pesa via San Gimignano & Chianti Winery Visit Tavarnelle Day 6 Luxury Hot-Air Balloon Ride Over Tuscany, Guided Day Trip to Siena Tavarnelle Day 7 Train to Rome, Guided City Tour Rome Day 8 VIP Tour of the Vatican Rome Day 9 Exclusive Colosseum & Forum Tour, Afternoon Cooking Class Rome Day 10 Galleria Borghese Tour, Free Afternoon in Rome Rome Day 11 Train to Naples, Transfer to Praiano via Pompeii, Mount Vesuvius Helicopter Flight Praiano Day 12 Guided Tour of Amalfi, Citrus Farm Visit & Limoncello Tasting Praiano Day 13 Private Luxury Yacht Cruise to Capri Praiano Day 14 Depart Praiano Detailed Itinerary Day 1: Arrive in Venice, Guided City Tour Benvenuti in Venezia! Venice, Italy's "Floating City," is situated in the country's northeast and comprises a unique network of ornate bridges and canals that form the elegant palazzo-lined Venetian Lagoon. It has enchanted visitors for centuries. Arrive in style at your centrally-located luxury hotel by private vaporetto (water taxi), and unwind and relax before heading out to uncover the city's landmarks with a private tour of the city. You'll start in Piazza San Marco, the heart of the city's cultural and administrative district, flanked by Caffè Florian and Gran Caffè Quadri, two splendid neo-Baroque 18th-century coffee houses that have attracted the city's writers and artists for 300 years. It's a fitting setting for the San Marco Basilica, one of the best surviving examples of Italo Byzantine architecture, featuring exquisite art, gold, mosaics, and marble floors. Next, skip the queues and venture inside the adjacent Palazzo Ducale (Doge's Palace), built in 1340 for the Doge of Venice, where your guide will reveal the history behind Titian's splendid frescoes and masterpieces. Continue weaving your way through the atmospheric streets and glimmering architecture to the Ponte dell'Accademia, one of the best spots to grab a picture-perfect view of Venice and the Grand Canal as the sun sets. Part ways with your guide and spend the evening dining on delicious seafood or pasta with fresh truffles at one of the city's renowned restaurants. Day 2: Explore Venice's Art & Culture, Venetian Boatyard Tour Spend a relaxed morning at leisure in Venice. While the city is a haven for art enthusiasts with world-class collections at the Peggy Guggenheim Museum and La Biennale di Venezia Art Museum, there's much to be said for simply strolling the evocative calli (narrow streets) and stumbling across tiny bacari (wine bars), stopping to enjoy a glass of Prosecco and cicchetti (Venetian tapas). After lunch, stroll Venice's exquisite boutiques and galleries in the San Samuele district, while Le Mercerie and Salizada San Moisè should be your go-to for luxury items. The beautiful gondole that can be found gliding through Venice's waterways have been used by locals for hundreds of years as the main form of transport throughout the city. This afternoon you'll visit a squero (boatyard) for a private guided tour of one of Venice's most famous boatyards, where you'll learn how the design of these narrow boats has evolved over the centuries. Afterward, head to the inimitable Harry's Bar for a Bellini before spending your final night in Venice sampling regional specialties at one of the San Polo neighborhood's classic time-honored restaurants. Day 3: Train to Florence, Guided City Tour Enjoy one last lingering look across the Grand Canal as you take a private vaporetto to the station, ready for a 2.5-hour direct train to Florence, traveling first class. Tuscany's regional capital is famed for its richness of art and culture, and Firenze's magnificent terracotta-tiled Il Duomo is testament to the city's incredible Renaissance architecture. After checking into your luxury hotel, you'll get to experience the masterpieces and more with a private walking tour accompanied by a local art historian. Start in the Piazza della Republica, once the city's ancient Roman Forum and more recently a hub for Florence's literati. Admire the jewelry shops that stretch across the Ponte Vecchio, a medieval bridge with views over the River Arno, and continue to the Piazza della Signoria. Here, you'll find several Florentine landmarks, Palazzo Vecchio and the Uffizi Gallery, with renowned works by Michelangelo and Leonardo da Vinci. The highlight of your tour is Brunelleschi's masterpiece, La Cattedrale di Santa Maria del Fiore, known to locals simply as Il Duomo. You'll enjoy a private visit to the exclusive Cathedral Terraces, perched high above the city and normally closed to the public; it's the perfect spot to admire the city's panoramic vista without the crowds. Tuscan cuisine is famous for the quality of its fresh produce, steak, and its exceptional red wines. You'll enjoy both this evening with a dinner at Enoteca Pinchiorri, the city's acclaimed 3-star Michelin restaurant. Day 4: Accademia Gallery Visit, Sunset River Boat Tour Florence's Galleria dell'Accademia, founded by the Grand Duke Pietro Leopoldo in 1784, is home to many famous works, none more so than Michelangelo's "David." Created between 1501 and 1504, the 14-foot-high (4 m) marble sculpture became a symbol of the Florentine republic's strength during a time of great political upheaval. Discover the fascinating stories behind the statue's creation and pieces by Botticelli and Tintoretto with a private, guided tour of the gallery. Afterward, pause for a leisurely lunch in one of the city's neighborhood eateries. Alongside plates of delicious cured prosciutto crudo and formaggi, you'll find flame-grilled bistecca alla Fiorentina, delicious homemade tagliatelle fragrant with porcini mushrooms and freshly shaved tartufo (truffles). Savor a glass or two of brunello di Montalcino, an exceptional local red, and try one of the various riffs on tiramisu. In the summer months, you'll find pistachio and fragole (strawberry) twists to the classic Italian dessert instead of the usual coffee and chocolate. Spend the afternoon strolling the elegant cobbled streets, and as golden hour approaches, board a private boat steered by a Renaiolo (traditional boatman) for a sunset ride along the River Arno. It's the perfect way to admire the ebb and flow of post-work city life and Florence's landmarks, such as the Uffizi Gallery, Vasari Corridor, and the Palazzo Corsini, which twinkle in the darkness as you cruise under the Ponte Vecchio and Ponte Santa Trinità. Day 5: Transfer to Tavarnelle Val di Pesa via San Gimignano & Chianti Winery Visit This morning, you'll head out of the city on a private tour of the Chinati Region, exploring the picturesque hilltop towns and vineyards that dot this part of Tuscany. Your first stop is the medieval village of San Gimignano, a UNESCO World Heritage Site located an hour from Florence. It's famous for its historic buildings, Vernaccia wine, and award-winning gelaterias. Explore the city's beautiful squares, palaces, and churches on a private guided tour before sipping a cold drink in the town's enchanting Piazza della Cisterna Your next stop is a winery in the Chianti Hills, where you'll tour the vineyards and cellars behind the region's eponymous wine. Made from a minimum of 80% sangiovese grapes, Chianti Classico is made from vineyards within a distinct area that stretches between the cities of Florence and Siena. Learn about the centuries-old production process and then sit down to a tasting of various vintages accompanied by a selection of local dishes. Afterward, your driver will transfer you to the town of Tavarnelle Val di Pesa, where you'll spend the next two nights in the Chianti countryside at a luxurious bed-and-breakfast with large, elegant rooms, airy balconies, and shaded gardens. Plan your trip to Italy Chat with a local specialist who can help organize your trip. Day 6: Luxury Hot-Air Balloon Ride Over Tuscany, Guided Day Trip to Siena Enjoy a leisurely breakfast in your accommodation and admire the serenity of your locale before getting ready for one of the highlights of your trip. Midmorning, your driver will collect you for the experience of a lifetime, a private hot-air balloon ride over the rolling hills, olive groves, and ancient hamlets of the Tuscan countryside. Break for a gourmet picnic lunch, then transfer to nearby Siena for an afternoon in the medieval hilltop city. See the magnificent Cathedral and Town Hall on the Piazza del Campo, the iconic trapezoidal square where the famous Palio horse race takes place twice a year. Visit the Gothic Cathedral of Santa Maria Assunta, an impressive building filled with treasures by Pisano, Donatello, and Michelangelo, and frescoes by Pinturicchio. Spend your last evening in Tuscany dining on delicious locally sourced produce including cured meats, pecorino cheese, and panforte. Afterward, you'll return to your countryside retreat. Day 7: Train to Rome, Guided City Tour Your Italian trip continues apace this morning with a high-speed train to Rome. Travel first class, and in less than 1.5 hours, you'll leave behind the Tuscan countryside for the "Eternal City" and its enticing mix of ancient history, art, culture, and la dolce vita lifestyle that continues to captivate visitors from all over the world. Upon arrival at Termini station, a driver will whisk you to your luxurious central hotel, where you can savor a drink on the terrace before meeting your guide for a private tour of the city. One of the Italian capital's most beautiful panoramas can be found at the top of the Spanish Steps, Europe's longest and widest staircase. As you gaze out over Rome, hear from your guide how the steps feature in religious processions and city traditions throughout the year. Wander down to Piazza di Spagna, where you'll find the Baroque Fontana della Barcaccia and hear tales of popes, emperors, and Ancient Rome as your guide leads you through the maze of alleyways and cobblestone streets toward the dramatic silhouette of the 2,000-year-old Pantheon. Stop for creamy gelato and continue to Bernini's Trevi Fountain, another Baroque masterpiece where a coin tossed inside is said to seal your return to Rome. Your tour concludes in Piazza Navona, a grand square famous for its Fountain of the Four Rivers and abuzz with sidewalk artists and musicians. Soak up the atmosphere with aperitivo at one of the bars that line the piazza, and as dusk falls, head to dinner in the elegant Jewish Quarter, established in 1555 CE and famed for its leafy cobbled streets and terrific gastronomy. Day 8: VIP Tour of the Vatican See Roman life unfold this morning with a relaxed walk over to the Vatican City Museums: founded by Pope Julius in the early 16th century, the museums are brimming with classical statues and Renaissance gems that continue to fascinate. It's an arresting sight strolling through Bernini's Piazza San Pietro ahead of the crowds, and your 8:00 am start gives you a serene hour to tour the museums and the Sistine Chapel with your guide in private before they open to the public. You'll pass through 45 galleries, including the famous Gallery of Tapestries and Gallery of the Geographical Maps, while your guide shares the stories behind the masterpieces before arriving at the magnificent Raphael Rooms and finishing in the Sistine Chapel. Take a moment or two to appreciate Michelangelo's breathtaking frescoed ceiling and "Last Judgement," then view the Papal Tombs and climb the steps to the top of the Basilica. As dusk falls, go for a stroll in the buzzy Monti neighborhood, an eclectic area not far from the Colosseum, full of charming enotece (wine bars) and trendy boutiques. Sip Prosecco in the piazza, then find the perfect rooftop restaurant for dinner with sunset views over the city's silhouetted umbrella pines. Day 9: Exclusive Colosseum & Forum Tour, Afternoon Cooking Class Follow in the footsteps of gladiators this morning with a private walking tour of Rome's iconic Colosseum. Built by Flavian emperors in 80 CE as the epicenter of Ancient Rome's public entertainment, you'll slip the queues and discover the amphitheater's highlights and the labyrinthine dungeons. You'll also get special access to the arena itself—it's a moment to remember as the custodian unlocks the gates and you imagine the roar of 80,000 spectators calling your name. Continue your step back in time with a short walk to Palatine Hill, once an exclusive neighborhood for political leaders and emperors, where you'll see ruins of the sprawling palaces. Admire the umbrella pine-dotted views toward the Vatican, Circus Maximus, and the Roman Forum—the focal point of political life in Ancient Rome and your final stop. Explore the forum's vast 2,000-year-old excavations that reveal the temples, squares, and religious sites used by the empire's noble citizens. Meanwhile, your guide will bring the ruins to life with fascinating stories of the political power plays conducted here. Later on, you'll continue your immersion into Italian life with an authentic cooking class led by a local, who'll guide you through the different types of pasta used in Roman cuisine and the four classic sauces: carbonara, cacio e pepe, alla gricia, and amatriciana. You'll start by preparing the dolce (dessert). Choose from a classic tiramisu or gelato and leave to set as you work on the pasta. Learn how to mix and knead your flour and eggs, then cut or shape your preferred type of pasta. At the end of the workshop, sit down with your teacher and enjoy your creations. Day 10: Galleria Borghese Tour, Free Afternoon in Rome Spend the morning exploring Rome at your own pace and follow in the footsteps of locals with the tradition of caffè and a cornetto semplice (croissant) at one of the local bars. Head along the River Tiber to the wisteria-filled back streets of Trastevere to browse the boutiques, wander the shady piazzas, and people-watch. Or stock up on foodie treats to take home with a visit to the vast covered market in Testaccio, where you'll find all manner of cured meats, formaggi (cheeses), artisan pasta, pestos, and chocolates. In the afternoon, soak up the beautiful gardens at Villa Borghese, a green oasis in the north of the city, and take a private tour of the ornate rooms of Galleria Borghese, where you'll see sweeping frescoes, Bernini statues, and numerous works by Bellini, Raphael, Titian, Rubens, and Caravaggio. As dusk falls, head to Gianicolo Hill to see the sunset and the twinkling St. Peter's Dome and dine at Armando al Pantheon, a Roman institution, moments from the historic temple. Day 11: Train to Naples, Transfer to Praiano via Pompeii, Mount Vesuvius Helicopter Flight After one last stroll of Rome's cobbled streets and a walk along the River Tiber, you'll take a private transfer to the station and travel first class on a high-speed train bound for Naples, Campania's capital. Your destination is the evocative Amalfi Coast, awash with lemon groves and tumbledown pastel villages that stretch across the rocky coastline. You'll make a couple of stops en route, the first at a winery on the slopes of Mount Vesuvius, where you'll enjoy a tasting of local Lacryma Christi wines made from grapes indigenous to the volcano's unique terrain. Your next stop is Pompeii, one of Italy's most fascinating archaeological sites that was frozen in time when the ash and volcanic debris that flowed from Mount Vesuvius in 79 CE preserved many of the town's structures in their entirety. Arrive in Praiano, and you'll enjoy one final surprise that's a sure contender for the highlight of your trip: a private helicopter flight over Mount Vesuvius and Pompeii for an aerial view of the sites you explored earlier. You'll land at the legendary Villa Cimbrone, one of the Mediterranean's most prestigious hotels, where you'll enjoy a cocktail on the famous terrace with views of the coast. Day 12: Guided Tour of Amalfi, Citrus Farm Visit & Limoncello Tasting A quick drive up the coast from Praiano, Amalfi is one of the Mediterranean's jewels, famous for its picturesque whitewashed houses, historical churches, and exquisite handmade paper. Your private guide will accompany you on a tour of the town, where you'll stop for gelato in the beautiful Piazzetta di Sant'Andrea, Amalfi's main square, before wandering up to the top of the town to the Romanesque-Baroque Cattedrale di Sant'Andrea. In the afternoon, you'll drive along the coast to a scenic lemon farm, where you'll meander through lemon groves filled with Sfusato Amalfitano lemon trees. See the farmers at work and discover the special qualities of Amalfi lemons and how citrus fruits are used throughout Italian cooking in both salato (savory) and dolce (sweet) dishes. You'll end your tour with a delicious farm lunch using local produce and finish by tasting the farm's own artisanal limoncello (lemon liqueur). Afterward, your driver will drop you back in Praiano, where the rest of the day is yours to enjoy at leisure. Rent a kayak and explore emerald green grottos and visit tiny hidden beaches or hike one of the area's many walking trails, including the aptly named "Path of the Gods." In the evening, find a scenic spot and people-watch over aperitivi, then head out to dinner and dine on delicious seafood as you savor the picture-perfect Mediterranean views. Day 13: Private Luxury Yacht Cruise to Capri Spend your final morning on the Amalfi Coast cruising in luxury aboard a private yacht as you sail across the azure waters to the island of Capri, known locally as the "Pearl of the Mediterranean." You'll arrive at the Marina Grande harbor, where the day is yours to explore the island at your leisure. Head first to the quaint village of Anacapri perched toward the top of the island. Here, you'll see the sweeping views of the Gulf of Naples and Mount Vesuvius that prompted Emperor Tiberius to build twelve villas on the isle. Stroll Piazza Vittoria and stop for a gelato before taking the chairlift from Anacapri to Mount Solaro. At 1,932 feet (589 m) above sea level, it's the island's highest point and offers more astonishing views across the bays and over to the Calabrian mountains. When you're ready, make your way back down and enjoy lunch overlooking the coastline. You'll return to Praiano in the evening for a relaxing dinner on your hotel's terrace, the perfect setting to toast your Italy trip.
5438	dbpedia	0	96	https://dantemanchester.org.uk/eventi/events-archive/	en	Events archive	https://dantemanchester.…1/image002-1.jpg	https://dantemanchester.…1/image002-1.jpg	[ "https://dantemanchester.org.uk/wp-content/uploads/2014/04/cropped-dante-new-header.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/11/image002-1.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/11/image002.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/10/image004.png", "https://dantemanchester.org.uk/wp-content/uploads/2023/10/image002-e1697236196296.jpg?w=650&resize=650%2C279#038;h=279", "https://dantemanchester.org.uk/wp-content/uploads/2023/10/image003-e1697236173218.png?w=302&resize=302%2C279#038;h=279", "https://dantemanchester.org.uk/wp-content/uploads/2023/09/image003.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/08/image002.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/06/castellabate-presentazione.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/05/theleopard1963.81203.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/02/saba.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2023/01/evento-febbraio-2023.png", "https://dantemanchester.org.uk/wp-content/uploads/2022/12/christmas-socia.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/11/vivaldi_manchester_sonatas.png", "https://dantemanchester.org.uk/wp-content/uploads/2022/10/kino-2022.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/10/dante-23.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/09/european-day-of-language.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/09/evento-22-settembre.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/07/evento-stefano.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/04/women-in-cinema.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/03/softbank-robotics-nao_0.png", "https://dantemanchester.org.uk/wp-content/uploads/2022/02/evento-silvana.png", "https://dantemanchester.org.uk/wp-content/uploads/2021/09/edl_2021.png?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2021/09/edl_2021-speakers.png", "https://dantemanchester.org.uk/wp-content/uploads/2021/04/dante-2021.png", "https://dantemanchester.org.uk/wp-content/uploads/2021/10/kino-2021.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2021/06/image003.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2022/02/roma_poster.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2021/04/franz-liszt-oil-canvas-henri-lehmann-carnavalet-1840.jpg?w=237", "https://dantemanchester.org.uk/wp-content/uploads/2021/02/ricomincio_da_tre.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2020/01/image003.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2020/04/image001.png", "https://dantemanchester.org.uk/wp-content/uploads/2020/09/programme-edl-2020.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2020/11/panorama-di-napoli-gettyimages.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2019/01/leda.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2019/01/halle-opera.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2019/03/image006.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2019/04/ilconformistalocandina.png?w=207", "https://dantemanchester.org.uk/wp-content/uploads/2019/04/cavpaglocandina.png?w=300", "https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS3COze9Xr29rbDyp87TSKEW2ST8GJwbkvAqGD9cnQp7gG7aY6A", "https://dantemanchester.org.uk/wp-content/uploads/2019/09/locandina-visioni-sarde.jpg?w=186", "https://dantemanchester.org.uk/wp-content/uploads/2019/10/sett-lingua-it-2019.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2019/11/60830-gettyimages-1072608926.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2019/11/cq5dam.thumbnail.cropped.1000.563.jpeg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2018/01/christina_rossetti_3.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2018/01/model-d-steinway-concert-grand-piano-steinway-pianos-steinway-piano-concert.png?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2018/03/la-giusta-distanza-locandina-low.jpg?w=210", "https://dantemanchester.org.uk/wp-content/uploads/2018/04/italian-flag-picks.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/04/italian-flag-picks.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/06/festa-italia-logo.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/08/pizza-1.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/08/image001.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2018/08/primavera-botticelli.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/11/savethebooks.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/11/img_6083.png?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2018/11/img_6084.png?w=206", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/turner-venice.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/sanremostory.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/festa-italia-20171.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/festa-italia-2017-2.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/9e5bfe1be37947627d5861832d7ef9c9-2.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/460x259_garofalo_firma_il_cinema.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/maxresdefault1.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/unnamed-2.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/unnamed.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/johnny-stecchino.jpg?w=210", "https://i0.wp.com/kinofilm.org.uk/wp-content/uploads/2015/04/15.logo2015.jpg", "https://botw-pd.s3.amazonaws.com/styles/logo-thumbnail/s3/122014/untitled-1_0.png?itok=gyZHL4g_", "https://i0.wp.com/www.ferraripavarottiland.it/public/img/01-1973-1981.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/italian-laid-table.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/terre-dante-logo1.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/da-logo.png", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/marcantonio-raimondi.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/ric.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/pzz.png?w=150", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/da.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/film-screen.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/mcr-day16.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/european-city-of-science-mcr.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/da-logo1.jpg", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/af_mcr.jpg?w=130", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/ic_mcr.jpg?w=150", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/cosi-fan-tutte-mozart.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/salento-img.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2016/01/kinofilm2016_wide.jpeg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/vivaldi-four-seasons-serenissima.png?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/prosecco.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2015/09/wpid-wp-14413444477531.png", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/dantes-inferno.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/il-capitale-umano-cover-vcd-front.jpg?w=300", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/eventi-verdi.jpg?w=625", "https://dantemanchester.org.uk/wp-content/uploads/2014/04/evento-boccaccio.jpg?w=625", "https://secure.gravatar.com/blavatar/f21d2a0f0f7faa57f4bcf8f934b576c92ae6fb6cef4709958642f5c8cb5734fb?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-04-25T05:00:41+00:00	* 2023 Events Archive * SOCIAL DANTE FOR CHRISTMAS – BRINDISI DI NATALE SATURDAY 9 December 2023 – 4.15pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N Come along for a special gathering to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or…	it	https://secure.gravatar.com/blavatar/f21d2a0f0f7faa57f4bcf8f934b576c92ae6fb6cef4709958642f5c8cb5734fb?s=32		https://dantemanchester.org.uk/eventi/events-archive/	* 2023 Events Archive * SOCIAL DANTE FOR CHRISTMAS – BRINDISI DI NATALE SATURDAY 9 December 2023 – 4.15pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N Come along for a special gathering to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. ITALIAN SONGWRITERS – WHEN MUSIC MEETS POETRY Italy has a long history of creative singer-songwriters who have shaped the country’s music industry and continue to do so. Angelo Farnetano will give a short presentation in English on the (possible) connection between poem and song by listening to few of them. During the evening we will take the opportunity to introduce our Poetry Club / Club di Poesia which will start its meetings from January 2024. Don’t miss it! CANTAUTORI ITALIANI – LA MUSICA INCONTRA LA POESIA L’Italia ha una lunga storia di cantautori creativi che hanno influito sulla musica del nostro paese. Angelo Farnetano darà una breve presentazione in inglese sul (possibile) collegamento tra poesia e musica facendoci ascolare alcune canzoni. Durante la serata sfrutteremo l’occasione per introdurre il nostro Club di Poesia che inizierà a riunirsi da gennaio 2024. Non mancate! Admission: members and our students of Italian FREE / non-members £ 3.00 Advanced booking would be highly appreciated to enable us to prepare the room and get enough panettone and (above all) prosecco. RSVP by Thursday 7 December – please contact dante@newfuture.org to book The Bay of Naples – from Antiquity to the Digital World SATURDAY 18 November 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N A look at the places of interest around the Bay of Naples with highlights of Pompeii and Herculaneum and some interesting recent research. Speaker: Audrey Sheen Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Pia Pera’s poetics of the planetary garden – an example of sustainability SATURDAY 21 October 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N Speaker: Dr Marina Spunta (Associate Professor of Italian, School of Arts, University of Leicester) ITALIANO Questa presentazione esplora la poetica del giardino di Pia Pera, come esempio di sostenibilità. Intendo considerare l’importanza dell’opera letteraria di Pera (1956-2016) per rivedere il nostro rapporto con piante e giardini nel definire nel XXI secolo, e posizionare l’autrice come una voce originale all’interno del dibattito corrente sull’ambiente. ENGLISH This talk explores Pia Pera’s poetics of the garden as an example of sustainability. I will consider the significance of the literary works of Pera (1956-2016) for revisiting our relation to plants and gardens in the XXI Century, and position the author as an original voice within contemporary environmental debates. Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL The talk (in English and Italian) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org The event has been arranged on the occasion of: XXIII edizione (16-22 ottobre 2023) della Settimana della Lingua Italiana nel mondo: “L’italiano e la sostenibilità” XXIII Week of the Italian Language in the World: “Italian and Sustainability” Sotto l’Alto Patronato del Presidente della Repubblica Under the High Patronage of the President of the Italian Republic EUROPEAN DAY OF LANGUAGES STORYTIME @ Manchester Central Library SATURDAY 23 SEPTEMBER 2023 – 2.00pm to 3.00pm Venue: Manchester Central Library, St Peter’s Square, Manchester M2 5PD Bonjour! Ciao! Hola! Hello! Celebrate European languages with your children or grandchildren! Let them discover new cultures and learn some new vocabulary in a fun and creative way with this very special Storytime at Manchester Central Library. Native-speaker storytellers will share stories in Italian, French, Spanish and English before inviting children to take part in simple craft activities. Suitable for children aged 4-7. No Booking required. Anna Maria Forti Sheikh, teacher Violaine Reinbold, teacher Magaly Flores, teacher Angela Rawcliffe, Manchester Central Library Event co-organised by Società Dante Alighieri, Instituto Cervantes, Alliance Française in Manchester and Manchester City Council See you there! The Pre-Raphaelite Brotherhood: Italy and the Industrial North of England SATURDAY 16 SEPTEMBER 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Image: Dante Gabriel Rossetti, Dante meeting Beatrice (1864) Manchester Art Gallery This paper will examine the strong links between the famous Pre-Raphaelite Brotherhood, their northern industrial patrons and their extensive use of Italian medieval literary and cultural sources in the nineteenth-century. As ever, links will be made back to Mrs Rylands’ books and the art collections of a founder member of the Manchester Dante Society who gifted his Dante paintings and books to the city. Speaker: Talk by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Non mancate / Don’t miss it! Cilento: the Amalfi coast’s sister SATURDAY 1 JULY 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Cilento is an area in the South of Italy, around 100 km south of Naples. Thanks to its outstanding natural beauty and its great historic value, 25 years ago it became an UNESCO World Heritage Site; it is also an Italian National Park (Parco Nazionale del Cilento e del Vallo di Diano). Cilento is not far from the Amalfi coast (they both are located in the Provence of Salerno) but despite its spectacular landscape it is not Internationally famous as it is a rural area and only a few facilities are available for foreign tourists. During this presentation we shall explore some of Cilento’s beauties and we shall dig into its history. We will start our trip visiting some villages located by the sea and we will finish exploring mountains as high as almost 2000 m. We will also time travel going back to Greek and Roman time and back again to present day. Join us if you want to find out more about this area. Speaker: Angelo Farnetano Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Non mancate / Don’t miss it! IL GATTOPARDO – THE LEOPARD By Luchino Visconti – Italian with English subtitles – Duration 178 minutes SATURDAY 20 MAY 2023 – 4.00pm for 4.10pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Join us to mark the 60th anniversary of one of the most famous and celebrated movies of all time. The screening will be preceded by a brief presentation of the historical context by Angelo Farnetano and by a brief introduction to the film by Dr Silvana Serra. Venue: Cross Street Chapel – Cross Street Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 (drinks included) To organise seating, drinks and popcorn it would be helpful if you could book in advance at dante@newfuture.org Non mancate / Don’t miss it! “SOCIAL DANTE” – Informal get together over spritz and cicchetti Saturday 29 April 2023 – 4.15pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Please confirm your attendance before Thursday 27 April 8.00pm (see below) FESTA DI SAN MARCO (Saint Mark Day) is a festival in Venice held in April to celebrate Venice’s patron saint, Saint Mark. It is also known as the Rosebud festival (Venetian: festa del bócoło). On this day, men traditionally give a single rosebud to the women they love. These two Venetian traditions go back to ancient times. Let’s discover Venice legends and gastronomy and what Venetians do on this day. Alida, Stefano and Manuela will take you through the various traditions and we will enjoy together a Spritz, one of the most popular Italian drinks, and few typical nibbles/cicchetti. Admission: members and our students of Italian FREE / non-members £ 5.00 Booking is required by Thursday 27 April 8.00pm – Please note that we cannot accept late bookings due to purchase and preparation of refreshments. RSVP: dante@newfuture.org Vi aspettiamo! Translating Umberto Saba by Patrick Worsnip Saturday 1 April 2023 – 4.15pm for 4.30pm start (this event was originally scheduled for the 4th of March) Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Patrick Worsnip (Patrick Worsnip read Classics and Modern Languages at Merton College, Oxford. He worked for more than 40 years as a correspondent for Reuters news agency, with postings in Europe, the Middle East, the United States and Rome. Since retirement in 2012, he has devoted himself to translation, mainly of poetry including a selection of work by the Latin poet Propertius and La Divina Commedia.) Patrick Worsnip will be introduced by the poet Jeffrey Wainwright. Umberto Saba (1883-1957) is one of the towering figures of Twentieth-Century Italian poetry, jointly with Eugenio Montale and Giuseppe Ungaretti. His Canzoniere (first published in 1921, but subsequently re-edited and expanded until its final edition of 1956) was much loved and embraced by younger poets and yet, it is still today rarely frequented by Italian readers, and, what’s more important for us today, virtually unknown to British readers. This is being redressed at last, by the volume Umberto Saba, 100 Poems, edited and translated by Patrick Worsnip, published by Carcanet Press. Presentation of the volume, which then will be followed by a poetry reading in English and Italian. The talk (in English and Italian) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3.00 To better arrange seating and refreshments, please book in advance by emailing us at dante@newfuture.org AGM (Riunione Annuale Soci) – members only Friday 17 March 2023 – 6.00pm (ZOOM) Please confirm your attendance to dante@newfuture.org and you will receive the Zoom link a couple of days prior to the meeting. AGM (Annual General Meeting / Riunione Annuale Soci) – members only – Welcome/opening remarks – Treasurer’s report 2022 – All members of the current Executive Committee to step-down except for the Honorary President – New Executive Committee to be elected – Overview of SDA activities in 2022 – Discussion and proposals for future events and activities in 2023 – Any other relevant business Vi aspettiamo! Transitions in Print: Revealing Secrets of the European Printing Revolution Thursday 9 February 2023 – Arrival 5:00pm onwards – Talk starts at 5:45pm John Rylands Research Institute and Library, 150 Deansgate, Manchester M3 3EH It will be possible to browse/visit the exhibition from 5:00-5:45pm on arrival, with the talk/presentation and close up session to take place between 5:45-6:45 in the Teaching Room. he Rylands has one of the world’s greatest collections of 15th-century European printing. For over 100 years, innovative technologies have been used to examine these earliest printed artefacts, many of which are Italian in origin. In this exhibition we explore how scientists, historians and imaging specialists are joining forces to develop tools and new ways of looking at these historic documents using cutting-edge techniques, giving us new insights into our earliest printed heritage. Prof. Stephen Milner has been particularly involved in one project that uses protein and DNA analysis of interrogate books printed on parchment (animal skin), especially in Venice during the time of Aldus Manutius the famous printer and inventor of the ‘italic’ typeface. Talk by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) You are welcome to arrive early to view the exhibition yourself before the event starts at 5:45pm. The event will end around 6.45pm as the library closes at 7.00pm Please book your place as soon as possible by emailing us at dante@newfuture.org – Places are available on a first come, first served basis. * 2022 Events Archive * Social Dante for Christmas – BRINDISI DI NATALE Saturday 10 December 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Come along for a special gathering to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. We will celebrate the approaching Christmas Time with the witty and light-hearted speech (in English) by the famous Italian conductor Riccardo Muti, and enjoy his beautiful directorial skills, by listening to a fragment from the Rossini’s opera Gugliemo Tell, performed by the “Orchestra del Teatro La Scala” di Milano. There will be a brief introduction in English by Roberta Collingwood. Don’t miss it! Admission: members and our students of Italian FREE / non-members £ 3.00 Advanced booking would be highly appreciated to enable us to prepare the room and get enough panettone and (above all) prosecco. RSVP by Thursday 8 December – please contact dante@newfuture.org to book Vivaldi’s “Manchester” Sonatas Saturday 15 November 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Dr Roberta Collingwood (Istituto Italiano Antonio Vivaldi, Venezia) Exactly 50 years ago the Vivaldi scholar, Michael Talbot, discovered by chance the manuscript of twelve, unknown violin sonatas in Manchester’s Central Music Library. It was an important find, not just because the music is by Vivaldi, but because it is the third largest collection by the composer ever found, and also an excellent one. The manuscripts were part of a bulk of partially identified music which was bought at auction by the Central Music Library in the mid-1960s. How did this wonderful music arrive in Britain? Join us next Saturday when we unveil a fascinating story of research and discovery. The TALK (in English) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £3 In order to arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org KINOFILM FESTIVAL 18th Edition Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. KINOFILM™ will present its 18th short film festival, Manchester International Short Film and Animation Festival from 19 to 30 October 2022. The festival will be opening with the partners’ European programmes at the Cervantes Institute Manchester. This will be the Spanish Shorts programme on Wednesday 19 October in association with the Instituto Cervantes followed by the Italian Shorts programme on Thursday 20 October in association with the Societa’ Dante Alighieri in Manchester – both programmes will start at 6.30pm (doors open 6pm) Once again Societa’ Dante Alighieri in Manchester and KinoFilm are proud to offer an evening of Italian shorts hosted by the Instituto Cervantes. Thursday 20 October 2022 – ITALIAN PROGRAMME 6.30pm (doors open at 6.00pm programme starts at 6.30pm) Venue: Instituto Cervantes, Manchester – FREE EVENT – advance booking is advised Full details and tickets on following link https://www.eventbrite.co.uk/e/kinofilm-italian-shorts-programme-tickets-430299676917 ……………………………………………………………………………………………… SPANISH PROGRAMME on Wednesday 19 October 2022 – 6.30pm (doors open at 6pm) – FREE EVENT Full details and tickets on KinoFilm 18th Edition: Spanish Shorts Programme (Cert 15) Tickets, Wed 19 Oct 2022 at 18:00 \| Eventbrite Dante visionary: a reading of PARADISO 23 Saturday 15 ottobre 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Spencer Pearce (Honorary Research Fellow, Italian Studies, The University of Manchester) The speaker will address the religious context in which Dante’s Commedia was written. Next, we shall read together the text of Paradiso 23 (text and English translation will be supplied) and consideration will be given to the meaning and significance of what is perhaps the most lyrical canto in the entire poem. The aim is to provide the listener with as complete an understanding of Dante’s vision as time allows. The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org EUROPEAN DAY OF LANGUAGES STORYTIME @ Manchester Central Library Saturday 24 September 2022 – 2.00pm to 3.00pm Manchester Central Library, St Peters Square, Manchester M2 5PD Bonjour! Ciao! Hola! Hello! Celebrate European languages with your children or grandchildren! Let them discover new cultures and learn some new vocabulary in a fun and creative way with this very special Storytime at Manchester Central Library. Native-speaker storytellers will share stories in Italian, French, Spanish and English before inviting children to take part in simple craft activities. Suitable for children aged 4-7. No Booking required. Delia Maianti, teacher (Italian Consulate in London-Manchester) Violaine Reinbold, teacher Magaly Flores, teacher Angela Rawcliffe, Manchester Central Library Event organised in collaboration with Alliance Francaise, Instituto Cervantes and Manchester’s Central Library. See you there! DESIGNING DANTE EXHIBITION,MRS RYLANDS AND THE DANTE SOCIETY Thursday 22 September 2022 – 5.15pm for 5.30pm start John Rylands Research Institute and Library, 150 Deansgate, Manchester M3 3EH A brief talk and examination of Dante objects specifically linked to Mrs Rylands and the early years of the Manchester Dante Society before a tour of the Designing Dante exhibition. Find more information on the exhibition here: https://www.library.manchester.ac.uk/rylands/visit/events/designing-dante/ Talk and guided tour by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) You are welcome to arrive early to view the exhibition yourself before the event starts at 5.30pm. The event will end around 6.45pm as the library closes at 7.00pm Please book your place as soon as possible by emailing us at dante@newfuture.org – Places are available on a first come, first served basis. SNIPPETS OF HISTORY Saturday 25 June 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: STEFANO FORCOLIN Stefano is an accomplished Philatelist and in his collections there are many documents dating back up to the 15th century. Some of them will be the subject of this presentation. Like in a jigsaw puzzle every piece contains a small piece of a large design, so each of the letters and documents that will be showcased gives a minute particular of the past history of Italy (but not only). The talk is in English and includes display of original documents and presentation of some historically related images, with particular emphasis to the Napoleonic period. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org BREAKING THE CELLULOID CEILING Women in European cinema From Mon. 9 May to Thurs. 12 May 2022 Instituto Cervantes (326-330 Deansgate, Manchester M3 4FN) Manchester’s Instituto Cervantes, Società Dante Alighieri and Alliance Française invite you for a 4-day celebration of European Cinema with a focus on women in the industry. These free events include an evening of discussion followed by 3 nights of film screenings. In collaboration with HOME. MONDAY 9 MAY: DISCUSSION + Q&A 6pm – Instituto Cervantes (M3 4FN) Join us as we discuss roles, specific works by women, and opportunities for women in the European film industry. Focusing on 4 countries (UK, Spain, Italy and France), our panel of experts will address what is unique in how women directors, screenwriters and/or producers approach film-making, and highlight the opportunities for and contributions of women in the industry. Discussion will be followed by a Q&A. In English – Free – Open to all Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-1-discussion-tickets-30342874253 TUESDAY 10 MAY: NOTRE DAME FRANCE \| COMEDY \| 2020 \| 88 mins \| CERT. 15 Dir. Valérie Donzelli with Valérie Donzelli, Pierre Deladonchamps, Thomas Scimeca “A crackling and offbeat comedy that transforms sadness into shared joy”. Cineuropa Maud Crayon (Valérie Donzelli), a single mother and struggling architect, wins a competition to redesign the esplanade in front of Notre-Dame. What should be a career-defining opportunity, however, only brings more drama when the project becomes a media scandal. Juggling professional challenges with the complications presented by her ex-fiancé, Bacchus (Pierre Deladonchamps), Maud’s quest to find a sense of balance is easier said than done. Shot just before the shocking fire at Notre-Dame, this light-hearted comedy is also a love letter both to Paris and one of its most famous landmarks. In French with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-2-screening-tickets-303474790267 WEDNESDAY 11 MAY: SE QUIEN ERES / I KNOW WHO YOU ARE SPAIN \| THRILLER \| 2000 \| 100 mins \| CERT. 13 Dir. Patricia Ferreira with Ana Fernández, Miguel Ángel Solá, Roberto Enríquez Paloma is a young psychiatrist, hired to work as a director of a clinic in Galicia, and is attracted to Mario, her very first patient. He suffers from a rare form of amnesia, commonly known as Korsakoff’s syndrome. As a result, both his short- and long-term memories are affected, and he has temporary lapses of perception. However, Paloma finds Mario to be a fascinating individual, not just a regular patient. Intrigued, she decides to explore Mario’s past, and, through their dialogues, their relationship takes an unexpected turn. (Filmaffinity) In Spanish with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-3-screening-tickets-303504438947 THURSDAY 12 MAY: PASQUALINO SETTEBELLEZZE / SEVEN BEAUTIES ITALY\| COMEDY/DRAMA \| 1975 \| 115 mins \| CERT. 18 Dir. Lina Wertmüller with Giancarlo Giannini, Fernando Rey, Shirley Stoler This film is a journey into the moral awareness of an everyday Neapolitan man – Pasquale Frafuso – ironically nicknamed by local people as Pasqualino Sette Bellezze (seven beauties). In 1930s Fascist Italy, he makes a point of living a carefree life, steering clear of any socio-political discourse. Yet life and history have a different plan for him. So after a funny start, the story takes a dramatic twist, as Pasqualino’s attempt to escape from a mental hospital ends in his imprisonment in a Nazi concentration camp. Here he will be forced to face horrible and impossible choices in order to survive. For this film, Lina Wertmüller was the first female director to be nominated for the Academy Awards in 1977, together with nominations as best screenplay written directly for the screen; best actor in a leading role (Giancarlo Giannini) and best foreign language film. When she received an Honorary Academy Award in 2019, trailblazing Italian filmmaker Lina Wertmüller added another historic notch in her career belt. In Italian with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-4-screening-tickets-303524258227 Dante, light and technology Saturday 2 April 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL A talk by Jim Howell and Angelo Cangelosi (Professor of Machine Learning and Robotics at the University of Manchester) with “special guest” the small robot Nao. Jim Howell – Dante was fascinated by light both poetically and scientifically. This is especially to be seen in ‘Paradiso’, the part of the Divine Comedy which is being more and more studied in our twenty first century. Jim will talk about his own exploration of this aspect of the poet’s philosophy and trace a possible source of some his ideas which may surprise you. Angelo Cangelosi – Robots have been used to recite poetry, such as Dante’s Commedia. This gives us a motivation to reflect on how robots and machines can use and understand language, by taking inspiration from child psychology and philosophy of language. The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members Free / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org GRAZIE La Divina Commedia / The Divine Comedy INFERNO: First Political Pamphlet Saturday 29 January 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL A reading of the Inferno as a device Dante used to convey, in a constructive way, the anger and resentment harboured in his heart. Speaker: SILVANA SERRA The talk is in English and includes the reading of selected verses in Italian by Silvana and in English by Pauline and Jim Howell. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org. * 2021 Events Archive * European Day of Languages: celebrating linguistic diversity (In English – mainly – free and open to all) Monday 27th September 2021 – “Do you speak polyglot?” (6.00PM – 7.15PM) To mark the European Day of Languages organised by the Council of Europe, the Società Dante Alighieri, the Instituto Cervantes and the Alliance Française of Manchester invite you to celebrate language diversity, intercultural understanding and multilingualism through an online talk with two exceptional guests: Richard Simcott and Andreas G. Wolff. Taken together, Richard and Andreas can speak over 60 languages. They will share with us their experience and tips for language learning; they will discuss the challenges and advantages of polyglotism and how it can influence personal and professional life, and they will answer all your questions. Join us for this round table on Monday 27th September, from 6PM to 7:15PM. This event is organised by Alliance Française de Manchester, the Società Dante Alighieri Manchester and the Instituto Cervantes. Richard Simcott is a British polyglot, who has studied over 50 languages. HarperCollins described him as one of the most multilingual people in the United Kingdom, and the Goethe Institute gave him the title Ambassador for Multilingualism. He has many years of consulting experience using languages with diverse clients and offering his expertise on multilingual and multinational projects. He is the original founder of the Polyglot Conference and The Language Event and manages a popular Facebook page called Speaking Fluently. Andreas G. Wolff, originally German, holds a BA (Hons) in Gaelic Language and Culture and an MA in International Journalism. He is now a video journalist with the BBC in Scotland, working in English and Gaelic. At home he speaks Spanish and Italian, the native languages of his wife, Jessica. A self-confessed language junkie, he is also fully proficient in French and has colloquial proficiency in Russian and Portuguese. He has a basic knowledge of Mandarin, Irish and most recently Northern Frisian. Andreas has previously taught adult Gaelic language classes and is certified by the International Association of Hyperpolyglots: HYPIA (hyperpolyglots are fluent in more than six languages). He is president of the Taynuilt Gaelic Choir. –> Click here to register and get the ZOOM link to the event <– https://www.eventbrite.co.uk/e/do-you-speak-polyglot-tickets-169828855679 Divine Notes for a Divine Poet: Dante between Classical Music and Heavy Metal – Part 2: Purgatory Thursday 23rd September 2021 – 6.00PM (free event on Zoom) Speaker: Alessandra Pompili After journeying through Hell (Inferno) in company of some of the musicians who were inspired by Dante’s narrative of despair, we turn our attention to Purgatory. Purgatory is a strange realm: not full hopelessness neither full bliss, it is inhabited by souls who are on the way to Heaven but still barred from it. They voice their quiet expectation through singing, and this evening will look at both the music they produce and the music that has been written to depict their temporary state. –> Please register at dante@newfuture.org for the ZOOM link <– For more info, please visit https://www.alessandrapompili.com/projects KINOFILM FESTIVAL 2021 – 17th Edition Wednesday 20 October 2021, 18:00 – ITALIAN PROGRAMME (Doors open at 6.00PM – programme starts at 6.30PM) Venue: Instituto Cervantes, 326-330 Deansgate, Manchester M3 4FN FREE ENTRY Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. KINOFILM™ will present its 17th short film festival, Manchester International Short Film and Animation Festival from 19th to 26th October 2021 Once again Società Dante Alighieri in Manchester and KinoFilm are proud to offer an evening of Italian shorts hosted by the Instituto Cervantes. Full details and tickets at the following link: https://www.eventbrite.co.uk/e/184925335657 Please note: due to Covid-19 restrictions, capacity is limited. Please book your ticket as soon as possible. Industrial Dante Thursday 10th June, 7 – 8PM UK Time On Zoom – FREE event – Early Registration is required The following event is hosted by the Public Programmes Team at the John Rylands Research Institute and Library in collaboration with the Manchester Branch of the Società Dante Alighieri and Manchester Art Gallery. On the 700th anniversary of his death, join us to explore how Victorian Manchester embraced medieval Italian poet, Dante Alighieri. Professor Stephen Milner of the University of Manchester, explores the city’s role in the emergence of the ‘Cult of Dante’ in nineteenth-century Britain and takes us behind the scenes to reveal the role of Library founder, Enriqueta Rylands as a Dante collector and first Vice-President of the Manchester Dante Society. We will be joined live from Rome by Simona Giordano, who has been working on the rediscovered archive of the Manchester Dante Society. Simona looks back to a fascinating programme of events organised in 1921. Manchester Art Gallery Curator, Hannah Williamson treats us to a look at Dante inspired collections, including a gift made to by an early member of the Manchester Dante Society. The event will include a 40 minute talk followed by 20-minute Q&A. Book your Free place: https://www.eventbrite.co.uk/e/online-event-industrial-dante-tickets-154077336461 The talk will take place on Zoom, the link will be sent to you on the morning of the event. …………………………………. Professor Stephen J. Milner is Serena Professor of Italian at the University of Manchester and Honorary President of Societa’ Dante Alighieri in Manchester (Twitter: @italprof) The Romans: a shared European cultural heritage Thursday 6th May 2021 – 6.00PM (free event on Zoom) Wednesday 12th May 2021 – 6.00PM (free event on Zoom) On 6 and 12 May 2021, the Società Dante Alighieri, the Instituto Cervantes and the Alliance Française of Manchester invite you to celebrate Europe’s shared cultural roots through a discovery of the Roman heritage of four countries: the United Kingdom, Italy, Spain and France. Join us for four online talks + Q&A over two evenings with renowned historians: on 6 May discover the secrets of Ancient London and explore Italian Paestum, a Greek colony conquered by Rome; on 12 May wander the streets of the dazzling Tarragona in Spain and learn why Nîmes and Autun are sometimes called the French sisters of Rome. Free – These events will be held in English Click here to book your place and receive automatically the Zoom link for 6 May and here for 12 May! Alternatively you can reserve your place at dante@newfuture.org and the Zoom link will be sent to you prior to the booked event. –> Please register at dante@newfuture.org for the ZOOM link <– FRANZ LISZT – VIA CRUCIS Franz Liszt’ Way of the Cross (members & SDA friends only) Friday 2nd April at 6 PM (on Zoom) Piano: Alessandra Pompili On Lents season, members and friends of our Society are invited to attend the piano concert by our talented friend, Alessandra Pompili. Franz Liszt wrote the Via Crucis between 1876 and 1879. Already a minister of the Catholic Church, Liszt had been progressively absorbed by the composition of sacred works and by a quest for daring experimentations in music writing. The Via Crucis was inspired by a series of paintings on the Stations of the Cross made by German artist Friedrich Overbeck, whom Liszt met when living in Rome. The composition is divided into the fourteen customary stations plus the introductory hymn “Vexilla Regis”: in many ways, it is the only reflection of the last hours of Jesus’ life on earth written for piano. Among the many performances of the Via Crucis by Alessandra are those at the Franz Liszt Museum and Academy in Budapest, the Musei Vaticani, Casa Verdi, the Philharmonia of Krakow, Villa d’Este in Tivoli, the Cathedrals of Sheffield, Lancaster, Glasgow and Wrexham. For more info, please visit https://www.alessandrapompili.com/projects “Ricomincio da tre / I am starting from three” (members only) Sunday 14th February at 4 PM (on Zoom) On St. Valentine’s Day, members of our Society are invited to watch together the lovely movie by Massimo Troisi, “I am starting from three”, a celebration of love and friendship. Both feelings that play an essential role in our need for Connection and Sharing, that the pandemic has so strongly enhanced. We will meet in the afternoon, so have your tea and cake ready! * Il giorno di S. Valentino, siamo lieti di invitare i nostri soci alla visione del bel film di Massimo Troisi, “Ricomincio da tre”, il quale celebra l’amore e l’amicizia, entrambi sentimenti essenziali per soddisfare il nostro bisogno di contatto umano e condivisione, che questa pandemia ha cosi’ fortemente amplificato. Ci incontreremo nel pomeriggio, pertanto siate pronti con te’ e pasticcini! * 2020 Events Archive * Sunday 19th January 2020 – 4.30pm for 4.45pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.00 members – £ 3.50 non-members A tour around Milano discovering its monuments, its stories, its music and its soul Join this lecture to explore this fascinating and dynamic Italian city. Speaker: ANGELO FARNETANO Milano is the financial and industrial capital of Italy. It is a modern city with a vibrant and chaotic life where people from all over the world live and work. Although it is not usually considered as being an art city, Milano has lots of hidden monuments and lots of stories to tell. This lecture will take us for an imaginary tour around the city discovering its main treasures, its life and its secrets. Some songs will be played during this walk to add a bit of flavour to the visit. Some of the places which will be visited are: Piazza Duomo, piazza dei Mercanti, piazza S. Alessandro, Chiesa di San Satiro and Castello Sforzesco. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. To better arrange the necessary refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Thursday 30th April 2020 – 6PM YouTube live event “Maria Malibran – by Marco Bellasi” in cooperation with Instituto Cervantes Manchester and Insitituto Cervantes Leeds. Please go to bit.ly/2Vx2UyV to attend the online event. Friday 25th September 2020 – from 5PM Società Dante Alighieri Manchester, Instituto Cervantes Manchester and Alliance Francaise Manchester present: EUROPEAN DAY OF LANGUAGES 2020 (Online event only) This is a day that represents more than 800 million citizens from 47 different countries and pays tribute to the linguistic diversity of the European continent, with more than 200 languages of its own. You are invited to take part in the rich Europe’s linguistic-cultural heritage, which is seeking to highlight the importance of learning foreign languages to spread their knowledge and increase their value. Last, but not least, also to motivate people to help their continuous learning throughout people’s life. In order to raise people’s awareness on the wide variety of languages that characterise Europe, the Instituto Cervantes in Manchester in collaboration with us, Alliance Française de Manchester and Europia will organise a series of “trial classes” of the different European languages, together with other activities that aim to value our native languages. To register to the online event, please go to: https://bit.ly/34bKLg2 Neapolitan Song and Life in Naples Saturday 14th November 2020 – 6.15PM (online event, see details below) Speaker: Angelo Farnetano Over the last 6 centuries thousands of songs have been written in Neapolitan dialect and some of them have become famous around the world. These songs are not just a combination of nice worlds and music but they offer an amazing picture of people’s life in Naples. Taking advantage of these extraordinary musical treasure, we will explore some of the deepest aspects of Neapolitan culture by listening some of the most famous songs written in Neapolitan dialect. The event will be free and it will be held on line over Zoom, please use the following link to join: Meeting ID: 923 0676 8954 Passcode: 029093 Registration is not required. Early log in is appreciated to allow the host to admit everyone in the room and start the presentation at 6.15PM prompt. Please be aware that the lecture may be recorded. * 2019 Events Archive * Wednesday 6th February 2019 – meeting at 6.15PM for 6.30PM start Manchester Art Gallery, Mosley Street, Manchester M2 3JL Leonardo da Vinci: A Life in Drawing Marking the 500th anniversary of the death of Leonardo da Vinci, an exhibition of some of Renaissance master’s greatest drawings in the Royal Collection will be on display at Manchester Art Gallery. Join us to see these unique masterpieces and discover more about the Maestro of the Italian Rinascimento. A member of our Committee will be waiting for you from 6.15PM in the Main Hall. To round off the evening we will go to DOM’S in Deansgate for a pizza and a chat – in Italian or English. Please confirm your attendance in the comment box at the bottom of this page by 3rd February latest. Thursday 7th March 2019 – meeting beside the ticket office at 7.15PM for 7.30PM start The Bridgewater Hall, Lower Mosley St, Manchester M2 3WS SERATA A CONCERTO – Hallé: Opera Gala Gianluca Marcianò conductor \| Anna Patalong soprano \| Jung Soo Yun tenor Great voices and a great orchestra come together in an evening filled with passion, imagination and unforgettable melodies. Acclaimed Italian conductor Gianluca Marcianò and the Hallé are joined by rising stars Anna Patalong and Jung Soo Yun to bring your favourite operas to life. The concert includes: Che gelida manina and Sì, mi chiamano Mimì from La Bohème; Don José’s deeply moving Flower Song from Carmen; the celebrated singer Floria Tosca’s impassioned plea for redemption in Vissi d’arte from Tosca.. and then arias and duets from the Turandot, Rigoletto, La traviata and many other masterpieces. Meeting details: A member of our Committee will meet you at 7.15PM beside the ticket office. During the interval we will gather at the same spot for greetings and a chat. Tickets: Tickets’ costs are between £14.20 and £44.50 – to be booked individually. Please add £2.00 fee for online or phone booking. Please contact directly The Bridgewater Hall on 0161 907 9000 or visit their website www.bridgewater-hall.co.uk to proceed with the booking. Attendance: Please confirm your attendance in the comment box at the bottom of this page by 1st March latest. We hope to see you there! SYLVIA & SILVIO: A meeting of minds A talk (in English) about Sylvia Pankhurst and Silvio Corio by Alfio Bernabei – curator of the exhibition ‘Sylvia and Silvio’ opening at the end of March at the Working Class Movement Library, Salford Saturday 6th April 2019 – 5.45PM Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Free admission – The evening will conclude with a glass of Italian wine and nibbles. To better arrange the necessary refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Thanks to Elena Palladino, our Executive Committee member, for helping Alfio Bernabei in organising the exhibition and this talk. FILM: IL CONFORMISTA / THE CONFORMIST by Bernardo Bertolucci – 1970 (Movie is in Italian with English subtitles – Duration 112 min) Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra. Seguira’ una breve sessione di domane e risposte. SUNDAY 12 MAY 2019 – 4.00 PM for 4.15 PM start Venue: Cross Street Chapel – Cross Street Manchester M2 1NL Admission: £ 2.00 DA members – £ 3.50 non-members (drinks and nibbles included) Bertolucci’s Oscar nominated adaption of Alberto Moravia’s novel (a thriller set in the Fascist era), is the film which started his partnership with the great cinematographer Vittorio Storaro (award winner for Apocalypse Now and Last Emperor among others), and it is widely considered one of the most visually dazzling and intriguing film of all time. Among other prestigious awards, the film won the Sutherland Trophy (BFI Awards) that same year. Nibbles and drinks will follow. Non mancate / Don’t miss it! To help us better organise seats & nibbles, please book in advance by emailing us at dante@newfuture.org FROM THURSDAY 23 MAY to SATURDAY 25 MAY 2019 – 7.30 PM SERATA ALL’OPERA – City of Manchester Opera presents An opera double bill – CAVALLERIA RUSTICANA by Mascagni and PAGLIACCI by Leoncavallo Venue: Hope Mill Theatre, 113 Pollard Street, Ancoats, Manchester M4 7JA Two well-known operas, with stories set in this production in 1930 and 1950, with gorgeous music from the late 19th century, that will grip your interest and excite your emotions, as the central characters deal with central themes of love, passion and revenge! (Fully staged, with orchestra, and sung in Italian, with English subtitles.) “City of Manchester Opera was originally formed in 1998. Though based in Manchester, we draw our membership from a large area of the north of England. The Company is open to anyone wishing to gain experience of opera and currently we have around thirty singers. Our membership, aged from 17 to 60 plus, comes from a broad variety of backgrounds.” Meeting details: If you attend the show on Thursday 23rd May: Silvana will meet you at 7.15 PM beside the ticket office. During the interval we will gather at the bar for a get together, a drink and a chat. Tickets: Admission £20 / £18 (concessions for Senior Citizens, Students up to 18 & Carers) + £1.50 booking fee Please contact directly the Hope Mill Theatre on 0333 012 4963 (open Mon-Fri 9am-5pm) or visit their website https://hopemilltheatre.co.uk/ to proceed with the booking. The theatre has a bar and restaurant serving home-made pizza and bar snacks. Attendance: Please confirm your attendance by emailing us at dante@newfuture.org by 21st May 2019 latest ANNUAL PIZZA DI FERRAGOSTO Venue: DOM’S Tavola Calda/Pizzeria 40-42 Deansgate, Manchester M3 1RH In the past few years we have celebrated the ‘Ferragosto’ (Italian Summer bank holiday) with a ‘pizza evening’ and this year it won’t be any different! Join us at 6.45PM on Thursday 15th August at DOM’S Deansgate! Booking is essential at dante@newfuture.org by Monday 12th August latest. Afterwards we kindly ask you to book with the venue directly by calling them on 0161 834 2649 Food and drinks are to be paid individually. See you there! Origins of “Ferragosto” The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. On SUNDAY 22nd SEPTEMBER 2019 – 4.30PM Societa’ Dante Alighieri and Comites Manchester are pleased to invite you to the following screening VISIONI SARDE A selection of shortfilms about the people of Sardinia – In Italian with English subtitles Venue: Cross Street Chapel – Cross Street Manchester M2 1NL The screening will be followed by a social gathering with Sardinian wine and nibbles. To allow us to organise the seats and nibbles please book in advance at dante@newfuture.org XIX Edizione della Settimana della Lingua Italiana nel mondo: “L’italiano sul palcoscenico” XIX Week of Italian Language in the World: “The Italian language on the stage” Sunday 3rd November 2019 – 4.30PM for 4.45PM start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Introduzione all’uso della lingua nei libretti d’opera verdiani An Introduction to the use of language in Verdi’s opera librettos Speaker: Dr. ROBERTA COLLINGWOOD The talk will be a mix of English and Italian language, and will be followed by a social gathering accompained by wine & nibbles. Admission: £ 2.00 members – £ 3.50 non-members ITALIANO Il libretto come genere letterario non ha mai goduto di buona fama, più spesso è stato oggetto di aspre critiche. I poeti/librettisti, generalmente di modesto calibro, eccetto qualche rara eccezione, riflettevano il livello della poesia dei melodrammi nel XIX secolo, un periodo nel quale il rapporto tra parola e musica vedeva quest’ultima dominare. Ascolteremo una serie di esempi tratti da opere di Verdi, per evidenziare il peculiare uso della lingua italiana nei libretti d’opera verdiani e mostrare come Verdi abbia influenzato i suoi librettisti sulla base delle idee musicali che aveva in mente. Si cercherà inoltre di chiarire il concetto di “parola scenica” col quale si intende definire la qualità drammatica di un testo operistico. Questo è un concetto coniato da Verdi nel 1870 che si basa sull’idea che ciò che è rilevante in un libretto è l’efficacia drammaturgica delle parole e della trama, piuttosto che la sublimità e la qualità letteraria del linguaggio stesso. Roberta Collingwood è un Music Editor. Ha lavorato per 9 anni per Casa Ricordi (l’editore, tra gli altri, di Verdi e Puccini). È attualmente il Redattore Coordinatore della nuova Edizione Critica delle Opere di Antonio Vivaldi, pubblicata dall’Istituto Italiano Antonio Vivaldi di Venezia, in collaborazione con Casa Ricordi. Ha conseguito il dottorato di ricerca in musicologia al King’s College London (University of London), sotto la guida del Professor Roger Parker. Il suo ambito di ricerca è la filologia della musica applicata al repertorio operistico italiano di Ottocento e primo Novecento. …………… ENGLISH The libretto as a literary genre has never enjoyed praise, more often has been the object of harsh criticism. Poets/librettists were generally of modest stature, with a few exceptions, and reflected the level of the poetry for librettos in the 19th century, a period in which the relationship between word and music saw the latter as dominant. We will listen to a series of examples from Verdi’s work, in order to highlight the peculiar use of Italian language in the librettos for his operas, and see how he influenced librettists’ writing on the basis of the musical ideas he had in mind. We will try to clarify the concept “parola scenica” (theatrical word) meant to describe the dramatic quality of an opera text. This is a key concept coined by Verdi in 1870 based on the idea that what is relevant in a libretto is the dramaturgical effectiveness of words and storyline, rather than the sublimity and literary quality of the language itself. Roberta Collingwood is a Music Editor. She worked for 9 years for Casa Ricordi (the Italian publisher of Verdi and Puccini, amongst others). She is currently the Managing Editor of the new Critical Edition of the Works of Antonio Vivaldi, published by the Istituto Italiano Antonio Vivaldi in Venice, in partnership with Ricordi. She undertook a PhD in Music Research at King’s College London (University of London), under the supervision of Professor Roger Parker. Her research interests are philology of music and 19th-century and early 20th-century Italian opera studies. …………… To allow us to organise the seats and nibbles please book in advance at dante@newfuture.org We are also pleased to inform you that the opera Don Pasquale performed in London on Thursday 24th October will be screened live at Vue Manchester Printworks, Manchester M4 2BS, and replicated the following Sunday. CONCERTO DI NATALE – CHRISTMAS RECITAL SUNDAY 8th December 2019 – 4.30PM for 5.00PM start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL (Download the leaflet: Music Recital – Natale 2019) The recital will include works by Puccini, Rossini, Bellini, Leoncavallo, Tosti and more… Isla MacEwan Soprano Tim Kennedy Piano Come along for a special gathering to exchange the Season’s greetings over a glass (or two, why not?) of Prosecco and a slice of panettone or pandoro! Admission: members £ 2.00 / non-members £ 4.00 Advanced booking is appreciated in order for us to get enough panettone and (above all!) Prosecco. Please contact dante@newfuture.org to book yourself and your friends / family in! FILM – Ladri di biciclette / Bicycle Thieves (movie will be in Italian with English subtitles) – Running time: approx. 1hr and 35′ THURSDAY 19th December 2019 from 20:10-22:15 UTC Venue: St Clement’s Church, Edge Lane, Chorlton-cum-Hardy, M21 9AE Tickets: £5 on the door only (no pre-booking nor reservations, just show up and join) Refreshments available – including Panettone! Movie hosted by Chorlton Film Institute www.chorltonfilminstitute.co.uk Doors will open at 20:10 – Introduction & Film start at 20:30; film certificate is U. The movie is presented in association with Società Dante Alighieri Manchester, with a short introduction in English by Dr Silvana Serra (PhD in Cinema, Event Organiser for Società Dante Alighieri and Member of the Selection Committee for the International Short Film Festivals). This landmark 1948 Italian film is widely regarded as among the best films of all time. In 1950 it won a special Academy Honorary Award as “most outstanding foreign language film” six years before the category was added to the Awards. Ricci, an unemployed man in post-WWII Italy, finally gets a good job – for which he needs a bicycle. But soon his bicycle is stolen… For additional info: www.facebook.com/events/2461662947243690/ * 2018 Events Archive *** (Information on parking with evening/weekend rates: www.ncp.co.uk/find-a-car-park) Thursday 18th January 2018, 6.30 pm – 8.30 pm The Portico Library, 57 Mosley Street, Manchester M2 3FF Societa’ Dante Alighieri and The Portico Library invite you to an evening with Christina Rossetti All the heaven is blasing – Tutto il cielo e’ splendente Parallel Poems Translated in Italian by Franca Maria Ferraris Illustrated by Maria Teresa di Tanna “Tutto il cielo e’ splendente” is the first Italian translation of her work. The Italian poet-translator and the illustrator will present their new book with readings in both languages and a musical interlude. Poetry reading Franca Maria Ferraris Italian poet translator Maria Teresa Di Tanna Italian illustrator Kate Fuggle musical interlude Presentation by Anna Maria Forti Sheikh. Christina Rossetti, one of the most original voices of her century: 1830-1894. An English poet born in 1830 to Gabriele Rossetti, a poet and a political exile from Vasto, Abruzzo – Italy and Frances Polidori, the sister of Lord Byron’s friend and physician, John William Polidori. Christina wrote a variety of romantic, devotional and children’s poems including ballads, love lyrics, and sonnets. Best known for her long poem Goblin Market, her love poem Remember, and for the words of the Christmas carol In the Bleak Midwinter. Her brother Dante Gabriel Rossetti became an influential Pre-Raphaelite artist and poet. Christina’s writing was influenced by the work of Dante Alighieri, Petrarch and other Italian writers. Her home was open to visiting Italian scholars, artists and revolutionaries. The evening will conclude with a glass of Italian wine and nibbles. Tickets: £ 5 members of Portico / Dante and students; £ 6 non-members Booking required: T. 0161 236 6785 or email dante@newfuture.org or book online at www.eventbrite.co.uk/e/christina-rossetti-presented-by-the-societa-dante-alighieri-tickets-40548931947 Sunday 4 February 2018 – doors open at 1.00 pm for the reception and the concert will follow at 2.00 pm Lunchtime concert with ‘Aperitif’ buffet and glass of wine St Ann’s Church, St Ann Sq, Manchester M2 7LF Tickets £7 / £ 5 Dante members and concessions Clarinet: Einar Jóhannesson Piano: Alessandra Pompili Einar Jóhannesson studied the clarinet at the Reykjavík College of Music with Gunnar Egilson and continued his studies at The Royal College of Music in London, where he won the coveted Frederick Thurston prize. He has appeared as a soloist and chamber music player throughout Europe, Asia, America and Australia. He is principal clarinet of the Iceland Symphony Orchestra, solo clarinettist of the Reykjavík Chamber Orchestra, and a founding member of the Reykjavík Wind Quintet. Alessandra Pompili is a classical pianist with a focus on presenting original and creative programmes to audiences. She has performed for years as a soloist to critical public acclaim in Italy, England, Hungary and the U.S.A. She lives in Manchester and is an active member of our Society. The event is jointly organised by St Ann’s Church and Societa’ Dante Alighieri in Manchester. WEDNESDAY 21 MARCH 2018 – 6.00pm for 6.15pm FILM: LA GIUSTA DISTANZA / THE RIGHT DISTANCE by Carlo Mazzacurati (2007) In Italian with English subtitles – Duration 106 min Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra e seguirà un breve dibattito Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Admission FREE – drinks and/or snacks can be ordered and paid for at the bar A fine film depicting themes, with much foresight, that have nowadays become prominent in daily life. The film was awarded with a ‘Nastro d’argento’ for best script, and nominated for several ‘David di Donatello’ awards, including categories for best film and best actress. WEDNESDAY 2nd MAY 2018 – 6.15pm for 6.30pm start ITALY 1929-1945: WHAT DID REALLY HAPPEN? Speaker: Silvana Serra The first of two talks will aim to broaden the knowledge of – and provide some clarifications on – the dramatic events of the Fascism and the role of Italy in World War II. Events sadly often perceived too simplistically. A glass of wine and Italian nibbles will follow. During the social gathering you will have the opportunity to discuss the presentation. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 2.00 / non-members £ 3.00 It would be helpful if you could confirm your presence to dante@newfuture.org WEDNESDAY 3rd JUNE 2018 – 6.15PM for 6.30PM start ITALY 1929-1945: WHAT DID REALLY HAPPEN? ( 2ND AND FINAL PART ) Speaker: Silvana Serra The last of two talks will aim to broaden the knowledge of – and provide some clarifications on – the dramatic events of the Fascism and the role of Italy in World War II. Events sadly often perceived too simplistically. A glass of wine and Italian nibbles will follow. During the social gathering you will have the opportunity to discuss the presentation. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 2.00 / non-members £ 3.00 It would be helpful if you could confirm your presence to dante@newfuture.org SATURDAY 16th – FRIDAY 29th JUNE Saturday 16 June (11.00pm to 4.30pm) Cross Street Chapel, Cross Street, Manchester M2 1NL FREE admission Il mercatino del libro – Italian book market Browse for those special second hand and rare one off books for adults and children. * * * Garofalo pasta tasting (12.30pm to 1.30pm) Pop-in to taste this exceptional Italian pasta which may have only arrived in the UK recently but in Italy it’s existed since 1789. * * * Sunday 17th June Manchester Day with Al Bacio and Dom’s Join us for mouth-watering Italian food and drink throughout the day. Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW Dom’s Tavola calda, 40-42 Deansgate, Manchester M3 1RH * * * Wednesday 20th June (6.30pm) Divine Monsters: From Past to Present The Portico Library, 57 Mosley Street, Manchester Art Historian Sara Riccardi will explore the historical representation of ‘bestiari’, which belonged to the wider collective Medieval imagination, of which Dante and Gessner were part. Sara will also present and explore the beautiful facsimiles of some illuminated early manuscripts of the Divina Commedia on display at the Library. Barbara Bertoni of Imago, the Italian publishers of the facsimiles, will be on hand after the talk to discuss the manuscripts with you. Drinks and Italian snacks will follow: £5 members of Portico and Dante £6 non-members / £4 students and unemployed Booking required: Library tel. 0161 2366785 events@theportico.org.uk or dante@newfuture.org * * * 20th – 22nd June (9.30am – 4.30pm) The Divine Comedy: Early Manuscripts The Portico Library, 57 Mosley Street, Manchester FREE admission Over just three days facsimiles of six of Dante’s early illuminated manuscripts will be shown at The Portico Library. You will be able to view these stunning reproductions of the “Divina Commedia” up-close and discover some of the history of these amazing books. * * * Thursday 21st June To learn more about the technical details of the manuscripts, drop in to the library at 3.00pm on 21 June to talk to Elena Palladino, Rare Books and Special Collections Librarian – member of Societa’ Dante Alighieri. * * * Friday 29th June (1.00pm) Cross Street Chapel, Cross Street, Manchester Lunchtime Concert Pianist: Alessandra Pompili Followed by complimentary Garofalo pasta salad, Italian cheese and drinks FREE admission – Donations to the Cross Street Chapel are appreciated * * * Monday 18th to Friday 22nd June Al Bacio Restaurant and Dom’s Tavola Calda 10-14 South King Street, Deansgate, Manchester M2 6DW 40-42 Deansgate, Manchester M3 1RH A main dish of Garofalo pasta with a soft drink at £10.00 * * * Monday 25th to Friday 29th June Al Bacio Restaurant and Dom’s Tavola Calda 10-14 South King Street, Deansgate, Manchester M2 6DW 40-42 Deansgate, Manchester M3 1RH A main dish of Garofalo pasta with a soft drink at £10.00 –> DOWNLOAD OUR FESTA ITALIA 2018 LEAFLET HERE! <– PIZZA DI FERRAGOSTO 15th August 2018 6.45PM for 7PM start Venue: DOM’S Tavola Calda/Pizzeria, 40-42 Deansgate, Manchester M3 (corner Blackfriars St) In the past few years we have celebrated the ‘Ferragosto’ (15th August) with a ‘pizza evening’ and also this year Silvana and Manuela will meet at DOM’s in Deansgate. If you like to join us please contact dante@newfuture.org BEFORE Monday 13th August and we will book a table accordingly. Each of us will pay separately for his/her own pizza and drink. Buone vacanze a tutti! E buon Ferragosto! Origin of “Ferragosto” – The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. EUROPEAN DAY OF LANGUAGES Wednesday 26 September 2018 5.30pm to approx. 8.30pm The Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN The European Day of Languages is celebrated on September 26. This day represents 800 million citizens of 47 countries and honors the linguistic diversity of the continent of Europe, with more than 200 languages of its own. Instituto Cervantes is once again participating in this welcome initiative and invites everyone to join this celebration of the linguistic and cultural diversity in Europe, which seeks to underline the importance of learning languages; increase knowledge and awareness of the value of languages, and encourages the continued learning of languages throughout life. In order to raise awareness about the great variety of languages that characterises Europe, Instituto Cervantes in Manchester, in collaboration with the Europia, Alliance Française and Societa’ Dante Alighieri, is organizing a series of activities at its headquarters including taster classes of different European languages. The taster class for Italian will be run by Silvana Serra. The event is aimed at prospective students. It is free, but booking is required. Please register at: www.eventbrite.co.uk/e/european-day-of-languages-tickets-48478645935 Event schedule will be as follows: ………………………………………………………………………… 17:30 – 18:15 German Language Class Taster 17:30 – 18:15 French Language Class Taster 18:15 – 19:00 Spanish Language Class Taster 18:15 – 19:00 Basque Language Class Taster 19:00 – 19:45 Polish Language Class Taster 19:00 – 19:45 Italian Language Class Taster 19:45 – 20:30 International Music & Food …………………………………………………………………………. The Victorians and the Reinvention of the Italian Renaissance Thursday 27 September 2018 6:30pm – 8:30pm The Portico Library, 57 Mosley Street, Manchester Speaker: Emma Marigliano From Giotto to Michelangelo, Dante to Petrarca, Firenze to Roma, Italy’s Renaissance left an indelible mark on the Victorians. Former special collections librarian, Emma Marigliano, explores how British artists and poets reinterpreted and mythologised Italian culture for the British public. Italian nibbles and wine will be offered after the talk. £5 members of Portico and Dante £6 non-members / £4 students and unemployed Booking required: dante@newfuture.org OR with the Portico Library tel. 0161 2366785 – events@theportico.org.uk Booking also possible with Eventbrite: www.eventbrite.co.uk/e/the-victorians-the-reinvention-of-the-italian-renaissance-tickets-47419604313 Saturday 8 December 2018 – open from 1.00pm to 6.00pm Venue: Victek, 52 Ardwick Green South, Manchester M13 9XF (near the Apollo theatre roundabout and ESSO petrol station) SALVIAMO I LIBRI! SAVE THE BOOKS (and get the publications you like as a present for Christmas from Dante!) Join us to open the boxes of Italian books donated to our Society, which are stored in the basement of Victek’s building. Also take a browse at the books on the shelves upstairs and help us to find a “good home” for them! You can spend between 1 and 5 hours practising your Italian (or not) and have a break with a slice of panettone and a glass of prosecco. You will also find ‘pasta GAROFALO’ to buy at £1/packet to stock for the coming Holidays. A hamper of pasta can be a great idea for a present to family and friends! Don’t forget to bring few carrying bags! LOCATION: Victek’s building is located just before Tesco/Esso petrol station and the Apollo theatre roundabout. There is parking space inside the petrol station and in the streets around the garden/park. On foot from Piccadilly station: approx. 10 min. Buses: there are frequent buses from the city centre: 192 / 201 / 203 / 204 / 205 Wed 7 November 2018, 13:30 – 14:00 GMT Manchester Art Gallery, Mosley Street, Manchester M2 3JL Curator’s talk: Annie Swynnerton Join exhibition co-curator, Rebecca Milner for a fascinating talk on the Manchester-born artist Annie Swynnerton. Take a closer look at some of Swynnerton’s paintings and discover how she captured the unique qualities of light in the Italian countryside. Explore how the artist’s passion for the sun and its visual and sensory effects shaped the way she represented joy, hope and female empowerment. Swynnerton first visited Rome in 1874, living for extended periods there between 1883 and 1910. The talk will take place in gallery 1 – FREE – open to the public. The first retrospective for nearly a century of the Manchester born painter Annie Swynnerton, a pioneering professional artist who challenged convention in art and life. Portraits showing the artist’s Manchester connections open the exhibition including Susan Dacre, with whom she co-founded the Manchester Society of Women Painters, and the Reverend William Gaskell, husband of novelist Elizabeth Gaskell. The exhibition also brings together landscapes, allegorical works and later portraits revealing her as a continually inventive artist who engaged with current art movements and forged her own independent style shaped by her experience of light and colour in Italy. The impact of Italy comes through in the vibrant colours and gestural paint of her portrayals of women that are a highlight of this exhibition. She represented women of all ages and walks of life, challenging conventions of beauty and capturing female power, strength, hope and potential at a time when women’s roles and opportunities were changing. The exhibition Annie Swynnerton: Painting Light and Hopeis open until Sunday 6 January 2019 – FREE KINOFILM FESTIVAL 15th Edition www.kinofilm.org.uk (24th November – 2nd December 2018) https://www.facebook.com/pg/kinofilmfest/events/ Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Instituto Cervantes and Societa’ Dante Alighieri, in collaboration with KinoFilm, are proud to offer an evening of Spanish and Italian shorts. Wednesday 28 November 2018 Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN 5.00pm to 6.30pm – SPANISH Shorts programme 7.00pm to 8.30pm – ITALIAN Shorts programme Free admission for both programmes. Reservation required. Reservation for Italian programme: please contact dante@newfuture.org The Italian screening will be followed by a glass of Italian wine and a tasting of different chilled ‘pasta salads’ prepared with pasta GAROFALO. www.pastagarofalo.it/uk_en/garofalo-firma-il-cinema/ – GAROFALO shorts are found in their website and in YouTube. The evening will finish at 9.30pm (doors closed). * 2017 Events Archive * Friday 20th January 2017 – meeting 6PM for 6.15PM start AGM (Riunione Annuale Soci) and ‘Apericena’ – members only Venue: Cross Street Chapel, Cross Street, Manchester – Treasurer’s report 2016 – New Executive Committee to be appointed – Overview of the activities carried out in 2016 – Discussion and proposal for future events and activities The AGM (approx. 1 hour – Free admission) will be followed by a social APERICENA (glass of wine or fruit juice with buffet of Italian appetisers). Children are welcome. In order to organize the catering, members are kindly requested to book for the Apericena by the 18th of January, at the latest. No booking will be taken after that date. For full details and cost please contact us as soon as possible: dante@newfuture.org Thursday 16 March 2017 – 5.30pm to 7.00pm Members and Friends of our Society are invited to attend this seminar in the Department of Arts & Visual Culture at the University of Manchester Michelangelo’s Ignudi: from Florentine Tradition to Roman Subversion Speaker: Prof. Bette Talvacchia (University of Oklahoma) Venue: Room A 113 Samuel Alexander Building, Oxford Road, The University of Manchester FREE admission. No need to pre-book. SEE YOU THERE! Bette Talvacchia is Director of the OU School of Visual Arts at the University of Oklahoma. She holds a Ph.D. in Art History from Stanford University. Her work as a scholar focuses on the art and culture of the Italian Renaissance, and on issues of sexuality and gender. Talvacchia was awarded a Fellowship from the National Endowment for the Humanities as part of its inaugural Public Scholars Program in 2015-16. The fellowship project will lead to a book entitled “The Two Michelangelos.” Details can be found here: http://events.manchester.ac.uk/event/event:y3p-iyofmaxp-l6am2v/art-history-seminar-prof-bette-talvacchia-michelangelos-ignudi Friday 24 March 2017 – 6.45PM for 7.00PM prompt FILM: I soliti ignoti / Big Deal on Madonna Street (1958) by Mario Monicelli – In Italian with English subtitles – Duration 102 min Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra e seguira` un breve dibattito Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Let’s celebrate the anniversaries for Marcello Mastroianni and Toto’ with a film included in the list “100 film italiani da salvare”. With a witty humour and a refreshing artlessness, the film brings us a flavour of a world long gone. Non mancate / Don’t miss it! Admission FREE – drinks can be ordered and paid for at the bar. If you wish to have a snack/dinner before or after the screening, food is available through a pre-order, mentioning “Film Dante”. Please contact The Town Hall Tavern – 0161 8321961. Friday 7 April 2017 – 6.45PM for 7.00PM start La Canzone Italiana e il Festival di Sanremo / The Italian Song and Sanremo Festival Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Full details TBA soon Following the 67th ‘Festival di Sanremo’, the Societa’ Dante Alighieri in Rome and the University Ca’ Foscari in Venice have awarded the prize for best text/wording to the song ‘Che sia benedetta’. The singer Fiorella Mannoia is “ambasciatrice della canzone italiana nel mondo”. Alida, Liliana, Rita and Stefano will present us with some ‘Hits’ from the Festival’s history. Thursday 27 April 2017, 6:30 – 8.30PM Byron’s Venice: The revel of the earth, the masque of Italy Members and friends of our Society are invited to attend this lecture at The Portico Library & Gallery, 57 Mosley Street, Manchester M2 3HY This talk celebrates the 200th anniversary of the composition of the final canto of Childe Harold’s Pilgrimage and Beppo, in which Byron redefined and reinvented Venice for the rest of the nineteenth century and beyond. A host of writers, artists and tourists flooded into Venice in the wake of these publications, looking for the Byron’s ‘Sea Cybele, fresh from ocean’, but what was so new about Byron’s Venice? This talk by Dr Alan Rawes (Lecturer in Romanticism at the University of Manchester and Joint President of the International Association of Byron Societies) seeks to offer an answer to that question. This event is sponsored by The Byron Society. The lecture will be followed by a drinks reception with complimentary Italian wine. SEE YOU THERE! TICKETS £6.82 – £8.93 Book online through Eventbrite: www.eventbrite.co.uk/e/byrons-venice-the-revel-of-the-earth-the-masque-of-italy-tickets-31535360111 Eventbrite charges a booking fee. If you would like to avoid this, please contact the library directly to make your booking on 0161 236 6785. Friday 7 April 2017 – 6.45pm for 7.00pm start La Canzone Italiana e il Festival di Sanremo / The Italian Song and Sanremo Festival VENUE: Cross Street Chapel, Cross Street, Manchester M2 1NL Following the 67th ‘Festival di Sanremo’ last February, the Societa’ Dante Alighieri in Rome, teaming up with the University Ca’ Foscari in Venice, has awarded the prize for this year’s best lyrics to the song ‘Che sia benedetta’. The singer Fiorella Mannoia, therefore, has been appointed “Ambasciatrice della canzone italiana nel mondo”. Further to this initiative, an event has been organized on Friday 7th April in which Alida, Liliana, Rita and Stefano will present us with some ‘Hits’ from the Festival’s history, which is the most popular Italian song contest and awards, held annually in the city of Sanremo, in Italy, and which launched the careers of some of Italy’s most successful singers, including Andrea Bocelli, Giorgia, Laura Pausini, Eros Ramazzotti, and Gigliola Cinquetti. A glass of wine with cantuccini and some Italian conversation will follow. Admission: £ 2.00 members £ 3.00 non-members WE WAIT FOR YOU! FESTA ITALIA 2017 13th – 18th June (scroll down to see the full list of events or download the leaflet here) Tuesday 13 June (6.30pm) Divorzio all’italiana / Divorce Italian Style (1961 – B&W – 108’) The Portico Library, 57 Mosley Street, Manchester Film in Italian with English subtitles (rare edition) Introduction in English by Dr Silvana Serra – Q&A session to follow As part of the Italian celebrations for Marcello Mastroianni, the protagonist of “La Dolce Vita”, this funny and intelligent satire portrays the hypocritical view of the Italian society of the time towards rejecting divorce as illegal while accepting “honour killing” as a minor transgression. This is a cinematic journey into the “Commedia all’italiana”. The movie won the Oscar/Academy Award for Best Writing, Story and Screenplay. Drinks and nibbles to follow. £4 members of Portico and Dante £5 non-members / £3 students and unemployed For more information, please visit https://www.eventbrite.co.uk/e/divorzio-allitaliana-divorce-italian-style-tickets-34967944062 Booking required: Library tel. 0161 2366785 events@theportico.org.uk or dante@newfuture.org *** Thursday 15 June (6.45 for 7.00pm start) The GIRO D’ITALIA 2017 celebrates its 100th edition Cross Street Chapel, Cross Street, Manchester M2 1NL Stefano Forcolin gives his impressions on one of the oldest Italian cycling events, from the heroic times up to the present days, speaking about more and less famous protagonists and the impact they had on the Italian sport (and not only). A glass of wine with pasta Garofalo will follow this interesting event. Admission £5 Booking: dante@newfuture.org * Saturday 17 June (11.00am to 5.00pm) Il mercatino del libro – Italian book market Cross Street Chapel, Cross Street, Manchester M2 1NL Browse for second hand and rare one off Italian books for adults and children. FREE admission PLUS!! Enjoy Garofalo pasta tasting (3 shows: 12 noon – 2.00pm – 4.00pm) Pasta Garofalo is the Italian pasta synonymous with Italian film After browsing the book stalls you can watch these two short films in Italian with English subtitles: ‘Caserta Palace Dream’ and ‘The Wholly Family’ (12.30pm – 2.30pm). Duration approx. 40 minutes for both, screened at 12.30 and 2.30PM. * Sunday 18 June MANCHESTER DAY – ABRACADABRA! Don’t’ miss our Magic Pasta shows in St. Ann’s Square www.manchesterday.co.uk Sunday 18 June – all day Does Garofalo pasta taste as good as it looks? Try the TRIO of pasta during the Manchester Day at AL BACIO Restaurant 10-14 South King Street, off Deansgate, Manchester M2 6DW A main course dish with 3 pasta and different sauces (suitable for vegetarians) for only £ 6.50 www.al-bacio.co.uk 13 to 18 June at AL BACIO Restaurant 10-14 South King Street, Deansgate, Manchester M2 6DW Get a free glass of Prosecco before lunch and dinner. * FESTA ITALIA ‘FRINGE EVENT’ in Hebden Bridge Saturday 24 June PASTA FUN Fresh pasta-making with the Societa’ Dante Alighieri at the STREET SATURDAY in Hebden Bridge for their annual Arts Festival. 12 – 4pm at the Marina Don’t miss us if you are in the area! Full programme on http://hebdenbridgeartsfestival.co.uk On the occasion of Manchester Food & Drink Festival 2017 (Festival dates 28th September – 9th October 2017) Wednesday 4th October 2017 (only) – any time between 6.00PM and 10.00PM ( Dante’s table is booked at 7.00PM ) TRIO OF PASTA GAROFALO Venue: Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW A main course dish with 3 types of pasta topped with different sauces (also suitable for vegetarians) for only £ 9.95 !! Our Society is organising a table for our group at 7.00pm – Booking: dante@newfuture.org Alternatively you can book directly with the restaurant for you and your family/friends – Booking: 0161 8327669 – info@al-bacio.co.uk XVII SETTIMANA DELLA LINGUA ITALIANA NEL MONDO (16-22 ottobre 2017) “L’italiano al cinema, l’italiano nel cinema” Sunday 22 October 2017 – 3.45pm for 4.00pm prompt FILM: Johnny Stecchino (1991) by Roberto Benigni (also starring in the role of the protagonist “Dante”!) In Italian with English subtitles – Duration 112 min Introduction by Silvana Serra – Q&A session to follow This witty, highly entertaining, and clever film remains the best attempt so far to ridicule the Mafia. Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Admission FREE – drinks and/or snacks can be ordered and paid for at the bar. Due to limited availability of seats, please confirm your attendance by Friday 20th October latest. KINOFILM FESTIVAL 14th Edition www.kinofilm.org.uk 18th-26th November 2017 Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Instituto Cervantes and Societa’ Dante Alighieri, in collaboration with KinoFilm, are proud to offer an evening of Spanish and Italian shorts. Friday 24th November 2017 The Instituto Cervantes and Societa’ Dante Alighieri invite you to an evening of Spanish and Italian short films. Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN 5.00pm to 6.30pm – SPANISH Shorts programme 7.00pm – ITALIAN Shorts programme Free admission for both programmes. Reservation required. Reservation for the Italian programme: www.eventbrite.co.uk/e/italian-shorts-programme-drinks-reception-kinofilm-festival-2017-tickets-39515777755 Reservation for the Spanish programme: www.eventbrite.co.uk/e/spanish-shorts-programme-kinofilm-festival-tickets-39515702530 The Italian screening will be followed by a glass of Italian wine and a tasting of different chilled ‘pasta salads’ prepared with pasta GAROFALO, the Italian pasta synonymous with Italian film – www.pastagarofalo.it/uk_en/garofalo-firma-il-cinema/ A short film produced by GAROFALO, The Wholly Family (in Italian with English subtitles), will be screened in the background while you mingle eating the pasta. This and other GAROFALO shorts are found in their website and in YouTube. The evening will finish at 9.30pm (doors closed). CELEBRATING LUCIANO PAVAROTTI Saturday 2nd December 2017 – 6.00PM to 8.00PM Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 1.00 non-members £ 3.00 On 6th September 2007 Pavarotti lost his battle against cancer and died in his home in Modena. After 10 years of his passing, he’s still remembered and still loved as he was when he was alive. Today Roberto Mobili e Liliana Foligno-Smith will help us to remember the voice that for many is the voice of the greatest tenor in the history of opera. Come along for a special gathering to celebrate the ‘Maestro’ and to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. It would be helpful if you could confirm your presence to dante@newfuture.org * 2016 Events Archive * Sunday 4th December 2016 – meeting 5.30PM for 6.00PM start Let’s throw a party! Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW 2016 is the 20th anniversary of Societa’ Dante Alighieri in Manchester and it would be great if members and friends of the society would get together to celebrate the occasion. We will meet at the AL BACIO Restaurant for a social early dinner and to exchange the Season’s Greetings. The price for the 3 course meal (starter, main course, pandoro) will be £15.90 per person. Drinks have to be ordered and paid for (separately) at the bar. Your booking and relevant payment must be received by Wednesday 30 November AT THE LATEST. For booking and payment, please contact: dante@newfuture.org Monday 14th November 2016 – from 6.30 PM to 9 PM Dante in Europa 2016 Dante’s Literary Landscapes “Parco Letterario Terre di Dante” comes to Manchester! Introduction by Serena Prof. Stephen Milner – The University of Manchester (This event is in English with some Italian) Venue: The Portico Library & Gallery, 57 Mosley Street, Manchester M2 3HY The vast territory between Florence and Ravenna is still imbued with the presence of Dante Alighieri. This is where he lived, suffered and was inspired to compose his immortal works. Today, seven hundred and fifty years after his birth (Florence 1265) and seven hundred years after his death (Ravenna 1321), the “Parco Letterario le terre di Dante” gives a presentation for us to discover or get a different perspective of such territory, now called “Dante’s Lands” – Lands of Art and Culture, and guides us along the path taken by the Poet, so that we can feast our eyes on the extraordinary places the father of the Italian language immortalised. The event includes: Presentation of the book “L’Italia con gli occhi di Dante” (Italy through Dante’s eyes) by the author, Raffaella Cavalieri Itineraries and tourism opportunities presented by Attilio Moroni (Parco le terre di Dante) Dante’s events at the “Ravenna Festival 2017” by Anna Bonazza Screening of the short film “Inferno” (1911) inspired by the Divina Commedia/Divine Comedy and Gustave Dore’s illustrations A complimentary glass of wine and cantuccini will be offered during the interval. We do hope you will be able to join us for this special evening! Free admission – as seats are limited booking is required! Please book yourself in on www.eventbrite.co.uk/e/dantes-literary-landscapes-tickets-27941036392 or via email dante@newfuture.org Thursday 27th October 2016 – 6.30 PM for 7 PM start Marcantonio Raimondi and Raphael Join us for a unique opportunity to visit this exhibition by David Morris, Head of Collections (to register, please send us an email to dante@newfuture.org. The event will be held in English, with occasional Italian) Venue: Whitworth Art Gallery, Oxford Road, Manchester M15 6ER This exhibition features the work of one of the radical originators and innovators of the European tradition of printmaking, Marcantonio Raimondi (c. 1480-c. 1534). Marcantonio was one of the leading printmakers of the Italian Renaissance and is best known for his groundbreaking collaboration with the Renaissance artist Raphael. This is the first Marcantonio Raimondi exhibition for thirty-five years and the first ever in the UK. Showcasing the world-class collections of Marcantonio’s work at The University of Manchester, housed both at the Whitworth and The John Rylands Library, the exhibition will also feature loans of outstanding prints by Marcantonio and unique drawings by Raphael from major collections. Friday 23 September 2016 – 6.30pm for 6.45pm start FILM: Smetto Quando Voglio / I Can Quit Whenever I Want (2014) by Sydney Sibilia – In Italian with English subtitles – Duration 95 minutes Introduction by Silvana Serra – Q&A session to follow Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.50 members – £ 3.50 non-members (drinks and nibbles included) Sibilia deals with the drama of unemployment for the Italian young generation, despite their academic high skills, in an amusing yet effective way by adopting a comic style, punctuated by surreal paradoxes. Nibbles and drinks will follow. Non mancate / Don’t miss it! Monday 15 August 2016 – 6.30pm for 7.00pm start GIROPIZZA DI FERRAGOSTO Venue: DOM’S Tavola Calda/Pizzeria, 40-42 Deansgate, Manchester M3 1RH Cost: £ 10 per person (excluding drinks/coffee) As we did in the past, our Society will celebrate Ferragosto with a GiroPizza. The ‘pizzaiolo’ will prepare several kinds of pizza – no need to order – and will serve them in slices, one after the other, until everyone has enough of it! When we stop he will prepare the pizza with Nutella as dessert. PLEASE NOTE: should you have allergies or be vegetarian you can order and pay separately for a pizza of your choice without being part of the GiroPizza. Kindly advise when booking. 1st rule: all people around the table must eat pizza. No other dish is allowed. 2nd rule: it has to be an evening of ‘parliamo italiano’…. even ‘poco’…. Places are limited to 24 people. Please book as soon as possible by sending us an email to dante@newfuture.org Origin of “Ferragosto” – The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. Friday 20 May 2016 – 6.45 pm for 7.00 pm start Of Publishers, Poets, and Politicians: the story of the 1911 ‘Edizione Monumentale’ of the Divine Comedy‘ (the talk will be in English) This paper will tell the extraordinary story of a major initiative to produce a deluxe edition of Dante’ s Divina commedia in 1911 under the patronage of KIng Vittorio Emanuele III. The tale involves a cast of the great and good of Italian literature, scholarship, and publishing in the early 1900s and an expected connection with the ‘Manchester Dante Society’ which was founded in 1906. Involving rare books, court cases, and battleships, this talk will tell the story for the first time of how this famous landmark edition of Dante’s classic poem came into being. Speaker: Stephen Milner, Serena Professor of Italian, The University of Manchester Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL The evening will close with a social gathering and some conversation in Italian over a glass of wine and nibbles. Admission: FREE for members and students – £ 3.00 for non-members * Sunday 22 May 2016 from 16:00 to 18:30 EMERGENCY EXIT – Young Italians Abroad Members and Friends of our Society are invited to attend the following film/documentary screening: Venue: RNCM Stage Door – Rosamond Street West, Manchester, M13 9RD Tickets £3.52 – Available from www.eventbrite.co.uk www.eventbrite.co.uk/e/emergency-exit-young-italians-abroad-film-screening–tickets-22493627044?utm_campaign=201308&ref=esfb&utm_source=Facebookenivtefor001 COM.IT.ES (Comitato degli Italiani all’Estero) Manchester presents ‘Emergency Exit’, a documentary project about Italy and the consequences of the last 20 years of politics on the young generation. A lot of young Italians leave their country every year and more than 90% of them are graduated and professionally skilled. They move away because of a lot of reason, but nobody in Italy seems to have the desire to listen or care for them. The director decided to start a trip: she travelled around six (and more) European countries, from Paris to London, Berlin, Wien, Bergen and Tenerife, finding young Italians who left Italy, looking for better opportunities of life and career. Six stories of ordinary separation, one question: what happened to Italy? The young director Brunella Filì will be present at the screening. The project has been officially selected to the VII Edition of Italian Doc Screenings, the most important documentary showcase in Italy. Other Official selections are: Festival del Cinema Europeo 2014, Madrid International Film Festival 2014 (Best Foreign Language Documentary Award), South Easter Film Festival 2015 (USA), Scarborough Film Festival – with the support of HotDocs (Toronto, Canada) and many more. * 19-26 JUNE 2016 MANCHESTER DAY AND FESTA ITALIA 2016 Keep your diary free from 19 to 26 June when Societa’ Dante Alighieri in Manchester will celebrate Italy with several events starting with the Manchester Day/Parade on Sunday 19 June when we will welcome back the SBANDIERATORI from Corinaldo (Marche). Check your mail near to the time! * Thursday 21 April 2016 – 5.00 to 7.00pm Members and Friends of our Society are invited to attend the Annual Herford Memorial Lecture in Italian Studies at the University of Manchester “Italy, Islam and the Islamic World from 9/11 to the Arab Uprisings” Speaker: Professor Charles Burdett (University of Bristol) Charles Burdett is Professor of Italian at the University of Bristol, and he is the Principal Investigator on the large grant, ‘Transnationalizing Modern Languages: Mobility, Identity and Translation in Modern Italian Cultures’ that is a beacon project for the AHRC’s ‘Translating Cultures’ theme. Venue: A7 Samuel Alexander Building, The University of Manchester Free admission. No need to pre-book. Further details can be found here: http://events.manchester.ac.uk/event/event:a1hd-ilnrsb8i-ze8bzk * Thursday 14 April at 6:30pm – Instituto Cervantes (326-330 Deansgate, Campfield Avenue Arcade, Manchester M3 4FN) Manchester European City of Science 2016 – European Round Table on Climate Change ‘The Paris Climate Talks: from commitments to action’ The Instituto Cervantes, the Societa’ Dante Alighieri and the Alliance Française are hosting a Round table on Climate Change. Experts from Italy, Spain and France will meet up to debate the contributions brought about by the COP21. What agreements were made? Which ones can truly be followed? Which ones are the most crucial? How will the transition from talks to actions occur? All these questions will be touched upon by our European experts: Isabel Douterelo – Isabel Douterelo is the Spanish guest speaker, invited by the Instituto Cervantes. She is a professor and researcher at Manchester Metropolitan University in the Department of Science and Environment. Her work focuses, among other things, on the microbial ecology of drinking water distribution systems. Monica Di Gregorio – Monica Di Gregorio will also attend the round table as the guest speaker for the Società Dante Alighieri. She is a Lecturer in Environmental Politics and Governance at the School of Earth and Environment, The University of Leeds. Her current research examines climate change politics and policy at the global and national level, with particular attention to the developing world. Cyril Caminade – Cyril Caminade will be the guest speaker for the Alliance Française. Cyril has obtained his PhD in climatology (climate change in sub-Saharan Africa) at CERFACS and at the Université Paul Sabatier in Toulouse in 2006. He joined a post-doctoral position at the University of Liverpool in 2008 and focused on modelling and mapping the risk of several key vector-borne diseases over Europe and Africa under climate change scenarios. Join us on 14 April for the debate and interact with our experts! Throughout the evening, you will also be invited to take a look at the “Climate, State of Emergency” photography exhibition. The Alliance Française Foundation organised a photography contest and the winning photographs will be displayed in several countries. These photographs will be exhibited at Instituto Cervantes. Wine and nibbles will be served after the round table discussion. For further information and bookings: prenman@cervantes.es or 0161 661 4201/02 Further details about the Round Table are available also on the following websites: http://manchestersciencecity.com/visit/event/round-table-discussion-on-climate-change/ http://www.afmanchester.org/Table-Ronde-Europeenne-sur-le-Climat?lang=en http://manchester.cervantes.es/FichasCultura/Ficha106009_44_2.htm Sunday 13 March 2016 – 3.00pm RNCM Theatre INSIEME ALL’OPERA: Cosi fan tutte – W A Mozart (This production will be performed in Italian with subtitles) Meeting point at the entrance, near the ticket office, at 2.30pm After the performance we can get together for a cappuccino or a glass of wine Tickets from £21 – Please contact Royal Northern College of Music – 0161 907 5200 – www.rncm.ac.uk ———- Roger Hamilton, conductor Thomas Guthris, director Antonio Tilli, Italian Language Coach “The bay of Naples. Sisters Fiordiligi and Dorabella are engaged to Guglielmo and Ferrando. The men trust their fiancées’ faithfulness implicitly but when their friend Don Alfonso tells them a woman’s fidelity is never guaranteed, he is challenged to prove his theory. So a wager is made. Don Alfonso tells the sisters that their sweethearts are to be sent away with their regiment. A tearful farewell follows. Then things really start to get complicated… Mozart’s opera is the great composer’s most divisive and controversial work. Deep down, Cosí provides a sharp reminder of how personal choice plays as important a part as fate in our relationships. It underlines how relationships can so often be fragile and tenuous, and in doing so, highlights our true human vulnerability.” ————————- Other performances’ dates: Wed 09, Fri 11, Tue 15 and Thu 17 March 2016 – 7.00pm RNCM Theatre Sat 19 March 2016 – 3.00pm RNCM Theatre LEARN MORE: Pre-opera talk Roger Hamilton offers a closer insight into the music and historical context of Mozart’s opera. Sun 13 Mar – 12pm, RNCM Theatre * Friday 11th March 2016 – 6.45pm for 7.00pm start SALENTO: TERRA DI SOLE, DI MARE E DI VENTO SALENTO: LAND OF SUN, SEA AND WIND A talk in English by Anna Maria Pisanelli – born in Specchia (Lecce) she’s a biologist who moved to UK in 1989 and worked at Manchester University as research associate The Salento is sun-kissed year round. Alongside art, excellent Mediterranean cuisine, and genuine hospitality, the area boasts a fabulous landscape, ranging from the Adriatic coast and the marinas of Melendugno, Santa Cesarea Terme and Otranto, to the Ionian Sea and towns like Porto Cesareo, Portoselvaggio and Gallipoli. A glass of Primitivo wine and nibbles will follow. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.00 members £ 3.00 non-members *** *** KINOFILM FESTIVAL 22-28 FEBRUARY 2016 www.kinofilm.org.uk Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Societa’ Dante Alighieri, Instituto Cervantes and Alliance Francaise, in collaboration with KinoFilm, are proud to offer 3 evenings of Spanish, French and Italian shorts (24-26 February) Thursday 25 February 2016 – 6.00pm for 6.30PM start Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN Our society is delighted to have the director Marinos Kallikourdis as a special guest from Italy. Free admission. Reservation required: prenman@cervantes.es or 0161 6614201/6614212 The Alliance Française de Manchester and Societa’ Dante Alighieri Manchester invite you to an evening of French and Italian short films (with English subtitles). Q&A with Marinos Kallikourdis, director of two of the Italian shorts, will follow. The screening will be followed by a social gathering with French and Italian wines and nibbles. Join us at Cervantes also on Wednesday 24 February for an evening of Spanish short films. And on Friday 26 February don’t miss “Crossing borders”, a snapshot of Europe – Greek, Portuguese, Irish, Danish films! You can enjoy these short movies, with English subtitles, at the Cervantes. Booking required. ******* Friday 19 February 2016 – 7.30pm SERATA A CONCERTO – La Serenissima: The Four Seasons Join us for this unique chance to hear Vivaldi’s The Four Seasons, played on period instruments from the original manuscript of the music. 7.00pm: meeting point near the ticket office. Tickets: £25, £20, £15 – £7 student standby tickets available on the day (add £2 fee for online or phone booking) Please contact directly The Bridgewater Hall – 0161 907 9000 – www.bridgewater-hall.co.uk Vivaldi Concertos for Violin ‘in tromba marina’ in D & G (20’) Vivaldi Concertos for Bassoon in G & B-flat (20’) Vivaldi ‘Four Seasons’ (Manchester version) Concertos for Violin and Strings (40’) Adrian Chandler, violin/director – Peter Whelan, bassoon “The only surviving manuscript of these famed works is part of a collection of 95 Italian concertos held by Manchester’s Henry Watson Music Librar
5438	dbpedia	0	79	http://www.churchesofflorence.com/west.htm	en	The Churches of Florence			[ "http://www.churchesofflorence.com/bannernarrow.jpg", "http://www.churchesofflorence.com/west.gif", "http://www.churchesofflorence.com/lozenge01.png", "http://www.churchesofflorence.com/adorazioneperpetua01.jpg", "http://www.churchesofflorence.com/adorazioneperpetua02.jpg", "http://www.churchesofflorence.com/chiarito02.jpg", "http://www.churchesofflorence.com/chiarito01.jpg", "http://www.churchesofflorence.com/chiarito03.png", "http://www.churchesofflorence.com/sacrocuorealromito01.jpg", "http://www.churchesofflorence.com/cosmeque.png", "http://www.churchesofflorence.com/stjames01.jpg", "http://www.churchesofflorence.com/sanbarnaba02.jpg", "http://www.churchesofflorence.com/sanbarnaba01.jpg", "http://www.churchesofflorence.com/san-barnaba-altarpiece-805.jpg", "http://www.churchesofflorence.com/sanclemente01.jpg", "http://www.churchesofflorence.com/chiarito02.jpg", "http://www.churchesofflorence.com/sanfrancescodeivanchctoni01.jpg", "http://www.churchesofflorence.com/sangaet6.JPG", "http://www.churchesofflorence.com/sangaet3.JPG", "http://www.churchesofflorence.com/sangaet4.JPG", "http://www.churchesofflorence.com/sangaet7.JPG", "http://www.churchesofflorence.com/sangiovannididio01.jpg", "http://www.churchesofflorence.com/sangiovannididio02.jpg", "http://www.churchesofflorence.com/sangiovdeicav04.jpg", "http://www.churchesofflorence.com/sangiovdeicav01.jpg", "http://www.churchesofflorence.com/sangiovdeicav02.jpg", "http://www.churchesofflorence.com/sangiuliano01.jpg", "http://www.churchesofflorence.com/sangiuliano02.jpg", "http://www.churchesofflorence.com/sangiuliano03.jpg", "http://www.churchesofflorence.com/sangiuseppeorat.jpg", "http://www.churchesofflorence.com/sangiuseppeorat02.jpg", "http://www.churchesofflorence.com/sangiuseppino1.jpg", "http://www.churchesofflorence.com/sangiuseppino2.jpg", "http://www.churchesofflorence.com/sanjacopino01.jpg", "http://www.churchesofflorence.com/sanjacopino02.jpg", "http://www.churchesofflorence.com/sanjacopodiripoli05.png", "http://www.churchesofflorence.com/sanjacopodiripoli03.jpg", "http://www.churchesofflorence.com/sanjacopodiripoli01.jpg", "http://www.churchesofflorence.com/sanjacopodiripoli02.jpg", "http://www.churchesofflorence.com/sanjacopodiripoli04.jpg", "http://www.churchesofflorence.com/sanjacopoincc.jpg", "http://www.churchesofflorence.com/sanjacopoincc02.jpg", "http://www.churchesofflorence.com/sanamartinodellascala01.jpg", "http://www.churchesofflorence.com/sanamartinodellascala04.jpg", "http://www.churchesofflorence.com/sanamartinodellascala02.jpg", "http://www.churchesofflorence.com/sanamartinodellascala03.jpg", "http://www.churchesofflorence.com/sanpaolino04.jpg", "http://www.churchesofflorence.com/cosmati.png", "http://www.churchesofflorence.com/sanpaolino01.jpg", "http://www.churchesofflorence.com/sanpaolino02.jpg", "http://www.churchesofflorence.com/sanpaolino03.jpg", "http://www.churchesofflorence.com/santagata02.png", "http://www.churchesofflorence.com/santagata01.jpg", "http://www.churchesofflorence.com/santapollonia03.jpg", "http://www.churchesofflorence.com/santapollonia01.jpg", "http://www.churchesofflorence.com/santapollonia02.jpg", "http://www.churchesofflorence.com/santonofriodifuligno03.png", "http://www.churchesofflorence.com/santonofriodifuligno01.jpg", "http://www.churchesofflorence.com/santonofriodifuligno02.jpg", "http://www.churchesofflorence.com/santorsola01.jpg", "http://www.churchesofflorence.com/santorsola02.jpg", "http://www.churchesofflorence.com/sacrocuore01.jpg", "http://www.churchesofflorence.com/sacrocuore02.jpg", "http://www.churchesofflorence.com/santaluciasulprato03.jpg", "http://www.churchesofflorence.com/santaluciasulprato01.jpg", "http://www.churchesofflorence.com/santaluciasulprato02.jpg", "http://www.churchesofflorence.com/santaluciasulprato04.jpg", "http://www.churchesofflorence.com/ssjacopoefilippo01.jpg", "http://www.churchesofflorence.com/ssjacopoefilippo02.jpg", "http://www.churchesofflorence.com/scalzi04.jpg", "http://www.churchesofflorence.com/scalzi03.jpg", "http://www.churchesofflorence.com/scalzi01.jpg", "http://www.churchesofflorence.com/scalzi02.jpg", "http://www.churchesofflorence.com/scalzi05.jpg", "http://www.churchesofflorence.com/herod.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Adorazione Perpetua Via Bernardo Rucellai History The monastery and church of Perpetual Adoration belongs to the Carmelite Sisters of St Teresa of Florence, founded by Teresa Maria Manetti who died in 1910 and was beatified by Pope John Paul II on October 19th 1986 at the stadium in Florence. The church was built in 1900 - 1902, on the site of the gardens of the demolished monastery of Sant'Anna sul Prato, using donations from Marchesi Antinori, by Giovanni Paciarelli in a style inspired by 15th-century Florentine classical architecture. Paciarelli was also responsible for the art nouveau Magazzino Pola & Todescan building near the Piazza della Repubblica and the Russian Orthodox Church. Interior Small and squarish, tall and aisleless, with pale grey structural elements dominating the buff walls. Three shallow bays either side with a pair of altars with modern altarpieces in the centre of each side, the other bays being three doors and a confessional. A dark flat coffered ceiling with gilt decoration and an oval painting in the centre. A sweet little domed apse with nuns' screens either side. Chiarito Via San Gallo History Santa Maria Regina Coeli, the convent of Il Chiarito, derived its commonly-used name from the Beato Chiarito del Voglia, the Blessed Chiarito, a local holy man who founded the Augustinian convent here in 1343, with his wife, Constanza Dolcibeni, becoming the first abbess. Chiarito was a wealthy layman who experienced a vision in 1328 when, whilst tending the tomb of Saint Zenobius, the first bishop of Florence, the Saint himself appeared to him and cured his lingering throat ailment. Chiarito then took a vow of chastity (although he had a family already) and devoted his life to the care of nuns and chaste women and become prone to visions, as depicted in the Tabernacle later commissioned for the convent (see below). In 1424 there was a serious fire and the church was rebuilt in 1550 with further work in 1656 on the convent. In 1785 the convent was transformed into a conservatory by Grand Duke Peter Leopold and it passed to the Mantellate Servite sisters. This order were named for their habit - a black gown or cloak secured by a leather girdle with a white veil. The gown had short sleeves to facilitate work and so people called them Mantellate, because it looked like a cloak (mantello). The conservatory continued functioning as a school until 1999. The nuns' gallery still exists and contains the relics of the Blessed Charito. Miracle-working images This monastery was famous for a miraculous crucifix. In 1462 Suor Alessandra Bartolini lay in bed, paralysed down one side, and heard a voice say that she had a powerful doctor. She replied that doctors had done her no good during the past four years of her illness, to which the voice replied that it was speaking of the Crucifix. It instructed her to get the abbess to put an image of her infirm body before the crucifix and get the nuns to pray which, of course, did the trick. Lorenzo the Magnificent also credited this crucifix with his surviving the daggers of the Pazzi conspiracy of Easter 1470 and placed a life-size wax effigy in front of the image. Maria Maddalena of Austria, wife of Cosimo II, attributed her fertility to it too too. It is now in the convent of San Domenico in Querceto. Art highlights Over the high altar in the church is an Assumption of the Virgin, attributed to Giovanni Stradano. A gallery in a room overlooking the rear garden contains paintings from the 17th and 18th centuries. These include The Martyrdom of St. Catherine of Alexandria by Jacopo Ligozzi , Three Archangels by Fabrizio Boschi , A Virgin and Child with Saints by Francesco Curradi, The Death of St. Joseph by Anton Domenico Gabbiani and an Adoration of the Magi by Luca Giordano. Lost art The Chiarito Tabernacle (see photo right) was painted for this church in the 1340s and has been attributed to Pacino di Bonaguida. The central panel is made in gilded gesso relief, a technique hardly ever used for large-scale panels. It depicts The Communion of the Twelve Apostles, an unusual subject, showing the apostles drinking Christ's blood through straws from his navel. A gold rivulet of Christ's blood also flows down to the host being consumed by the Blessed Chiarito in the central one of the three scenes that feature him at the panel below - he is thereby shown as directly receiving the Eucharistic blood along with the Apostles. In the left-hand scenel Chiarito kneels behind a priest from which sheaves of wheat miraculously issue. This significant event is also represented in the order's symbol of a wheat-filled chalice, which is found as a low-relief stone roundel on the convent's façade. The right-hand scene features an unexplainable dragon. The Tabernacle is thought to have been painted for the nuns' choir here, and is now in the Getty Museum. From the 16th century Buonsignori Map the Convento di Chiarito is in the bottom left hand corner, opposite San Clemente. Ognissanti Borgo Ognissanti this church now has its own page here Sacro Cuore al Romito Piazza Baldinucci Saint James Episcopal Via Bernardo Rucellai History The name refers to the hamlet of Romito (Hermitage) named after a small oratory, dedicated to Saint Lucy and built beneath the arches of a nearby Roman aqueduct. The remains of this oratory could still be seen in the 19th century. The mortuary previously sited by San Giuseppinomoved to the chapel here in 1893, entrusted to Capuchin friars. The present church was designed by engineer Ezio Zalaffi in 1925, and became a parish church is 1929. It was damaged during WWII, and rebuilt in 1947 by another engineer, Galliano Boldrini. The portico was added in 1951 and the church consecrated in 1954. History Also known as "the American Church". American Episcopalians in Florence held their first meetings in private homes and the British Embassy in 1846. When the Grand Duke of Tuscany was exiled in 1849, legislation was passed allowing non-Roman Catholic denominations. The first Episcopal services were hosted in 1853 in the church of Santa Maria del Carmine and the congregation of St. James was officially recognized in 1867. Construction of this church began on 23rd April 1908 and took three years, with consecration and the first service held in November, 1911. At this stage the campanile was incomplete, and work on it was only completed in 1927. The original architect was Riccardo Mazzanti, who was also responsible for the Palazzo Cesaroni on the corner of via della Scala. A major financial contributor was Pierpont Morgan, but his $10,000 came with strings. After looking at the architects drawings he declared the building inadequate and employed two architects of his own - Gino Marchi & R. Carrère - to make more elaborate plans. When these were agreed on he paid up. The church is English neo-gothic in style, with some fine stained glass. The large circular window in the façade depicts Christ's Entry into Jerusalem (1911) and was designed by Ezio Giovannozzi. The church was closed during World War II but suffered no damage and reopened in 1947. David Bowie married Iman here on the 6th of June 1992. Opening times For services or by arrangement in the morning. The church has a website. San Barnaba Via Guelfa History This church and Augustinian convent was built to celebrate a victory by the Florentine Guelphs over a Ghibelline (pro-Holy Roman Empire) army from Arezzo in the Battle of Campaldino on 11 June 1289, which is the feast day of Saint Barnabas. Building began in 1322, financed by the Capitolo di San Lorenzo and then from 1335 by the Republic itself, the church being under the patronage of the Arte de Medici e Speziali (Guild of Doctors and Apothecaries). The original late gothic church has since undergone much work, the interior being remodelled in 1700. The Baroque presbytery and main altar are by Alessandro and Gaetano Gori. Interior contains a Baroque organ above a nuns' gallery. The church and convent were suppressed in 1818. The church is now used by the local Filipino community and is open occasionally, sometimes for concerts. Art highlights Over the entrance is a Virgin and Child by Giovanni della Robbia from 1528-29, (see right) which replaced a lost fresco. Giovanni was the grandnephew of Luca and his work is usually in deeper relief and with more colours than his granduncle's. There are (14th century?) frescoes on the left wall as you enter. Most of the art in here originated elsewhere. A painting of The Flagellation is attributed to Giovanni Maria Butteri, a pupil of Bronzino. Lost art Commissioned by The Guild of Doctors and Apothecaries to be the high altarpiece here, Sandro Botticelli's Virgin and Child with Saints Catherine of Alexandria, Augustine of Hippo, Barnabas, John the Baptist, Ignatius of Antioch and Michael the Archangel (see right) is known as the San Barnaba altarpiece and dates to c.1485/87. It features the text 'Virgin mother, daughter of your son', in the vernacular, on a fictive plaque under the Virgin's feet, which is a quote from the final canto of Dante's Paradiso. It is now in the Uffizi, as are four of the original seven panels from its predella, including Saint Augustine and the Child with the Spoon. Also a small frescoed Crucifix that Fra Angelico painted in the convent, which was rediscovered during rebuilding and moved to the first altar on the right on May 18th 1719. San Clemente Via San Gallo San Francesco dei Vanchetoni Via Pallazzuolo History This small convent and church was restored in 1589 by Portia de'Medici, when it was occupied by the nuns from the order of the Misericordia. The fine stucco work on the ceiling of the church dates from this time. Suppressed in 1808 and now used as part of a military hospital. From the 16th century Buonsignori Map. San Clemente is centre bottom, opposite the Chiarito. History This Oratory of the Vanchetoni was built for the the Congregation of Christian Doctrine, a society founded by Ippolito Galantini (1565-1619), a silk weaver, for the Christian education of poor children. The members of the Company were called vanchetoni, for their habit of walking quietly (cheto being Tuscan dialect for 'humbly'), and bacchetoni, in reference to the baton that they used for penitential self-scourging. The building was designed by Matteo and Giovanni Nigetti in 1602-1604 (Matteo, responsible for the vestibule and façade, having also been involved in designs for San Gaetano below) and built on land which was once the orchard of the Church of Ognissanti, that church being almost directly behind this one. It was frescoed, between 1633-1649, with saints (including the Blessed Ippolito Galentini) by Giovanni Martinelli, Domenico Pugliani, Baldassare Franceschini il Volterrano, Cecco Bravo and Lorenzo Lippi. The sacristy has inlaid cupboards. Two small busts of children inside, said to be representations of Jesus and John the Baptist, have formerly been ascribed to Donatello, but lately to Desiderio or Rossellino, his tutor. Today, the oratory is used for chamber-music concerts, plays and meetings. San Gaetano Piazza Antinori History This was the site of the 11th century Romanesque church of San Michele Berteldi, mentioned in a document dated 16th March 1055. This church had a single nave and an east/west orientation. It was later used by the Olivetan monks of San Miniato al Monte. The original church was demolished when the current Baroque church was built between 1604 and 1648 for the Theatine order. Amongst the families providing funding were the Medici - Cristina of Lorraine, wife of Ferdinando I, and her son Cardinal Carlo de' Medici particularly, the latter's name being on the façade. Renamed to San Gaetano (Saint Cajetan) in honour of Gaetano Thiene one of the founders of the Theatine order (and also the founder of the Ospedale degli Incurabili in Venice in 1522), but officially only after his canonisation in April 1671. Built to plans probably prepared by Father Anselmo Canigiani and Father Andrea Castaldo, founders of the Florentine community and Don Giovanni de' Medici, initially with help from Matteo Nigreti, who got the transept and choir finished by 1630. Then the nave was enlarged and the façade redesigned by Gherardo Silvani in 1648. The church was consecrated, whilst still lacking a façade, on the 29th of August 1649, with work continuing until 1701. Following the suppression of the Theatines in 1785 the church passed to the parish. In 2008 it passed to the Institute of Christ the King Sovereign Priest. The church The façade is made of of pietra forte, with ornamental detail by Alessandro Neri Malavisti. The statues in lower part date from 1686-1690 and are: San Gaetano Thiene over the left door, Hope and Poverty (seated either side of the arms of the Theatine order) over the central door - all by Balthasar Permoser, and Sant'Andrea Averlino over the right door, which is by Anton Francesco Andreozzi. The Medici arms and two angels over the central circular window are by Carlo Mencellini in 1692. He also enlarged the staircase in 1701. Interior The interior is a barrel-vaulted single nave, restrained baroque with stucco mostly by Giovanni Battista Foggini. The second chapel on the left, the Cappella Franceschi, has a large and frantic Martyrdom of Saint Lawrence of 1653 by Pietro da Cortona. The church now has framed printed guides in Italian to the art in each chapel, which helps identify Matteo Rosselli as being responsible for the better works here, including the altarpieces in the chapels either side of the apse, amongst some otherwise pretty nondescript 17th century stuff by the likes of Ottavio Vannini and Jacopo Vignali. Between the chapel arches in the nave is a cycle of over-life-size marble statues of Apostles and Evangelists. Below each are reliefs depicting episodes from their lives, mostly martyrdoms. The door to the left leads to the Antinori Oratory with three rare Romanesque reliefs from the 12th century - Saints Michael, Peter and Miniato - from the original church of San Michele Berteldi. Miracle-working images Also in the Antinori Oratory is a Madonna which was on the exterior of the original church, facing the exit from a public bathhouse. This image was said to have closed its eyes in November 1506 in disgust because 'she did not want to see the sins that are committed there', probably male sodomy. This miracle lead to its becoming a place of veneration, despite the fact that many women would not come there due to its position opposite said bathhouse and the fact that the nearby streets and piazzas had the reputation of being rife with sexual crime. The original church of San Michele Berteldi, on the 16th-century Buonsignori Map. San Giovanni di DioBorgo Ognissanti History The hospital here, dedicated to Santa Maria dell'Umiltà was founded in 1382 by Simone di Piero Vespucci. In 1400 Vespucci entrusted the hospital to the confraternity of the Bigallo and in in 1587 it was given to the mendicant Augustinian Hermit friars of San Giovanni di Dio by Grand Duke Ferdinando I. The complex was enlarged in Mannerist style from 1702-13 to designs, provided free of charge, by Carlo Marcellini. The Grand Duke provided the funds and houses belonging to the Vespucci where incorporated, including the birthplace of Amerigo. The church, which retained the name Santa Maria dell'Umiltà, was rebuilt at this time too, also to designs by Marcellini, with altars and monuments retained from the old church. The interior is a single rectangular nave with four side altars and reportedly unspecial. The dome was frescoed by Alessandro Gherardini initially, and in the late 17th-century by the Hungarian painter Giuseppe Dorffmeister. There is also an altarpiece by Alessandro Gherardini of The Virgin with Child and Saint Anne. In contrast the sweeping staircase of the Spedale vestibule next door, built in 1735 (see photo right) are splendid. The marble group on the landing is San Giovanni di Dio with Archangel Gabriel and a Poor Man Kneeling by Ticciati. The paintings and ceiling are by Vincenzo Meucci and Rinaldo Botti. The two fresco medallions on the walls, showing San Giovanni di Dio ministering to plague victims and giving bread to the poor, are by Violante Ferroni, a woman artist unusually commissioned to paint these large panels in the 1740s. These works are due to be restored in 1019/20. The order was suppressed in 1808 and the hospital passed into secular hands, although the entrance vestibule was used in the 19th century for masses for 'the convenience of the sick'. The hospital closed in 1982, moving to larger modern premises outside Florence. Gradually declining health service functions have lead to increasing disuse of the building. Opening times The church has been closed for years and the building left to crumble, with an 18th-century medallion falling off and shattering in 2015. San Giovannino dei Cavalieri Via San Gallo History Founded here in 1323 as an oratory, the original church belonged to the Celestine monks, followers of San Pietro da Morrone, from 1327. In 1552 the Hospitaller nuns of St John of Jerusalem were installed here by Cosimo I and the Celestine monks were moved to San Michele Visdomini. During the 14th century the complex had housed "women of easy virtue" and was dedicated to St. Mary Magdalene. The nuns of the Knights of Malta (Cavilieri) re-dedicated the church to Saint Nicholas of Bari, even though it is usually known as the church of Saint John the Baptist (or Saint John the Beheaded) the order's patron saint. Rebuilt by the nuns and reconsecrated in April 1553 with the current façade added in 1699. Suppressed in 1808 by Grand Duke Leopold, the church transferred to parish use in 1939 when architect Ezio Cerpi undertook restoration, with a view to returning it to its 16th century appearance. Interior It has an oddly huge entrance hall, with the original large cupboards, and inside a very tall nave with low aisles and plain square pillars dividing. The first altar on the left has a poorly-illuminated Nativity by Bicci di Lorenzo, the father of Neri di Bicci, with too many angels (50!) The central altar on the left is very high-altarishly ornate. Above it is a Last Supper by Palma il Giovani, which is not bad, for him. Opposite it is a 19th-century della Robbia copy. At the end of the aisles either side of the apse are two very worth-a-trip altarpieces - a Coronation of the Virgin by Neri di Bicci on the left (see above), with a fine and fascinating predella with saints at either end and panels of The Beheading of St John the Baptist, The Resurrection and a scene from the life of Saint Nicholas of Bari. This altarpiece also contains a (relatively rare) fictive painted tabernacle. On the right is a sweet and architectural Annunciation by the Master of the Castello Nativity. Both these works, along with the Crucifixion of Lorenzo Monaco, date from the original 14th century church of the Celestines. The apse itself is architecturally frescoed (by Alessandro Gherardini in 1703) surrounding an earlier painted Crucifixion by Lorenzo Monaco. Also a very damaged fresco of Saint Michael the Archangel by Francesco Granacci in the right aisle. The wooden crucifix in the right aisle is said to have been carved using wood from the tree which miraculously sprang to life in the middle of winter when brushed by the coffin bearing the body of Saint Zenobius from San Lorenzo to Santa Reparata, the original church on the site of the Duomo. A stone pillar near the Baptistery commemorates this event. Opening times None posted, but I've usually found it open in the week in the mid-morning (when the light is best) and also in the evening. San Giuliano Via Faenza History The church was attached to the convent of San Giuliano, founded in the 14th century by Bartolo Benvenuti (who is buried here), consecrated in 1585 and suppressed in 1808. The convent is currently home to the Congregazione delle Figlie Povere di San Giuseppe Calasanzio, founded in 1889 by Mother Celestina Donati. Interior The church is lit by just three windows high up in the façade, which shine through an odd filet of a room between the facade and the inner facade, so the aisleless space, with three arched recesses on each side, is pretty dimly lit. There are three nuns' grills high up on the left side, where the convent was, I presume, and an organ gallery on that side of the apse. The interior is very undecorated, apart from a grisaille panel of The Adoration of the Blessed Sacrament in the flat and coffered ceiling (see photo right) and portraits of Christ and some saints in the spandrels of the dome over the apse. Two elderly black-clad nuns sitting in pews and the sounds of catering coming from a door on the left suggest a still-functioning convent. San Giuseppe oratory Via Sant'Antonino San Giuseppino Via Santa Caterina d'Alessandria History The Oratory of San Giuseppe, built in 1646, was part of the convent of the Montalve, the Handmaids of the Most Holy Virgin. The ceiling fresco here depicts Eleonora Ramirez de Montalvo Presents her Maids to the Virgin Mary (1717). Upon suppression in 1780 the Montalve moved to Sant'Agata in via San Gallo, then to San Jacopo in via della Scala, and finally to the Villa La Quiete in via di Boldrone. History Built on the site of the chapel, built in 1784, of the mortuary run by Capuchin monks. Expanded into a church 1860-67 under the guidance of a project engineer by the name of Gatteschi, consecration taking place on 6th February 1870. The mortuary moved to the church of Sacro Cuore al Romito (see above) in 1893. The church passed to the Irish nuns of the Institute of Santa Reparata after WW1 becoming popular with Florence's English-speaking community. Since 1947 the complex has been occupied by the Vincentian Missionaries from San Jacopo sopr'Arno. Built in a gothic style, there is a relief over the door of The Pietà by Louis Cartei, over a strip of the carved symbols of the city's districts (see below). Over the altar is a statue of The Immaculate Conception by Emilio Santarelli, who is also responsible for the flanking angels. San Jacopino Via Benedetto Marcello History The original church, called San Jacopo in Polverosa, stood in the piazza of the same name, nearby on the via Cassia, in the 13th century. It was called San Jacopino to distinguish it from (three) other churches in Florence called San Jacopo. The Salvi di Benincasa were its patrons, and they gave it to the friars of Santa Maria Novella, who kept it until it became a parish church in 1781. At this time the church contained a much-venerated Crucifixion with the Virgin and St John, taken from the demolished church of San Pier Maggiore. As the local population grew a larger church was needed, and built by architect Severino Crott in 1931, and consecrated in 1936. The original church (see photo right) was bombed in 1944, with the loss of 18th-century frescoes by Meucci, and later demolished. San Jacopo di Ripoli Via della Scala History This church was part of a convent established in 1292 by Dominican nuns from Pian di Ripoli, just outside Florence, forced inside the city walls to flee the warfare and violence of the time. By 1300 the sprawling complex housed a hundred sisters. The plague of 1348 reduced this number to three, a very high death toll, possible because the complex was so near to a hospital. In 1476 the Dominican friar Domenico da Pistoia (and not the more famous Bernardo Cennini as the board outside the church (and Wikipedia) claims) set up a printing press here, only the second one in Florence, with the nuns later employed as compositors, which is also the first documented instance of women employed in printing. A thriving scriptorium had existed here previously. Fra Domenico was the procurator here, having previously served as such at San Domenico in Fiesole. Copies of their first six titles no longer survive, but the seventh was The Legend of Saint Catherine, a book about the Sienese mystic by Raymond of Capua, her confessor, of which more than twenty copies survive, some illuminated. Pamphlets of prayers or songs, which were sold by street performers and could be used as charms, were another popular line in the first year. In 1482 the press printed Luigi Pulci's fruity epic poem Morganta and in May the following year an edition of Boccaccio's Decameron, although account books suggest that the nuns were not employed as compositors for the latter job. The press was in operation until 1484, the year of their last production - the first complete printed edition of the works of Plato, in new Latin translations from the Greek by Marsilio Ficino, which proved highly influential and were widely read and dispersed. This year may also have seen the death of Fra Domenico - it was a plague year and he disappears from the records, to be replaced by a new procurator, called Fra Vincenzo. The complex was rebuilt in the late 16th century. When the nuns moved to San Pietro in Monticelli in 1784 the buildings were altered again, this time by Giuseppe Salvetti. The convent was suppressed in 1781 by Pietro Leopoldo, Grand Duke of Tuscany, and given to the Congregation of the Montalve, who remained until 1886 when they moved to the Villa La Quiete taking all the works of art belonging to their predecessors with them. All that remains is the lunette of glazed terracotta on the (otherwise undecorated) façade of the Virgin and Child with Saints James and Domenic of 1522 by Giovanni della Robbia, the grandnephew of Luca, whose work is usually in deeper relief than his granduncle's.The complex was bought by the government, also in 1886, and deconsecrated for use as a barracks and an albergo militare. The latter includes the large cloister, enlarged after 1550. For a brief period, during 1945, the complex served as a refuge for displaced persons, many Jewish survivors of the Holocaust, before returning to military use and called the Caserma Simoni, after a hero of WW1. Restoration work to the church around 1973. It was reported in 2012 that the church was to be renovated in the following years. Restoration work in 2018 revealed a cycle of frescoes of The Life of the Virgin and Christ in the nun's refectory. Interior The church consists of a single aisle with two side altars facing each other, both sponsored by the Antinori family. These contained a pair of altarpieces by Ridolfo del Ghirlandaio and glazed terracotta lunettes by the della Robbia workshop. One of the altarpieces and both the lunettes are conserved at the Villa La Quiete outside Florence, presumably taken there by Congregation of the Montalve when they moved there in 1886. As is an early crucifix sometimes said to be by Cimabue. The second altarpiece, depicting The Coronation of the Virgin (see right), is now in the Petit Palais Museum in Avignon. Lost manuscripts A volume from a late-13th-century antiphonal in the Getty Museum may have been made for this church. It contains illustrations by the Master of Gerona, who provided at least two other choir books to the nuns here. Bibliography The Diario of the printing press of San Jacopo di Ripoli, 1476-1484, with commentary and transcription by Melissa Conway, 1999. The Bookseller of Florence: Vespasiano da Bisticci and the Manuscripts that Illuminated the Renaissance by Ross King April 2021 Deals with the typesetting nuns here, and their part in the transition from the writing to the printing of books and added clarity and content to the paragraphs above. San Jacopo in Campo Corbolini Via Faenza History Originally consecrated on May 3rd 1206, the church belonged to the order of the Knights of the Holy Sepulchre, and from 1256 to the Knights Templar, later passing to the Knights of Malta. Building progressed through the 13th century, with a small military hospital added in 1311. The gothic portico is unusual, if not unique, in Florence, with the column capitals featuring carvings of the emblem of the Knights of Malta. The church was restored in the 17th century after falling into a poor state, when the large emblem featuring the cross of Malta was added. A convent was attached in the 18th century, but the complex was suppressed by Napoleon in 1808. The complex is now owned by the Scuola Lorenzo de' Medici, who have been responsible for recent restoration work and who use the church itself for conferences and receptions. It is also occasionally used for exhibitions. The interior Consists of a single nave, relatively unspoilt, with an altarpiece depicting The Mystic Marriage of Saint Catherine sometimes attributed to Ridolfo del Ghirlandaio. Also the impressive 16th century tomb of Luigi Tornabuoni (see right) nicknamed the Lion of Florence carved by Pierre de Aubisson, with bas-relief by an artist from Fiesole that Vasari called il Cecilia. San Lorenzo Piazza di San Lorenzo this church now has its own page San Martino della Scala Via della Scala History In 1316 a Florentine carpenter called Cione di Lapo Pollini established Santa Maria della Scala, a hospital for the shelter of pilgrims and travellers. The silk guild of Por Santa Maria took over in 1351, by which time the hospital had also taken on the care of orphans. It was named for the Sienese hospital of the same name, with which it was linked. A loggia was added in the 14th century, the columns of which can still be seen on the exterior walls, together with the remains of the turning box on which abandoned infants were left, similar to the one at the Innocenti. In 1531, the hospital was suppressed and merged with the Innocenti. The church and convent were rebuilt in the 17th century when it was granted to the nuns of San Martino dalle Panche whose convent, near the Mugnone, had been destroyed during the siege. The interior acquired its current florid stucco work at this time, the work of Giovanni Martino Portogalli. The complex, which was henceforth known as the Monastero di San Martino a Mugnone, was occupied by the nuns until 1808, when the convent was suppressed. Since 1873 it has 'inconveniently', as one art historian put it, housed an institution for juvenile offenders. It now houses the Gian Paolo Meucci Penal Institute for Minors. Art highlights Reportedly an altarpiece of The Virgin and Child enthroned between Saints Sebastian and Martin by Ridolfo del Ghirlandaio. Also a Virgin and Child with Saints Julian and Sebastian (on first altar on the right) by the same artist, transferred here from San Pier Scheraggio in the early 19th century. It was described as being in a poor state in 1993. On a visit to Florence in April 2015 there was an enormous crane and considerable rebuilding going on. Lost art Botticelli's Annunciation fresco of 1481, now in the Uffizi, was taken from the church loggia here. It has recently had much restoration work done on it and is now properly displayed following the Botticelli room's recent (early 2017) rehang. (See before and after photos, below). San Paolino Via Palazzuolo History This was originally a smaller church, hence the diminutive name, said by a plaque in the church to have been founded in 335 and consecrated in 404. The first actual documentary mention however is dated 30th October 1094, when the priest here is mentioned as having attended the consecration of Santa Maria Novella. By this time a larger church had been built and this church was itself refurbished in early Gothic style by the 13th century. By 1208 it was called San Paolino so as not to be confused with the church of San Paolo in the Ospedale dei Convalescenti nearby. Granted to the Dominicans in the 1217, who stayed here until 1221 (when they moved to Santa Maria Novella). Under Pope Leo X it became a parish church and passed to the Observant Franciscans in 1529. In 1618 it passed to the Carmelites with permission to build a convent. They refurbished the interior in 1621/2 rebuilt much larger in 1667, to designs by Giovanni Battista Balatri, when the church's orientation was rotated 90 degrees. This work was completed in 1693. Francesco Masini was responsible for the nave and Bastiano Messeri for the dome - the result was a baroquing up. The entrance gallery was built in 1779 to designs by Gioacchino Pronti from Rimini, who was then working on Santa Maria del Carmine after its fire and the façade of San Marco. It supports an organ by the Tronci brothers. Suppressed in 1810 and then in 1866 restored to the Carmelites who are still here. There was considerable restoration work undertaken in the 1970s. Façade The façade was never finished, only ever having a door and an oculus window. Over the door are the coats of arms of the Pope Leo X and Cardinal Giulio di Giuliano de' Medici, Archbishop of Florence and the future pope Clement VII. Interior A plain and nicely-proportioned interior with pale green-tinged walls. Two pairs of connected chapels in the nave and two more large altars in the shallow transepts. Also a lot of balconies, for some reason. The first chapel on the right as you enter is the most striking, with its pair of facing (Albizi family) tombs with emerging (carved) skeletons (see photo below right). There is a wood-panelled sacristy with paintings from the 18th century. Art highlights The second chapel in right nave contains the recently rediscovered Annunciation with Saints Peter and Paul by Ridolfo Ghirlandaio, previously attributed to 'a follower of Sogliani'. Much 18th century art by the likes of Vincenzo Meucci (The Marriage of the Virgin), Giovanni Domenico Ferretti (The Agony of St Joseph), Francesco Curradi (The Rapture of St Paul), Ignazio Hugford and Gherardini. Lost art There is panel depicting Saint Paul by Bernardo Daddi, dated 1333 and now in Washington, thought to have come from this church or the Ospedale di San Paulo nearby. Local boy Sandro Botticelli's serious and impressive high altarpiece Lamentation (see below) of c.1490/95 is now in the Alte Pinakotek in Munich. It was installed in an elaborate architectural frame with doors, and was commissioned by Frosino di Cristofano Masini, the prior here from 1412-1451, who was buried in front of the high altar. A guidebook of 1860 mentions an Annunciation attributed to Fra Angelico, which might conceivably be the one mentioned above by Ridolfo Ghirlandaio. Notable locals Scholar and poet Poliziano (to be seen in frescos by Ghirlandaio in the two nearby churches of Santa Maria Novella and Santa Trìnita) was made the prior here in 1477. A post he held until 1486, when he was appointed a canon of Santa Maria del Fiore. The church in literature The church is mentioned in the 14th century Cronica (Chronicles) of Giovanni Villani, and Boccaccio describes San Paolino as a church where the poor were buried in the seventh novel of the fourth day of The Decameron. Sant'Agata Via San Gallo History A convent that's passed through various orders. From 1211 to 1286 it belonged to the nuns of Saint Agatha, then the Camaldolese nuns of Bibbiena who were refugees from the Casentino after the battle of Campaldino (1289 ). In 1780 nuns of the Order of the Montalve moved here from San Giuseppe. In the nineteenth century, after the Napoleonic suppressions, the complex was converted to use as a military hospital. The church, rebuilt by 1569, is (still?) used as the military hospital's chapel. Interior The high altarpiece of The Wedding at Cana, Christ's first miracle, from 1600 was commissioned by Lorenzo Pucci from Allori who was also responsible for the façade, also built for Pucci in 1592. The frescoes of The Martyrdom of Saint Agatha and Her Burial are by Giovanni Bizzelli, a pupil of Allori. The church is also said to contain paintings by Lorenzo di Credi, Lorenzo Lippi and Neri di Bicci. Or to once have. More firmly reported is a Madonna della Cintola by Girolamo Macchietti from c.1570 showing Saint Thomas flanked by Saints Benedict and Catherine of Siena. Lost art Giovanni Bizzelli's Virgin in Glory with Saints (see right) is in the Andrea del Sarto Cenacolo Museum at San Salvi. Sant'Apollonia Via San Gallo History An Observant Benedictine convent was founded here in 1339 by Piero di Ser Mino. Long the largest and wealthiest convent in Florence, due to the greatest families providing its nuns, major rebuilding in the 15th century resulted in the building of the refectory and the commission for the painting of The Last Supper by Andrea del Castagno in 1447. The design of the church's door to via San Gallo has been convincingly attributed to Michelangelo, who Vasari said had a niece who was a nun here, but this is not true, it seems. This door dates to reconstruction work between 1526 and 1529 financed by the convent's governor Giuliano di Ranieri da Ricasoli, a canon of the duomo. The church was suppressed and deconsecrated in 1808 and is now used as a conference hall. The space inside is divided into three aisles, with frescoes by Bernardino Poccetti supposedly still in place. The complex was used as a military storehouse after 1864 and is now used by the university, Regione Toscana and the army. Lost art An altarpiece painted for the church by Francesco Granacci, and installed in 1530, following the rebuilding work of 1526-9, was disassembled before 1759 and divided up after the church's suppression. The ten surviving predella panels, of scenes from the Legend of St Apollonia, are in the Accademia and the four standing saints (including Apollonia herself, see right) are now in Munich. A small Annunciation panel is in Corsham Court in Wiltshire. The altarpiece was designed, according to Vasari, for Granacci by Michelangelo. The CenacoloUpon suppression the fresco in the refectory here was discovered under a layer of plaster, it having been previously unknown (even to Vasari and Richa) due to the order's seclusion. It was initially thought to be the work of Paolo Uccello but the attribution to Andrea del Castagno by Crowe and Cavalcaselle is now universally accepted. The refectory was opened to the public in 1891. Removal for conservation work in 1953 revealed the sinopie. This Last Supper by Andrea del Castagno is 32 feet by 15 and took the artist a mere 57 days to paint. It is the one with the jazzy faux-marble panels and the sculptural figures with very expressive hands and feet. The jazziest of the panels focuses attention on the figures who act out the main drama. The Apostles' names are helpfully inscribed on the ledge below their feet. Also note that the 'large upper room' (Matthew 14:15) depicted seems to protrude into our space, rather than sink beyond the wall, and the unusual sphinxes as bench-ends, symbolic of enigma, and so supposedly suggestive of the confusion amongst the Apostles when Jesus announced that one of them would betray him. The subject of the fresco was especially important for the nuns to contemplate during their meals as their order was spiritually cenred on the Eucharist. This was the third refectory to be opened as a museum, after San Salvi and the Fuligno, this time dedicated to the art of Andrea and his school. There are also three very damaged frescos above the Last Supper of the Crucifixion (centre), Deposition (right) and Resurrection (left). It has been observed that Jesus gets younger as the story progresses. Their sinopie (underdrawings), found during preservation work in 1953, have been installed on the facing wall. Below the sinopie are some unfascinating decorative panels from the the tragically lost fresco cycle painted for the church of Sant'Egidio by Andrea, along with Alessio Baldovinetti and Domenico Veneziano (with Piero della Francesca as his assistant). There is also a sinopia from this work by Domenico Veneziano of a nude woman with perspective lines. There's also a damaged Crucifixion with the Virgin and Saints John the Evangelist, Benedict and Romuald fresco by Andrea, painted c.1445, which was taken from the church of Santa Maria degli Angeli where it originally occupied the lunette over the doorway to the inner cloister. There's also a frescoed lunette of the Pieta with Angels from the monastery here. The entrance hall and antechamber house other works. The entrance hall has a painting of an abbess from another convent, an 18th century Crucifix once in the church here, and a lunette-shaped fresco rescued from an outside doorway here. The antechamber has works from the monastery. There are two altarpieces by Neri di Bicci, a Virgin and Child with Saints and a Coronation of the Virgin, both once in the church here, and two detached frescoes by Paolo Schiavo, a Pieta with Angels and a Crucifixion. Also an elaborately framed painting of The Trinity from around 1460, recently cleaned. Opening times The church (in via San Gallo) is closed to the public, and looks to be an empty shell anyway, now used for conferences. The Cenacolo is open daily 8.15-13.50 Closed on the 2nd and 4th Monday and 1st, 3rd and 5th Sunday of each month, New Years Day, May 1st and Christmas Day Bibliography A useful little bilingual guidebook to the cenacolo is available from Firenze Musei. Sant'Onofrio di Fuligno Via Faenza History Named for the obscure saint Honofrius and called di Fuligno after the Franciscan nuns from Foligno who lived here from 1419. The complex had originally, from 1316, been occupied by Augustinian nuns. It was rebuilt and consecrated in 1429. The complex was suppressed in the 19th century, the remaining Franciscans being moved to Sant'Ambrogio, with the buildings then used as a girls' school, to prevent them having to resort to begging, 'a violation to common decency'. The refectory was sold separately, though, being used for the manufacture of silk and the painting of carriages. The discovery of the Last Supper fresco there in 1843 began the process of repair leading to it being opened to the public. It housed the Egyptian Museum for a while, and then the Feroni collection of pictures. Closure from the Second World War through to the flood of 1966 led to the rooms being used to store flood-damaged works, until their reopening in 1990. The Cenacolo The Cenacolo (Last Supper) fresco is to be found in the refectory, through the open doors in the old convent building to the right of the church. This lunette-shaped fresco is by Pietro Perugino, but was previously thought to have been an early work by Raphael (hence the bust of him on display here), this attribution having been based on a half-deciphered inscription on the robe of Saint Thomas in the fresco, and there's still some argument over whether it might have had more than its share of input from Perugino's pupils, of which there were many, including Pinturicchio. It was painted 1480-85 and the scene of The Agony in the Garden seen in the background is the following scene in Christ's Passion and also reflects the fresco of 1462 by Neri di Bicci which this work replaced, presumably as the Neri fresco was thought to have become old fashioned. (Confusingly when this Last Supper was thought to be by Raphael counter claims attributed it to Neri di Bicci, presumably because of the existence of documents relating to the previous fresco.) The fictive stone framing has small roundels containing portraits of Franciscan saints. The two rows of six columns which frame the Agony are said to relate to the Apostles having been described as the pillars of Christianity. There are 33 cenacoli in the refectories of central Florence, and this is one of the best. There are other works on display too, including Perugino's fine Crucifix with the Virgin and Saints from the demolished church and convent of San Girolamo delle Poverine. Several by Ridolfo del Ghirlandaio, including a Raphaelesque Virgin and Child which was originally in the convent of the Murate. A Mystic Marriage of St Catherine by Antonio del Ceraiolo, a pupil of Ridolfo Ghirlandaio and then Lorenzo di Credi, which was originally in the church of Santa Lucia. (Also one in the Bombeni chapel in S.Trinita?) The Assumption of the Virgin by Valerio Marucelli, in the entrance antechamber, was originally over the high altar in the church here. There are also a few works by Lorenzo di Credi, including very nice bits of an altarpiece from the convent of San Gaggio and a portrait of a youth. This portrait was stolen by German soldiers in 1944 and recovered in 1963. There are those who think that it's a self portrait, and those who don't. My faves here, though, are six altarpiece panels by Antonio Rimpatta (see right). I'd never heard of him either, but his faces are winningly serene whilst still very human and very Flemish-influenced. The Mormile Polyptych that they are taken from, originally in Milan, was illegally dismembered, sold and exported. Later these parts were recovered, minus the frame and, it is thought, some panels. Also here are some detached frescoes by Bicci di Lorenzo. A tabernacle of The Virgin and Child with Saints by Giovanni da San Giovanni, formerly on the wall of the suppressed convent of Sant'Antonio in via Cennini, has been set up beside the entrance. Opening times The Cenacolo is open Tuesday, Thursday and Saturday, 9.00 - 13.00 Bibliography A useful little bilingual guidebook to the cenacolo is available from Firenze Musei. Sant'Orsola Via Panicale History A convent founded in 1309 as a satellite of San Lorenzo. The building was completed in 1327 and settled by Benedictine nuns until 1435 when it was taken over by Franciscans. There were two churches within the complex, the second built in the mid-16th century, at the same time as the first was rebuilt to accommodate counter-reformation innovations. Suppressed at the beginning of the nineteenth century and by 1810, after renovations by architect Bartolomeo Silvestri, it had became a tobacco factory. The building later housed a centre for the care of the evicted and then classrooms and offices of the University of Florence. In the 1980s it was bought by the State in order to create a barracks for the Guardia di Finanza. Work began in 1985 but was later abandoned. The complex was left enclosed in a cage of scaffolding and sheeting and became a victim of bureaucracy. Meanwhile the surrounding area descended into squalor, criminality, and drug dealing. In 2004 the Region of Tuscany signed an agreement for Sant'Orsola to become an extension to the Central Market and the headquarters of the District Directorate of Customs of Florence. But then all that happened was the scaffolding coming down, in 2007. The same year saw research published suggesting that in 1542 Lisa Gherardini, the (recently confirmed) subject of Leonardo's Mona Lisa, was buried in the church of the convent of Sant'Orsola, where she had spent the last years of her life, following the death of her husband, with one of her daughters, Marietta (Sister Ludovica). The gutting of the building in 1985 would have removed any traces of tombs or bodies, but the architect from the time says that there was nothing but 'devastation' within the shell of the building by that time anyway. This didn't stop excavations beneath the concrete laid in the 1980s and two bodies being found, in 2011 and 2012, and claims being made that they were the bones of Mona Lisa. Both of them were found not to be. The most recent admission of failure by the somewhat publicity-led team being in September 2012. A film about the digging is here. In recent years many renovation plans and initiatives have been announced. The building has also had to suffer 'edgy' art and 'sound installations'. More recently plans announced in August 2017, including the creation of the Monnalisa restaurant and museum and the Bocelli Academy Music School, came to nothing. Lost art A panel of The Arrival of Saint Ursula at Cologne from an altarpiece by Bernardo Daddi (see right) is in the Getty Museum. Update January 2021 Many have been the announcements of development projects, for many years, all coming to nothing. Now comes news of a French developer called Artea and a 31.5 million euro restoration aiming to turn the ruined complex into a community centre. Work is expected to begin in 2022 and be completed by 2025. We'll see. Update 14th August 2022 The above process seems to be progressing! Città di Firenze have today reported that 'the facades, coverings and restoration of ancient capitals and frescoes have been completed' and that the handover to Artea is expected next month and the fitting out of the interior should follow. All the usual spaces are promised: schools, workspaces, a library, accommodation, courtyards, gardens and 'a museum that will trace the history of SantOrsola through the centuries'. Santa Caterina Nostra Signora del Sacro Cuore Via Santa Caterina d'Alessandria History Founded by Augustinian nuns in 1310 and belonging to the Canons of the Duomo. The monastery, located to the right of the church, was enlarged during the next two centuries. The wheel, the symbol of Saint Catherine's martyrdom can still be seen on many nearby houses. In the 16th century the sisters were moved and the monastery, by now known as Santa Caterina al Magnone, passed through various orders, including the Humiliati, the Franciscans and the Cavalieri di Santo Stefano, later becoming the responsibility of the Company of the Bigallo. In 1615 the complex became a home for abandoned girls, then with secularisation under Peter Leopold in 1778 it became a school for 'poor spinsters' and later a salt and tobacco warehouse. Following a plan by Gaetano Baccani failing due to financial difficulties, and the fact that his single nave church was deemed too small, the church was rebuilt in current neoclassical style by Giuseppi Martelli from 1858. The façade remains unfinished, though. and very odd looking - the plan was for a triple-arched loggia. The church was opened on 31st December 1863. Interior An oddly monumental interior with eight pietra serena columns (recycled from the Baccani plan) dividing a wide barrel-vaulted nave from its diminutive aisles. A rich decorative scheme was planned but never carried out. Santa Lucia sul Prato Via di Santa Lucia History First called Santa Lucia a Sant'Eusebio, after a nearby leper colony, and a parish church by 1221, the church was later called Saint Lucia sul Prato after the expanse of grass that fronted it. The chapel here was first mentioned in documents whan it was granted to the Umiliati order in 1251 by the bishop of Florence, Giovanni de Mangiadori, because, as at the monastery of the Ognissanti nearby, they needed proximity to the Arno for wool-working purposes. They sold the church to Cosimo I for 840 scudi and so in 1547 it passed to Augustinians from San Donato a Scopeto by the Porta Romana (called the Scopetini), who had had their convent destroyed so as not to provide refuge for the attackers during the siege of Florence in 1529-30. This order spent the years following their acquisition restoring the church. Following the Augustinians' move to San Jacopo sopr'Arnothe complex was taken over by the fathers of San Vincenzo de 'Paoli in 1703 and then in 1720 it was entrusted to secular clergy. Its current neoclassical appearance results from subsequent rebuilding between 1838 and 1885. This work gave us the façade by John Mannaioni, the ceiling painting and the bas reliefs in the apse. The flood of 1966 resulted in the loss of baroque side altars, the marble balustrade between the apse and the knave, and the original floor. To the left of the church was the house of the Company of the Blessed Sacrament, where silk weaver Ippolito Galantini (1565-1619) first began to instruct children in Christian doctrine, before founding the confraternity of the Vanchetoni in San Francesco dei Vanchetoni. He is depicted in a fresco behind the high altar here. Interior It's aisleless, compact and squarish inside, pale with some quite chunky pietra serena detailing. Three arches along each side, both sides consisting of a pair of recesses with a chapel at the apse end. The facing pair of recesses nearest the door each contain a damaged fresco fragment. The one on the left is a fine and unusually relaxed Annunciation (see right). It's late 14th century and in composition and positioning it emulates the famed miracle-working Annunciation at Santissima Annunziata, with some claims that it might even predate it. Previously anonymous it has, following restoration in 2013, now been ascribed to Nardo di Cione. The recess on the right contains the bottom half of an even more damaged fresco of The Baptism of Christ (see photo below right), painted by Angelo La Naia in the 1950. This recess contained the baptismal font until a new font was installed in the left aisle in memory of a young man of the parish executed by the fascists for refusing to enlist. The fresco was covered over at this time until a few years ago when the damp caused the cardboard covering to warp and come away. Now proper restoration is being considered. The middle recess on the right contains a fresco from 1984 by Luciano Guarnieri, a pupil of Annigoni, depicting The Crucifixion. Some of the figures are portraits of locals, including a nearby butcher; and one of them (the man in the brown jacket at the foot of the cross) is Giuseppe Prezzolini, the writer and journalist. There's also a square painting here of The Adoration of the Shepherds by a previously unidentified, said to be northern, artist, He was known as the Master of Santa Lucia sul Prato and it was said that he may have been attached to Ghirlandaio's workshop. After recent cleaning for an exhibition, however, a name has been given to its painter: Alexander Formoser, a painter sent to Florence by the Hungarian King Matthias Corvinus, to learn the Florentine way with art. The painting certainly shows the influence of Ghirlandaio's version of the same subject in Santa Trinita. The square apse has long carved relief panels on the sides in plaster by Salvatore Bongiovanni, depicting Moses quenching the Jewish people and Moses saving the Jewish people from snakes. There's a painting of the crucifixion on the wall behind, but with the actual crucifix is carved and is from the Company of San Benedetto Bianco and dates to the 16th century. Flanking this on the back wall are saints with children - Santa Lucia and Sant'Ippolitto Galanti, painted in the 1950s by Angelo La Naia and now pretty grubby. There's an organ gallery (and organ) on the inner facade and a murky circular ceiling painting. Patterned stained glass windows over each side arch help the light and calm and Brunelleschi-type cube effect. The ceiling painting is Saint Lucy Brought to Heaven by Angels, painted by Paolo Sarti between 1831 and 1838. Lost art This church is the most likely original location of an altarpiece by Fra Angelico of c.1427/8, of which only the five predella panels remain. Saint James the Great Freeing the Magician Hermogenes is in Fort Worth Texas, The Naming of Saint John the Baptist is in the San Marco Museum, The Dormition of the Virgin is in Philadelphia, The Meeting of Saints Dominic and Francis is in San Francisco, and The Vision of Saint Lucy is in the Feigen collection. Its possible placing here is down to an 18th-century inscription on the back of one panel mentioning the Ognissanti, a church which this one depended on, and the presence of Saint Lucy. The lost Bianchi crucifix A crucifix kept in the Cappella di San Benedetto on the left-hand side of the church, which was (and still is) used for meetings and film shows, was consigned to storage around 1920 and forgotten. It was found in 2010 and was found to be, behind it's more modern front, an original Bianchi cross carried in their processions and mentioned by many sources, including Richa. When it was given to the church two members of the group donating the crucifix were said to have had their sight miraculously restored after having been blind for some time, Santa Lucia being the saint who protects eyesight. It turned out that when it was put in the chapel a second larger wooden cross was applied and attached with iron latches. An invoice from around 1710, for making the larger cross and the latches, was found, so proving the pre-existence of the crucifix before 1710. It has been restored and was returned to the church in June 2013. There's a video news report here. Opening times 9.00 to 12.00, 5.00 to 6.30 (Mass at 6.00) Sundays 8.30 to 1.00 (Masses at 9.00, 10.30, 12.00) Santa Maria Novella Piazza Santa Maria Novella this church now has its own page Santa Trìnita Piazza di Santa Trinita this church now has its own page Santi Jacopo e Filippo Via della Scala History This oratory was part of a hospital founded in 1337 and known as dei Barelloni because the brethren carried the sick and dying on stretchers (barelle) rather than in the cloth hammocks (gerle) favoured by the Misericordia. From 1589 the hospital gave shelter to 'honest but poor girls'. It was later turned into a convent for the Monache della Carità (Nuns of Charity). In 1626 it was enlarged and the church, dedicated to the Santissima Concezione, was rebuilt by Matteo Nigetti. Cosimo Ulivelli painted a ten-part fresco cycle illustrating the "Works of Mercy". After the convent was suppressed in 1808, it was incorporated into the Palazzo Grassi, now a hotel. In 1985 the church was made the Tuscan headquarters of the Knights of the Equestrian Order of the Holy Sepulchre. Chiostro dello Scalzo Via Camillo Cavour History The Compagnia dello Scalzo were a disciplinati (flagellant) confraternity, named for the bare feet of the cross-bearer in their public processions, dedicated to of San Giovanni Battista. The company was founded in 1376 and based in the church of San Jacopo in Campo Carbolini. As early as 1390 they were using the church of San Giovannino dei Cavalieri in via San Gallo, one street to the west of the Chiostro. Having purchased land behind this church in the early 15th century they built a chapel (which was consecrated in 1476 but then totally rebuilt and later demolished) as well as the cloister, originally designed by Giuliano da Sangallo, and the entrance (1478) we see today. The false-stone facade's doorway is surmounted by a glazed terracotta lunette (see above) said to be by Giovanni della Robbia, the grandnephew of Luca, whose work is usually in deeper relief and with more colours than his granduncle's. It depicts John the Baptist and two darkly robed and hooded members of the confraternity, with whips. The doorway leads to the entrance hall and cloister, the only two rooms of the late-15th-century construction which remain. A member of the confraternity, an architect called Alfonso Parigi the Elder drew a map of the rooms (see below right). The ingresso (entrance hall) and cloister are at the bottom. A walled-up doorway at the end of the cloister once led to an office/changing room and beyond this was the oratory, which is now a post office. The cloister Andrea del Sarto, who was a member of Lo Scalzo, was commissioned around 1508/9 to paint a series of frescoes in grisaille of the Life of St John the Baptist, the patron of the company. He worked on these for many years with interruptions, including 1518-19, when he went to France to paint for King François I, and during which time Franciabigio painted two scenes (The Baptist taking leave of his Parents and The Meeting of Christ and the Baptist) before Andrea returned to finish the series in 1522-26. He moved into a house nearby at this time bought, according to Vasari, who had been Andrea's pupil, with money given to him by King François to buy art, thereby burning his bridges as far as returning to France was concerned. This story, taken up by Browning in his poem Andrea del Sarto, called the Faultless Painter, is now widely though to be apocryphal. The figure of Faith (see photo right) is thought to be a depiction of Andrea's wife, Lucrezia del Fade, her surname translating as 'of the faith' and hence the suspicion of wordplay. (But according to Vasari all of Andrea's women are portraits of his wife, and she kept him on a very short leash.) Hope is on the other side of the entrance doorway. In 1722 the architect Pietro Giovannozzi made considerable modifications to the cloister - adding the vaulted ceiling, the pediments over the doors and the four double columns. The lunettes that were created were decorated in a style imitating that of the 16th century by one Giovanni Panaiotti. When the company was suppressed in 1786 by Pietro Leopoldo the church was sold and gutted. The cloister was opened to the public in 1891 but, not having ever being roofed over by anything more substantial than a straw mat, the frescoes were in sore need of restoration. The frescoes were detached and restored and were reinstalled, with the cloister reopening after having been closed for many years, in 1995, with a new glass canopy. They are monochrome and also very pale, but with some dark details and patches, especially in the corners, suggesting that they were not always so. But it has also been suggested that these panels were actually painted darker due to being in corners that would be less well lit. The narrative starts immediately to your right as you enter and proceeds anti-clockwise. The first three scenes were the last painted, and the last two on the right-hand side were those completed in Andrea's absence. Recently restored again, and reopened in September 2022. Lost art Amongst the paintings removed when the church was gutted are a Baptism of Christ by Lorenzo di Credi, now in the church of San Domenico in Fiesole, and God the Father now in the Palatine Gallery of the Palazzo Pitti. Opening times 8.15-13.50 Tuesday to Saturday, the first and third Mondays of the month and the second and fourth Sundays of the month. Update September 2022 After a long restoration the Chiostro reopened on the 19th of September 2022. Bibliography A useful little bilingual guidebook to the chiostro is available from Firenze Musei.
5438	dbpedia	1	74	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	en	Historical Dictionary of Italian Cinema [2 ed.] 9781538119471, 9781538119488	https://dokumen.pub/img/…781538119488.jpg	https://dokumen.pub/img/…781538119488.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/historical-dictionary-of-middle-eastern-cinema-0810860902-9780810860902.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-african-american-cinema-historical-dictionaries-of-literature-and-the-arts-9781442247017-9781442247024-1442247010.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-mauritius-2-ed-9780810824805-0810824809.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-the-shakers-2nbsped-9781538102312-9781538102305.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-israel-2nbsped-0810855410-9780810855410-9780810864030.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-norway-2nbsped-9781538123119-1538123118.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-estonia-2nbsped-9780810875135-9780810872448.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-chinese-intelligence-2nbsped-153813019x-9781538130193.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-contemporary-germany-2nbsped-9781442269576-9781442269569.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-burkina-faso-2nbsped-0810834057.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	Table of contents : Contents Editor’s Foreword Preface to the Second Edition Acknowledgments Reader’s Note Acronyms and Abbreviations Chronology Introduction THE DICTIONARY A B C D E F G H I L M N O P Q R S T U V W Y Z Appendix Bibliography About the Author Citation preview
5438	dbpedia	2	21	https://www.amazon.com/prime-video/actor/Marina-Massironi/amzn1.dv.gti.d58a697f-2553-4267-b6ff-28b739bcb1fd/	en	Marina Massironi: Movies, TV, and Bio	https://m.media-amazon.c…CB587940754_.png		[ "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:133-8031770-7018466:EY7JX4N5EB61X8WA3PRA$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DEY7JX4N5EB61X8WA3PRA:0", "https://m.media-amazon.com/images/G/01/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB587940754_.png", "https://m.media-amazon.com/images/G/01/digital/video/web/Logo-min.png", "https://m.media-amazon.com/images/S/pv-target-images/dd1ca63c5f86e7171990b4aa2857a63b3e6317b16cd364a6150f4d1934835773._SX300_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/596f0ff7fe1096d3eb613cdd83c079405da1c260e033cd4db9efae6f9d4f8443._SX329_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/514e9f3e0ff994506c55deda49932324a18f50e05c32c71063d9dd1a703a5958._SX329_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/29a582846f0a18547254a99ec093d21e7f744674431c9b1d3e6a355b2e975489._SX329_.png", "https://m.media-amazon.com/images/S/pv-target-images/887d3ab154ba28bef40779b61c13b685ae4b77631dedf76784bf612e974d2024._SX329_.jpg", "https://m.media-amazon.com/images/M/MV5BMTgzNDUzNWItMmVkNS00NjMzLWJmNjUtYmQ4MjY1MzEzMmI3XkEyXkFqcGdeQXVyMTMzMDQxOA@@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BY2Y4ZmRlOTMtMTU0OS00YzNjLWEzMDItYTI2MzdmMDlkYWQ5XkEyXkFqcGdeQXVyMzQ0NTk5NzU@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BZjJlNGIwNmQtOGNkYi00NzRhLWFhYzMtODFmMGMxNmIyMTQxXkEyXkFqcGdeQXVyMTE1MTYxNDAw._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BOWUzZGNhM2ItYWRhMS00YTdlLWI0NmItZWRlM2E4ZTNiZjkxXkEyXkFqcGdeQXVyMzQ0NTk5NzU@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BNTMzNDZiNjMtNTAwMy00MjViLWIzZmYtZjAxYWNmNTg3MzQ3XkEyXkFqcGdeQXVyMzI5NDcxNzI@._V1_SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_FANTASY/3c629e7d-97c5-4a38-ac7a-10203bab384b._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ACTIONADVENTURE/8ca643df-7f29-45ff-b895-4583e6484b83._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_COMEDY/e6c10939-65e7-455e-a99c-79e7f6f0cdac._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_DRAMA/ff08f33b-26bd-42eb-b24f-36a3854e1bc4._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ROMANCE/a913ed77-a328-4136-bd01-ed8f1b37235f._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_KIDS/d01cca2d-00e0-4dd3-a996-d9ddc9b662d6._SX300_.jpg", "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:133-8031770-7018466:EY7JX4N5EB61X8WA3PRA$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DEY7JX4N5EB61X8WA3PRA:0" ]	[]	[]	[ "" ]	null	[]	null	Browse Marina Massironi movies and TV shows available on Prime Video and begin streaming right away to your favorite device.	en			https://www.amazon.com/prime-video/actor/Marina-Massironi/amzn1.dv.gti.d58a697f-2553-4267-b6ff-28b739bcb1fd/	Marina Massironi is a theater, cinema, and TV actress. She's well known for her affiliation with Aldo, Giovanni & Giacomo. With them, she appeared on numerous seasons of "MaidireGol", "I Corti", and "Tel chi el telun", and made her big screen debut in "Tre uomini e una gamba". She's worked with film directors such as Giuseppe Piccioni, Enzo Monteleone, Gianluca Fumagalli, Alessandro Benvenuti, Giuseppe Bonito, Edoardo Leo, Gianni Zanasi, Maurizio Zaccaro, she won a David di Donatello and Nastro D'Argento award for the film "Pane e Tulipani" by Silvio Soldini. Having always loved the stage, she starred in many hit performances such as: "I Corti", "Harry ti presento Sally", "Due Partite" by Cristina Comencini", "Sottopaga non si paga!" directed by the Nobel Prize winner Dario Fo, "La scuola" with Silvio Orlando, directed by Daniele Luchetti, for which she won a Premio Flaiano award as best theatrical actress, "La donna che sbatteva nelle porte" by R.Doyle, directed by Giorgio Gallione, "Rosalyn" by E.Erba, directed by Serena Sinigaglia, "La somma di due" from Lidia Ravera's book of the same name, "Le verità di Bakersfield" by S. Sachs, directed by Veronica Cruciani, and "Il Marito Invisibile" by Edoardo Erba, with Maria Amelia Monti. She has many TV series and shows under her belt: "Comici" and "L'Ottavo Nano", along with Serena Dandini and Corrado Guzzanti, numerous seasons of "MaidireGol" with the Gialappa's Band, "Cotti e mangiati" with Flavio Insinna for Rai1. She also dubbed many characters such as "Daria" for MTV, Grace from "Mucche alla riscossa/ Home on the Range", the Disney animated movie, Celia from "Monsters&Co." for Disney-Pixar. Her voice also appears in both the American and Italian versions of "Luca", a Disney-Pixar animated movie released in June 2021.
5438	dbpedia	1	23	https://www.festivaldelcinemaeuropeo.com/ed21/en/events/7-chili-in-7-giorni-2/	en	7 CHILI IN 7 GIORNI	https://www.festivaldelc…N-7-GIORNI-1.jpg	https://www.festivaldelc…N-7-GIORNI-1.jpg	[ "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1.jpg", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1.jpg 1400w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1-300x129.jpg 300w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1-1024x439.jpg 1024w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1-768x329.jpg 768w", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/WEBSITE-7-CHILI-IN-7-GIORNI-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/FCE2021partner.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/FCE2021partner.png", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180.png 180w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180-150x150.png 150w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180-100x100.png 100w", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180.png" ]	[]	[]	[ "" ]	null	[]	2021-10-29T15:52:43+00:00	Alfio Tamburini and his former fellow student Silvano Baracchi, after graduating in Medicine with the lowest passing mark, have been reduced to working as a masseur and chiropodist the former and as a sanitary sales rep the latter.	en		Festival del Cinema Europeo	https://www.festivaldelcinemaeuropeo.com/ed21/en/events/7-chili-in-7-giorni-2/	10 novembre > SALA 1 ore 20 Italy – 1986 – colore – 105’ CREDITS Direction: Luca Verdone Screenplay: Leonardo Benvenuti, Piero De Bernardi, Luca Verdone Cinematography: Danilo Desideri Editing: Antonio Siciliano Set design: Franco Velchi Original music: Pino Donaggio Costumes: Luca Sabatelli Cast: Carlo Verdone, Renato Pozzetto, Elena Fabrizi, Silvia Annichiarico, Tiziana Pini, Franco Diogene Producers: Mario e Vittorio Cecchi Gori Production: Cecchi Gori Group Distribuzione: Infinity+ – RTI-Mediaset Infinity The HD restoration of 7 Chili in 7 Giorni was carried out by Infinity+, the channel of the Mediaset Infinity platform, to mark the 35th anniversary of the film’s release in cinemas. SYNOPSIS Alfio Tamburini and his former fellow student Silvano Baracchi, after graduating in Medicine with the lowest passing mark, have been reduced to working as a masseur and chiropodist the former and as a sanitary sales rep the latter. When they meet again by chance nine years after graduating, they decide to turn their careers around and open a weight loss centre by refurbishing the country house belonging to Alfio’s wife. Attracted by the advertising campaign, clients are quick to arrive, but amidst gruelling workouts, gymnastics, empty plates (with the only exception of a strange concoction) they soon begin to doubt the effectiveness of the treatment and rebel. When the situation seems to have become irrecoverable, the two friends come up with a stroke of genius. THE DIRECTOR: LUCA VERDONE Born in Rome in 1953 and graduated in Humanities (history and art studies), since 1973 he has made numerous Art documentaries (about Sergio Leone, Luchino Visconti, Antologia del Neorealismo, Futurismo Movimento Arte/Vita, Michelangelo Antonioni, Le Immagini e il Tempo) with which he has won many international prizes and the Silver Ribbon Award. After a traineeship as an opera director with P. Samaritani, he made his debut in 1977 with L’Impresario by W.A. Mozart and went on until the latest staging of Carmen at the Bellini Theatre in Catania (2020). Since 1973 he has been a documentary and TV show director. He debuted in film with 7 Chili in 7 Giorni (1986), followed by La Bocca (1991) with T. Welch and A. Valli, awarded with a David di Donatello Award, Il Piacere di Piacere (2001) with A. Liskova, V. Proshina, G. Carotenuto Vaz, La Meravigliosa Avventura di Antonio Franconi (2011) with M. Ranieri and O. M. Guerrini, Alberto il Grande (2013), made with his brother Carlo, Le Memorie di Giorgio Vasari (2018) with B. Selby. DIRECTOR’S STATEMENT “The film was intended to renew the “Commedia all’Italiana” (Italian-style Comedy) by introducing a surreal and farcical element. I turned for inspiration to British comedy films such as A Private Function and to Steno’s comedies with Alberto Sordi (Piccola Posta). I felt a broadening of the genre was necessary and I borrowed much imagery from Fellini’s films. I wanted to develop a style that winked at purely escapist cinema to deal ironically with the issue of slimming treatments, a great fetish of the Consumer Society.” FILMOGRAPHY 1979 Antologia del Neorealismo (doc) 1986 7 chili in 7 giorni 1991 La bocca 2001 Il piacere di piacere 2005 Fabrizi e Fellini, lo strano incontro (doc) 2011 La meravigliosa avventura di Antonio Franconi 2013 Alberto il grande (doc)
5438	dbpedia	0	80	https://duomo.firenze.it/en/opera-magazine/post/6558/the-neo-gothic-facade-of-florence-cathedral_	en	The neo-Gothic facade of Florence Cathedral.	https://duomo.firenze.it/getFile.php?id=2283	https://duomo.firenze.it/getFile.php?id=2283	[ "https://duomo.firenze.it/en/opera-magazine/post/6558/static/metacms/templates/opa/images/logo.svg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=79070&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2715&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2737&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=79177&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2714&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=1892&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2713&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/application/mediaArchive/Image/a9e8a965758eaee7b378e0c39b1cb86a_Niccolò%20Barducci,%20Progetto%20per%20la%20facciata,%20inv.%202005%20n°%20672_AQN4465.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2285&w=400&h=500&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=2283&w=400&h=500&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=78364&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=78364&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=79063&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=79063&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/6558/getImage.php?id=78872&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=78872&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/6558/static/metacms/templates/opa/images/logo-footer.svg" ]	[]	[]	[ "" ]	null	[ "Antonella Chiari" ]	2022-02-10T00:00:00	The neo-Gothic facade of Florence Cathedral.	en	https://duomo.firenze.it…png?v=3eBXPz8jdk		https://duomo.firenze.it/en/opera-magazine/post/6558/the-neo-gothic-facade-of-florence-cathedral_	At the end of the 16th century the Grand Duke Francesco I dei Medici had decided to dismantle the decoration of the facade of the Cathedral, which Arnolfo di Cambio had begun at the end of the 13th century and which was carried on until the 15th century, remaining unfinished. The sovereign's intention was to equip the largest Florentine temple with a new facade stylistically updated to the modern taste, but after the destruction of the ancient one they never created a a new front. The debate around this important work lasted until the end of the 17th century, when the Grand Duke Cosimo III, on the occasion of his son's wedding, finally decided to confer appropriate decor to this monument and to the space in front of it and commissioned a large mural painting depicting an architectural front. This decoration survived for a century and a half and it is still visible, albeit dull and very degraded, in the first photographs of the early 19th century. After almost two hundred years from the last attempt at completion, at the beginning of the 1820s, when Florence was by now ruled by the Lorraine dynasty, the question of the decoration of the facade of the Duomo aroused again widespread interest encouraged by Giovanni degli Alessandri, President of the Academy of Fine Arts and Director of the Uffizi. The architect Giovanni Battista Silvestri presented for first a neo-Gothic style project, which however remained only on paper. The proposal formulated in 1831 by the architect Gaetano Baccani, responsible for the modernization of the factory in a purist way, was also rejected. A further step forward was taken in 1842 when was created the Association for the Façade of the Cathedral, which was also concerned with finding the necessary funding for the construction of the enterprise. The realization of the neo-Gothic facade of the Basilica of Santa Croce, based on a design by Matas, contributed to stimulating the debate around the initiative. Matas himself produced his own proposal for an architectural solution for the Cathedral, which had the effect of spreading the question beyond the regional borders: in these years the Swiss architect Johann Georg Müller designed six facade hypotheses in neo-Gothic style, inspired by both the Frech and German churches and the Cathedral of Orvieto. All the designs proposed in this first phase differed from each other in many elements, but they were all united by the same medieval architecture inspiration. These stylistic features evoked the time of the foundation of the Cathedral, or the time of Arnolfo, when Florence was in the splendor of the communal age. Therefore, the debate suffered an interruption due to the turbulence of the Risorgimento riots and did not resume until 1859, when the Association was reborn with the name of "Promoter Deputation". The following year the new king, Vittorio Emanuele II of Savoy, laid the fondation stone with a ceremony, which however was absolutely symbolic: the façade’s question was still far from over. In 1861, with the birth of the Kingdom of Italy, was launched a new competition, in which many Italian and foreign architects participated, who proposed solutions inspired by different medieval and non-medieval architectures. This new group of projects was examined by a special commission of experts, but once again no winner was elected. A new competition was then held in 1864, for which were examined more than forty projects, inspired some by the Gothic facades of French cathedrals, others by Italian basilicas and still others with an absolutely eclectic taste. Among the fifteen projects that stood out for merit, won that of the Florentine architect Emilio De Fabris, who imagined a neo-Gothic facade, inspired by those of the Cathedrals of Siena and Orvieto, that is, crowned by three cusps. However, a heated discussion arose around this solution. In fact, behind this architectonical detail there were hidden political-ideological reasons, strongly felt in those years: the cuspidate type in the Italian Risorgimento was felt as less "Italic" than the basilical, that is flat, with balcony. The judging commission requested an opinion to the most important neo-Gothic architect of that time, the French Viollet-Le-Duc, but his authoritative advise was not enough to quell the controversy. Then, they decided to launch a new competition, to which ten participants of the previous one were invited and twenty-nine new competitors were admitted. All the forty-five drawings sent to the Commission were inspired by medieval architecture, but divided into two groups: cuspidate or basilical. De Fabris won again, and in 1870 he was finally appointed Architect responsible for the construction of the new facade. Nonetheless, the controversy around the crown did not subside and De Fabris gradually had to work out new variations to the project, where he imagined both solutions. To definitively end to the question, were put in place both the types – a cusp on the right side and a balcony on the left side of the facade - and a citizen referendum was announced, which once and for all established the preference for second option. But the façade was not just an architectural matter and for the iconographic program of its sculptural and mosaic decoration the tenacious De Fabris addressed the philosopher Augusto Conti. He devised a grandiose celebration of Mary and the Savior that was, together, a glorification of the history of Florence, through a complex theological program that showed the intertwining of the Christian faith and the Florentine genius. Dozens of high profile artists were involved to create more than seventy figures in marble and mosaic. On the facade the Romanesque and Gothic tradition of decorating in red, white and green marbles acquired a patriotic significance, no longer related to the Christian theological virtues, but to the colors of the Italian flag. The names and the coat of arms of the important Florentine families and not only that participated in the financing of the enterprise were sculpted into the lower frames, so as to remain visible to posterity. The construction was finally started in 1876 but De Fabris died in 1883 and unfortunely could not see the conclusion. It was up to his heir, Luigi Del Moro, who took over from the master in the direction of the construction site, to complete the work, and the facade was officially inaugurated on May 12, 1887, exactly 3 centuries after the dismantling of Arnolfo's medieval facade. In the following sixteen years were created three large bronze doors, which replaced the previous wooden ones and in 1903 the facade was finally completed.
5438	dbpedia	0	18	https://kids.kiddle.co/Sabrina_Ferilli	en	Sabrina Ferilli facts for kids	https://kids.kiddle.co/i…o%2C_2022_14.jpg	https://kids.kiddle.co/i…o%2C_2022_14.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/1/16/David_di_Donatello%2C_2022_14.jpg/300px-David_di_Donatello%2C_2022_14.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Sabrina Ferilli facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Sabrina_Ferilli	Sabrina Ferilli (born 28 June 1964) is an Italian theatre and film actress. She has won five Nastro d'Argento (including a special award in 2016 for civil engagement for her performance in Me, Myself and Her), a Globo d'oro, six Ciak d'oro and received four nominations for David di Donatello. In 2013, she was a protagonist of the Oscar-winning film La grande bellezza directed by Paolo Sorrentino. Early and personal life Ferilli was born in Rome on 28 June 1964. Her father was also from Rome and a spokesman for the Italian Communist Party in the region of Lazio and her mother, who grew up in Fiano Romano, was a housewife and native of Caserta, Southern Italy. She attended the Liceo Clasico Orazio ("Orazio classical high school") in Rome. After having unsuccessfully attempted to enter the Centro Sperimentale di Cinematografia in Rome, she began her career as a film actress in secondary parts, acting in Sweets from a Stranger by Franco Ferrini, and small roles in second-tier films at the end of 1980s. Ferilli was married to Italian lawyer Andrea Perone from 2003 to 2005. Since 2011, she has been married to manager Flavio Cattaneo. Career In 1990, Alessandro D'Alatri cast her in a small role for the movie Red American. In 1993 she appeared in the comedy Anche i commercialisti hanno un'anima alongside Enrico Montesano and Renato Pozzetto, Il giudice ragazzino with Giulio Scarpati and in Marco Ferreri's Diario di un vizio. The following year she had a breakthrough role in The Beautiful Life by Paolo Virzì, which won her the Silver Ribbon for Best Actress, Best Supporting Actress. During the following years he has been involved in the movie Ricky Tognazzi and continues to appear in good comedies, such as Ferie d'agosto always of Virzì and Return to Home Gori of Alessandro Benvenuti. She hosted the Sanremo Festival 1996 along with Pippo Baudo and Valeria Mazza. Two years later, he has been co-starred in the dramatic film You Laughter and the comedy Francesco Nuti. She later also worked in theatre in some productions of Garinei and Giovannini comedies, including Rugantino and Let's Try More and made appearances in some television comedies. In 2000, she modeled for a Max calendar, which has sold over 1 million copies. On 24 June 2001, to celebrate the scudetto for AS Roma, she performed a dance at Circus Maximus in front of hundreds of thousands of fans. She had a lead role in the controversial 2003 film The Water ... the Fire by Luciano Emmer which debuted at the Venice Film Festival. She later participated in several Italian Christmas comedies known as cinepanettoni: Christmas in Love, Christmas in New York, Christmas in Beverly Hills and Christmas Holiday to Cortina. She defended her work in less serious films by saying, "How do you call them? Cinepanettoni? Well, then I'm happy to be associated with it because I love panettons, turrus and pandora." In 2008, she appeared in Virzì's Your Whole Life Ahead of You, once again winning the Silver Ribbon. In 2013, she was chosen as a judge in the twelfth edition of Friends of Maria De Filippi and also appeared in the subsequent season. In the same year, she starred in Eros Puglielli' TV series We Kiss Our Hands – Palermo New York 1958 on Canale 5, and was chosen as the opening presenter of the Roma Film Festival. Her 2013 performance as one of the protagonists in The Great Beauty by Paolo Sorrentino helped the film to win the Oscar for Best Foreign Film Best Foreign Film on 2 March 2014. In December 2014, she debuted on the new Agon Channel with the talk show Contratto with Luca Zanforlin. On 11 April 2015, she appeared in the fourteenth edition of Amici di Maria De Filippi with Francesco Renga and Loredana Bertè. In 2015, she starred with Margherita Buy in Io e lei by Maria Sole Tognazzi, a lesbian retelling of Édouard Molinaro's Il vizietto. The actress said she was very happy to have participated in a movie like this. She was awarded a Golden Ciak at Best Actress for the film and was nominated for the David of Donatello for Best Actress Starring David of Donatello and Silver Ribbon for Best Actress Starring. Beginning in April 2016, she was again in the jury of the 15th edition of Amici di Maria De Filippi with singers Anna Oxa and Loredana Bertè. Filmography Films Title Year Role(s) Director Notes Sweets from a Stranger 1987 Franco Ferrini Cameo appearance The Rogues Young woman Mario Monicelli Uncredited The Sparrow's Fluttering 1988 The woman of stars Gianfranco Mingozzi Il volpone Rosalba Marignano Maurizio Ponzi Rimini Rimini - Un anno dopo Waitress Bruno Corbucci Segment: "La scelta" Night Club 1989 Erina Sergio Corbucci Red American 1991 Zaira Alessandro D'Alatri Naufraghi sotto costa Jole Marco Colli Donne sottotetto 1992 Diana Roberto Giannarelli Vietato ai minori Barbara Maurizio Ponzi Law of Courage 1994 Angela Guarnera Alessandro Di Robilant Anche i commercialisti hanno un'anima Sonia Maurizio Ponzi La bella vita Mirella Paolo Virzì Strangled Lives 1996 Miriam Ricky Tognazzi August Vacation Marisa Paolo Virzì Arance amare Alice Michel Such Return to Home Gori Sandra Salvini Alessandro Benvenuti You Laugh 1998 Nora Paolo and Vittorio Taviani Mr. Fifteen Balls Sissi Francesco Nuti I fobici 1999 The woman Giancarlo Scarchilli Segment: "Frutto proibito" Le giraffe 2000 Roberta Tiberi Claudio Bonivento Freewheeling Nurse Silvia Vincenzo Salemme L'acqua… il fuoco 2003 Stefania / Elena / Stella Luciano Emmer Christmas in Love 2004 Lisa Pinzoni Neri Parenti Really SSSupercool: Chapter Two 2006 Nunzia Carlo Vanzina Cars Sally Carrera (voice) John Lasseter, Joe Ranft Italian voice-over Natale a New York Barbara Ricacci Neri Parenti Your Whole Life Ahead of You 2008 Daniela Paolo Virzì I mostri oggi 2009 Stefania Enrico Oldoini Segment: "Il malconcio" Sabrina Segment: "La fine del mondo" Alice Segment: "Euro più euro meno" Natale a Beverly Hills Cristina Neri Parenti Cars 2 2011 Sally Carrera (voice) John Lasseter, Brad Lewis Italian voice-over Vacanze di Natale a Cortina Elena Covelli Neri Parenti The Great Beauty 2013 Ramona Paolo Sorrentino Me, Myself and Her 2015 Marina Baldi Maria Sole Tognazzi Forever Young 2016 Angela Fausto Brizzi Ballerina Régine Le Haut (voice) Éric Summer, Éric Warin Italian voice-over Omicidio all'italiana 2017 Donatella Spruzzone Maccio Capatonda Cars 3 Sally Carrera (voice) Brian Free Italian voice-over The Place Angela Paolo Genovese Ricchi di fantasia 2018 Sabrina Francesco Miccichè Onward 2020 Laurel Lightfoot (voice) Dan Scanlon Italian voice-over Il sesso degli angeli 2022 Lena Leonardo Pieraccioni Television Title Year Role(s) Network Notes I ragazzi della 3ª C 1987 Girl from Sardinia Italia 1 Episode: "A Carnevale ogni scherzo vale" The Ogre 1988 Anna Television movie Valentina 1989 Edna Episode: "Rembrant e le streghe" Senza scampo 1990 Lucia Rai 1 Television movie Una storia italiana 1993 Matilde Miniseries Un commissario a Roma Patrizia Spinosi Episode: "Specchio d'acqua" Sanremo Music Festival 1996 1996 Herself / co-host Annual music festival Mai dire Gol 1996–1997 Herself / co-host Italia 1 Sports/comedy show (season 7) Il padre di mia figlia 1997 Lisa Canale 5 Television movie Leo e Beo 1998 Laura Television movie Commesse 1999–2002 Marta De Santis Rai 1 12 episodes Le ali della vita 2000–2001 Rosanna Ranzi Canale 5 4 episodes Almost America 2001 Antonia Rai 1 Television movie Cuore di donna 2002 Flavia Television movie Rivoglio i miei figli 2004 Sonia Canale 5 Miniseries Al di là delle frontiere Angela Ghiglino Rai 1 Television movie Lives of the Saints Cristina Innocente Canale 5 Miniseries Dalida 2005 Iolanda "Dalida" Gigliotti Television movie Angela – Matilde – Lucia 2006 Angela / Matilde / Lucia Trilogy television movies Due imbroglioni e… mezzo! 2007 Gina Television movie Anna e i cinque 2008–2011 Anna Modigliani 12 episodes Due imbroglioni e… mezzo: The Series! 2010 Gina 3 episodes Caldo Criminale Anna Tardelli Television movie Né con te né senza di te 2012 Francesca "Capitana" Sipicciani Rai 1 Miniseries Baciamo le mani – Palermo New York 1958 2013 Gabriella Vitaliano Canale 5 Miniseries Amici di Maria De Filippi 2013–2016, 2019, 2022 Herself / Judge Talent show (seasons 12–15, 18, 21) Contratto 2014–2015 Herself / Host Agon Channel Talk show House Party 2016 Herself / Guest host Canale 5 Variety show (episode 1) Rimbochiamoci le maniche Angela Tusco 8 episodes Storie del genere 2018 Herself / Host Rai 3 Talk show L'amore strappato 2019 Rosa Macaluso Canale 5 Miniseries Tú sí que vales 2019–present Herself / Popular judge Talent show (seasons 6–present) Amici Speciali 2020 Herself / Judge Spin-off of Amici di Maria De Filippi Svegliati amore mio 2021 Nanà Santoro Miniseries Dinner Club Herself Prime Video Docuseries Sanremo Music Festival 2022 2022 Herself / Co-host Rai 1 Annual music festival Stage Title Year Role(s) Theatre Alleluja brava gente 1994–1995 Belcore Teatro Sistina Un paio d'ali 1997 Sgargamella Rugantino 1998–2001 Rosetta Awards and nominations Award Year Category Nominated work Result Ciak d'Oro 1994 Best Supporting Actress Law of Courage Nominated 1995 Best Actress La bella vita Won 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2014 The Great Beauty Won 2016 Best Actress Me, Myself and Her Nominated Comedy Actress of the Year Won David di Donatello 1995 Best Actress La bella vita Nominated 2009 Best Supporting Actress Your Whole Life Ahead of You Nominated 2014 Best Actress The Great Beauty Nominated 2016 Me, Myself and Her Nominated 2022 Prize "Donatello Speciale" Herself Won Flaiano Prizes 1997 Best Performance in a TV Movie or Miniseries Il padre di mia figlia Won 2001 Almost America Won 2005 Dalida Won Globo d'Oro 2008 Best Actress Your Whole Life Ahead of You Won Nastro d'Argento 1993 Best Supporting Actress Donne sottotetto Nominated 1995 Best Actress La bella vita Won 1997 August Vacation Nominated 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2013 The Great Beauty Won 2014 Prize "Nastro Speciale" Won 2016 Best Actress Me, Myself and Her Nominated Best Movie with a Social Theme Won 2017 Best Supporting Actress Omicidio all'italiana Nominated 2018 The Place Nominated Sacher Prize 1995 Best Actress August Vacation Won Telegrolla Prize 2001 Best TV Actress Almost America Won 2004 Al di là delle frontiere Won Venice Film Festival 1993 Prize "Panorama" La bella vita Won 2013 Prize "Kinéo" The Great Beauty Won Vittorio De Sica Prize 2004 Best Actress L'acqua… e il fuoco Nominated See also
5438	dbpedia	1	54	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	en	Venice 2008: Buzz films	https://d1nslcd7m2225b.c…3513_4039641.jpg	https://d1nslcd7m2225b.c…3513_4039641.jpg	[ "https://www.facebook.com/tr?id=1787080818148630&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=3254793074533493&ev=PageView&noscript=1", "https://www.screendaily.com/magazine/dest/graphics/logo/print_logo.png", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/2/5/1429525_locarnodigicropped_364027.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/6/8/1427068_croppedcoversot_899857.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/0/6/1425806_croppedcoveremmys24_266545.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/8/7/1429887_williamtell_2_williamtellclaesbang_ccrossbowfilmslimited2023_163980_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/2/8/1429928_wolfscappletv_361110_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/9/1/1429891_alienromulus_731899.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/9/6/1429896_asisterstale_964449.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/0/1428690_nightimeexterior_109206_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/7/3/1424973_silverhaze_org_652282_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/0/3/1424803_cannescriticstitles_941519.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/6/1/1430061__derspitzname__1529_b_2_432457_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/7/1429837_boxofficeaug12_969.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/4/1429834_0091_325622_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/1/3/1429813_endstrapborder_428731.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/8/9/1429589_megryan_744959_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/6/4/1429564_baftamaskcbaftacarlopaloni_381110.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/4/7/6/1429476_johnturturrophotobymaartendeboer_824533.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/450xAny/P/web/j/b/m/2021screenpackshot_967117.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/9/5/2/1429952_efa_877116.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/9/5/1429895_theseedofthesacredfig_578107.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/4/9/2/1429492_mexico86_302611.jpg" ]	[]	[]	[ "" ]	null	[ "Ellie Calnan", "Michael Rosser", "Jonathan Romney" ]	2008-08-27T06:58:00+00:00	BUZZ VENICE FILMS	en	/magazine/dest/graphics/favicons/favicon-32x32.png	Screen	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	BUZZ VENICE FILMS COMPETITION Achilles And The Tortoise (Akires To Kame) (Jap) Dir: Takeshi Kitano The story: Follows a failed painter and the long-suffering family that supports him. The cast: Kitano takes the lead, alongside Kanako Higuchi and popular actress Kumiko Aso, whose credits include Dororo. The buzz: A well-established figure on the Lido, Kitano returns with a more orthodox tale which features his own artwork - he is known for his painting talent - as did his 1997 Golden Lion winner Hana-bi. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 Birdwatchers (La Terra Degli Uomini Rossi) (It) Dir: Marco Bechis The story: Amazon-set film about personal identity and tribal heritage as two worlds collide. The cast: Claudio Santamaria, one of Italy's top talents, with credits including Crime Novel and Casino Royale, stars with Chiara Caselli and a Brazilian cast of professionals including Leonardo Medeiros and non-professionals. The buzz: Bechis spent years preparing the film, working with the Amazon natives. The director's last appearance in Venice was in Cinema del Presente in 2001 with Hijos, also set in Brazil. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70. A Perfect Day (Un Giorno Perfetto) (It) Dir: Ferzan Ozpetek The story: An adaptation of the novel by popular writer Melania Mazzucco, which looks at life in Rome over 24 hours. The cast: As with his previous films, Ozpetek lines up an ensemble cast of Italy's best-loved actors - Valerio Mastandrea and Isabella Ferrari top the bill alongside veteran actress Stefania Sandrelli. The buzz: Last year Ozpetek was on the Venice jury and this is his first year in Venice's official competition. The film is also his first to be produced by Domenico Procacci's Fandango. It is co-produced by Rai Cinema. Int'l sales: Fandango Portobello, (44) 20 7605 1396; Claudia Tomassini, (39) 334 3075056 The Hurt Locker (US) Dir: Kathryn Bigelow The story: The new leader of an elite bomb-disposal unit in Iraq plunges his soldiers into a game of urban combat which has long-term effects on their lives. The cast: Jeremy Renner, Anthony Mackie, Brian Geraghty, Ralph Fiennes. The buzz: Bigelow can always be relied on to deliver heart-pounding thrills with intelligent storytelling. She returns to Venice for the first time in 13 years since the world premiere of Strange Days. North American rights: CAA, (1) 424 288 2000 Int'l sales: Voltage Pictures, (1) 310 890 4199 The Burning Plain (US) Dir: Guillermo Arriaga The story: Four interlinked tales of love and redemption examine the lengths to which people will go to exorcise the demons of the past. The cast: Charlize Theron and Kim Basinger. The buzz: The feature directorial debut from the Oscar-nominated screenwriter of Alejandro Gonzalez Inarritu's Babel and 21 Grams has been a while in the making. Can Arriaga translate his writer's gift for complex storytelling into a well-crafted feature' North American sales: UTA, (1) 310 271 6700 Int'l sales: 2929 International, (1) 310 309 5200 Inland (Gabbla) (Alg-Fr) Dir: Tariq Teguia The story: A topographer meets a traumatised woman in western Algeria who persuades him to accompany her back home across the Sahara and through war-torn regions in the east. The cast: Unknowns including Kader Affak, Ines Rose Djakou, Fethi Ghares, Kouider Medjahed and Djalila Kadi-Hanifi star alongside Ahmed Benaissa who also appeared in Teguia's Rome Rather Than You. The buzz: Inland is one of two African films in competition at Venice this year. Director Teguia has an impressive track record - his debut, the short film Hacla, won the special jury award at Marrakesh in 2003 and his second film, Rome Rather Than You, was in Venice's Horizons sidebar in 2006. Marco Mueller has called him the 'most important voice of new Arab cinema'. Int'l sales: Neffa Films, (213) 66209 6500 Inju, La Bete Dans L'Ombre (Fr) Dir: Barbet Schroeder The story: A French writer heads to Japan to promote his new book and becomes embroiled in a real-life thriller. The cast: Benoit Magimel, Lika Minamoto and Shun Sugata. Magimel is a huge star in France and one of the most prolific actors working today; international audiences may recognise him from Michael Haneke's The Piano Teacher. This is Minamoto's first major role while Sugata has done much work in Japan and had small roles in such US fare as Quentin Tarantino's Kill Bill Vol 1 and The Last Samurai. The buzz: This is a return to Venice for Schroeder who last competed in 2000 with Our Lady Of The Assassins. For that film he took the president of the Italian senate's gold medal. Inju is Schroeder's first fiction work in France since 1986 (last year he directed the documentary Terror's Advocate, about French attorney Jacques Verges). Int'l sales: UGC International, (33) 1 46 40 44 00 Jerichow (Ger) Dir: Christian Petzold The story: A young man returns to his home town in eastern Germany and begins an affair with a married woman. Their plan to murder her husband triggers a catastrophe. The cast: Jerichow marks Petzold's fourth collaboration with lead actress Nina Hoss following Something To Remind Me, Wolfsburg and Yella, for which she was awarded the best actress Silver Bear at last year's Berlinale. It is also the third time the director has cast Benno Furmann (previously seen in Wolfsburg and Ghosts), but the first project with Turkish-born actor Hilmi Sozer, the third member of the love triangle. The buzz: Partly inspired by Vincente Minnelli's 1958 film Some Came Running, Jerichow is 'about love, honesty, deception and betrayal', says Petzold. It is his seventh film with Berlin-based producer Schramm Film which also produced his drama The State I Am In (it premiered in Venice's Cinema del Presente sidebar in 2000). According to producer Florian Koerner von Gustorf: 'Christian is drawing the essence out of all of his previous works and letting everything flow into Jerichow.' Int'l sales: The Match Factory, (49) 2 21 5 39 70 90 Milk (Sut) (Turk-Fr-Ger) Dir: Semih Kaplanoglu The story: The second film in Kaplanoglu's 'Yusef' trilogy - Egg, Milk, Honey - which focuses on the change in the social and economic life in the Anatolian provinces within the framework of a mother-son relationship. Milk is about a young boy who discovers his mother is having a secret affair with the town's stationmaster. The cast: Melih Selcuk plays Yusef, while Basak Koklukaya plays the boy's mother. Her most recent film, Kucuk Kiyamet, was in competition at the Istanbul film festival last year, and she has starred in films for Ferzan Ozpetek. The buzz: Milk is the first Turkish film to screen in competition at Venice since Omer Kavur's Gizli Yuz in 1991. No stranger to success on the international festival circuit (winning nine of the 10 awards for which he has competed), it is not surprising Kaplanoglu is 'excited' to be at Venice for the first time. Could be one to watch. Int'l sales: Match Factory, (49) 2 21 5 39 7090 Nuit De Chien (Fr) Dir: Werner Schroeter The story: A man returns to a fictitious country to join the woman he loves. Instead, he confronts a violent militia which is terrorising the city and has sent it spiralling into chaos. The cast: A starry line-up includes Pascal Greggory, Bruno Todeschini, Eric Caravaca, Amira Casar, Jean-Francois Stevenin and Elsa Zylberstein. The prolific Greggory last appeared in 2007's smash hit La Vie En Rose. The buzz: This is Schroeter's first time in competition in Venice. The German director's last film was also a French effort, Deux in 2002. Int'l sales: Alfama Films Productions, (33) 1 42 01 07 05 Paper Soldier (Bumazhny Soldat) (Rus) Dir: Aleksey German Jr The story: Set in the Baikonur space centre in 1961, Paper Soldier is the story of a doctor involved in preparations for the first human space flight, who is torn between his wife and his lover. The cast: Acclaimed Russian actress Chulpan Khamatova, who appeared in Good Bye Lenin!, stars alongside her Luna Papa co-star, Georgian actor Merab Ninidze, and newcomer Anastasya Shevelyova, a theatre actress from Omsk in Siberia. The buzz: This is the second time German has appeared in competition at Venice. His last film, Garpastum, competed in 2005, and he also won the Luigi De Laurentiis special mention in 2003 for The Last Train (Posledniy Poezd). German, one of Russia's hottest young directors, says he has his 'fingers crossed' for a win this year. Int'l sales: Elle Driver, (33) 1 56 43 48 76 Plastic City (Dangkou) (Braz-Chi-HK-Jap) Dir: Yu Lik-wai The story: Set amid the Japanese immigrant community in Sao Paulo, the story follows an Asian gangster who is forced to defend his father's criminal empire when the older man is arrested and then disappears into the jungle. The cast: Japanese star Joe Odagiri (Shinobi, Bright Future) heads the cast which also include Hong Kong's Anthony Wong (Infernal Affairs) and promising Chinese actress Huang Yi. The buzz: Renowned as a DoP who works with Jia Zhangke, Hong Kong-born Yu Lik-wai has previously directed two highly stylised features - Love Will Tear Us Apart and All Tomorrow's Parties - which were both selected for Cannes. His third feature deals with gangsters in an intriguing multicultural setting, although the action is more psychological then physical, and his depiction of Sao Paulo is tinged with hallucinatory visuals. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 The Other One (L'Autre) (Fr) Dirs: Patrick-Mario Bernard, Pierre Trividic The story: Based on the novel L'Occupation by Annie Ernaux, The Other One follows a woman who becomes dangerously obsessed with the new woman in her ex-lover's life. The cast: Dominique Blanc, one of France's best-known stars who has won several Cesars including best actress for 2001's Stand-by, stars alongside Cyril Guei, Peter Bonke and Christele Tual. The buzz: The film is the fifth collaboration between writer-directors Bernard and Trividic - they made their feature debut with festival favourite Dancing in 2003 in which they also starred. Their credits include Ceci Est Une Pipe for Canal Plus and a programme about author HP Lovecraft for France 3. Int'l sales: Films Distribution, (33) 1 53 10 33 99 Ponyo On The Cliff By The Sea (Gake No Ue No Ponyo) (Jap) Dir: Hayao Miyazaki The story: Animated fantasy about a fish with a girl's face who befriends a young boy. The buzz: Japan's animation giant returns to the Lido four years after Howl's Moving Castle screened in competition and won a Golden Osella. Here, Miyazaki trades CG for a hand-painted watercolour look. A megahit in Japan, grossing $50m and counting, Ponyo's international premiere in Venice comes ahead of a US release by Frank Marshall and Kathleen Kennedy. The pair were requested to head the project by Ponyo producer Toshio Suzuki. Int'l sales: Wild Bunch, (33) 1 5301 5021 Rachel Getting Married (US) Dir: Jonathan Demme The story: A cynical drama queen returns home for a family wedding and awakens deep tensions. The cast: Anne Hathaway, Rosemarie DeWitt, Debra Winger. The buzz: Demme returns to Venice with a top-notch female cast following last year's Fipresci-prize winner Jimmy Carter Man From Plains and 2004's The Manchurian Candidate. North American distribution: Sony Pictures Classics Int'l distribution: Sony Pictures Releasing International Il Seme Della Discordia (It) Dir: Pappi Corsicato The story: Comic unofficial remake of Eric Rohmer's The Marquise Of O. A young woman has to explain her pregnancy to her husband on the day he discovers he is sterile. The cast: Alessandro Gassman and Caterina Murino (Casino Royale) take the lead roles. Gassman recently earned Italy's David Di Donatello award for best supporting actor for his role as Nanni Moretti's brother in Quiet Chaos. The cast also includes A Perfect Day's Isabella Ferrari. The buzz: This film from Neapolitan director Corsicato provides the comedy relief in this year's competition; he was last in competition in Venice with The Vesuvians. Rome-based Rodeo Drive produces, and Medusa is opening the film in Italy. Int'l sales: Rodeo Drive, (39) 45 44 97 67/8 Teza (Ethiopia-Ger-Fr) Dir: Haile Gerima The story: Teza charts the life of a young Ethiopian from his student days in 1970s West Germany, to his return to his native village at the age of 60. The cast: Aron Arefe, who appeared in Yehdego Abeselom's 13 Months Of Sunshine, stars with Abiye Tedla and Takelech Beyene. The buzz: This is the first time in Venice competition for US-based Ethopian film-maker Haile Gerima. He was honoured at Locarno in 1976 for Harvest: 3,000 Years (Mirt Sost Shi Amit) which took the Silver Leopard. In Berlin he picked up the Fipresci award in 1983 for Ashes And Embers, and his Sankofa appeared there in competition in 1993. Int'l sales: The Match Factory, (49) 2 215 39 7090 Vegas: Based On A True Story (US) Dir: Amir Naderi The story: A compulsive gambler and his long-suffering wife who live on outskirts of Las Vegas are made an offer by a stranger which tests how far they are prepared to go. The cast: Mark Greenfield, Nancy La Scala and Zach Thomas in their first starring roles. The buzz: Iranian writer-director-photographer Amir Naderi's fifth US feature claims to be an intense tale about money and obsession based on true-life stories told to the director during his stay in Sin City. It marks his third trip to Venice after The Runner (Davandeh) in 1985 (in the Venezia Speciali section) and Manhattan By Numbers in 1993 (Windows On Images). His A, B, C... Manhattan was screened in Un Certain Regard at Cannes in 1997. Int'l sales: Cinetic Media, (1) 212 204 7979 The Wrestler (US) Dir: Darren Aronofsky The story: A former pro wrestler, now on the amateur circuit, seeks one final showdown with his arch-rival. The cast: Mickey Rourke, Marisa Tomei. The buzz: Two years after premiering The Fountain, Aronofsky returns to the Lido with a tale of courage and transformation that has sparked talk of possible awards for Rourke. At press time, rights were available in North America, Spain, Australia, Scandinavia, Japan and Latin America. North American rights: CAA Int'l sales: Wild Bunch, (33) 1 53 01 50 25 The Sky Crawlers (Jap) Dir: Mamoru Oshii The story: Based on the best-selling novel by Hiroshi Mori, this animated film centres on teenage pilots who are raised to engage in aerial battles over Europe for the entertainment of adults. The cast: An A-list Japanese voice cast is headed by Oscar-nominated actress Rinko Kikuchi (Babel) and Ryo Kase (Letters From Iwo Jima). The buzz: Oshii's Innocence was the first animated Japanese film to compete for the Palme d'Or and he returns to the Lido a year after his Tachigui: The Amazing Lives Of The Fast Food Grifters screened in the Horizons sidebar in 2006. Oshii explores new emotional depths in the film which also boasts Production I.G's CG wizardry. Int'l sales: Nippon Television Network Corp, (81) 3 6215 2882 Il Papa Di Giovanna (It) Dir: Pupi Avati The story: Set in the 1930s and 1940s, Il Papa is the story of an artist who is dedicated to his daughter; but tragedy ensues when she commits murder. The cast: Silvio Orlando (Quiet Chaos, The Caiman), Alba Rohrwacher (Days And Clouds, My Brother's An Only Child) and Francesca Neri star. The buzz: The film has the most downbeat subject matter of the Italian entries, however Marco Mueller describes it as the 'zenith' of Avati's career. The director has only once been in competition in Venice, with 2005's La Seconda Notte Di Nozze. He served on the jury in 1989. Medusa distributes. Int'l sales: DueA, (39) 06 321 4851; Medusa, (39) 06 663 901 OUT OF COMPETITION 35 Rhums (Fr) Dir: Claire Denis The story: Drama about the relationship between a father and his adult daughter. The cast: Eriq Ebouaney stars with Gregoire Colin and Alex Descas. Ebouaney has moved between English-language action films such as Kingdom Of Heaven, Hitman and Transporter 3, and French work including Crimson Rivers 2: Angels Of The Apocalypse, this year's Ca$h and the upcoming Les Zones Turquoises. Colin was seen recently in Catherine Breillat's Sex Is Comedy and Denis' L'Intrus, which also featured Descas. The buzz: The horror-themed film marks a departure for Denis who also has another film out this year, White Material. She has appeared in Venice with L'Intrus in 2004. Int'l sales: Elle Driver, (33) 56 43 67 35 Encarnacao Do Demonio (Braz) Dir: Jose Mojica Marins The story: After 40 years in jail, a man is released from prison and goes in search of the woman who can give him the perfect child. The cast: Besides Marins, who plays the lead, the highlight is Brazilian cinema veteran Jece Valadao, in his last film before his death in 2006. Helena Ignez, the muse of 1970s B-movies, also stars. The buzz: This is the third part in the Coffin Joe trash- horror trilogy and closes the story that began with At Midnight I'll Take Your Soul (1963) and This Night I'll Possess Your Corpse (1967). Coffin Joe, Marins' alter ego, is a cult character that has become part of the popular imagination in Brazil. A documentary that examines Marins' life and his works, Coffin Joe: The Strange World Of Jose Mojica Marins, won the special jury prize at the 2001 Sundance film festival. Int'l sales: Gullane Filmes, Manuela Mandler, manuela@gullanefilmes.com.br Les Plages D'Agnes (Fr) Dir: Agnes Varda The story: Varda turns the spotlight on herself, in this autobiographical documentary feature. The buzz: 80-year-old Varda was tipped for a spot in Cannes with Les Plages D'Agnes but the film was reportedly not ready. 'I wanted to invent a genre of story-collage; an autodocumentary, an illustrated filmography and moments of fantasy treated in fiction,' she says of the film. Int'l sales: Roissy Films, (33) 1 53 53 50 50 Shirin (Iran) Dir: Abbas Kiarostami The story: Based on a Persian myth about unrequited love. The cast: Juliette Binoche stars alongside Iranian actor Mahnaz Afshar and award-winning actress and director Niki Karimi, whose 2001 directorial debut To Have Or Not To Have was produced by Kiarostami and who served on the Cannes jury in 2007. The buzz: Festival favourite Kiarostami sat on the Venice jury in 1995 and returned in 1999 with Grand Special Jury Prize winner The Wind Will Carry Us which also won the CinemAvvenire award, Fipresci prize and Ocic award. Besides a segment of the compilation Chacun Son Cinema for Cannes in 2007, his most recent film was one third of the trilogy Tickets, which premiered at Berlin in 2005. Int'l sales: TBC Vinyan (Fr-UK-Bel) Dir: Fabrice du Welz The story: A couple lose their son in the 2004 tsunami in Thailand. Searching for him, they find a nightmare community ruled by children. The cast: Emmanuelle Beart is joined by Rufus Sewell and Julie Dreyfus. Beart is a huge star in France and here will speak English along with UK actor Sewell (The Holiday). Dreyfus also stars in Tokyo, the triptych by Leos Carax, Bong Joon-ho and Michel Gondry which screened at Cannes. The buzz: Du Welz burst on the scene at Cannes in 2004 with Calvaire. Vinyan has been a long-gestating project that has a lot of buzz surrounding it. This is his first film to screen at Venice. Int'l sales: Wild Bunch, (33) 1 53 01 50 20 Burn After Reading (US) OPENING FILM Dirs: Joel and Ethan Coen The story: Comedy-thriller about the memoirs of a sacked CIA analyst that fall into the hands of a pair of opportunistic fitness centre employees. Chaos ensues. The cast: A stellar line-up includes Brad Pitt, George Clooney, Tilda Swinton, Richard Jenkins, John Malkovich and Frances McDormand. The buzz: The Coens are on a roll following their triple-Oscar win this year for No Country For Old Men and bring a powerhouse ensemble for their first return to the Lido since 2003's Intolerable Cruelty. Int'l sales: Focus Features International, (44) 20 7307 1370 Puccini E La Fanciulla Dir: Paolo Benvenuti The story: Drama set during the four months composer Giacomo Puccini wrote La Fanciulla Del West opera. At the same time, his wife accuses a housemaid of being her husband's lover, prompting the maid to commit suicide. The cast: Unknowns, newcomers and a musician make up the cast. The buzz: Benvenuti returns to Venice's official selection after Segreti Di Stato competed in 2003. Int'l sales: Giampaolo Smiraglia, (39) 392 7247116.
5438	dbpedia	2	56	https://www.hellomonaco.com/news/latest-news/its-launched-the-18th-monte-carlo-film-festival-of-comedy/	en	It’s Launched: The 18th Monte	https://www.hellomonaco.…aCalò18MCFF.jpg	https://www.hellomonaco.…aCalò18MCFF.jpg	[ "https://mc.yandex.ru/watch/36785625", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2023/02/Banner_web_toPut-1.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2023/02/Banner_web_toPut-1.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Giacomo-Ferrara_Mario-de-la-Rosa_Ra-oul-Bova_Ezio-Greggio_Chazz-Palminteri_Mario-Sesti_Nick-Vallelonga©RosannaCalò18MCFF©RosannaCalò18MCFF-780x470.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Giacomo-Ferrara_Mario-de-la-Rosa_Ra-oul-Bova_Ezio-Greggio_Chazz-Palminteri_Mario-Sesti_Nick-Vallelonga©RosannaCalò18MCFF©RosannaCalò18MCFF-780x470.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_Nick-Vallelonga©RosannaCalò18MCFF.jpg 1200w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_Nick-Vallelonga©RosannaCalò18MCFF-300x200.jpg 300w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_Nick-Vallelonga©RosannaCalò18MCFF-450x300.jpg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_Nick-Vallelonga©RosannaCalò18MCFF-600x400.jpg 600w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_Nick-Vallelonga©RosannaCalò18MCFF.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_18°MCFF©RosannaCalò18MCFF-101©RosannaCalò18MCFF.jpg 1200w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_18°MCFF©RosannaCalò18MCFF-101©RosannaCalò18MCFF-300x197.jpg 300w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_18°MCFF©RosannaCalò18MCFF-101©RosannaCalò18MCFF-450x295.jpg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_18°MCFF©RosannaCalò18MCFF-101©RosannaCalò18MCFF-600x393.jpg 600w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/Ezio-Greggio_Chazz-Palminteri_18°MCFF©RosannaCalò18MCFF-101©RosannaCalò18MCFF.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/image00002.jpeg 1067w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/image00002-300x225.jpeg 300w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/image00002-450x337.jpeg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/image00002-600x450.jpeg 600w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2021/06/image00002.jpeg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2018/10/1-8-1.jpg 796w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2018/10/1-8-1-450x232.jpg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2018/10/1-8-1-600x309.jpg 600w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2018/10/1-8-1-300x155.jpg 300w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2018/10/1-8-1.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21-450x600.jpg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21-225x300.jpg 225w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21.jpg 600w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/07/21-450x600.jpg", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/04/20-450x600.jpg 450w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/04/20-225x300.jpg 225w, https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/04/20.jpg 600w", "https://www.hellomonaco.com/wordpress/wp-content/uploads/2024/04/20-450x600.jpg" ]	[]	[]	[ "" ]	null	[ "Event Calendar" ]	2021-06-02T09:05:32+00:00	The 18th edition of the Monte-Carlo Film Festival de la Comédie has started. The event designed and chaired by Ezio Greggio...	en	https://www.hellomonaco.…adow-120x120.png	HelloMonaco	https://www.hellomonaco.com/news/latest-news/its-launched-the-18th-monte-carlo-film-festival-of-comedy/	The 18th edition of the Monte-Carlo Film Festival de la Comédie has started. The event designed and chaired by Ezio Greggio takes place from May 31 to June 5, 2021 in the Principality of Monaco. “Comedy must go on, because it is the genre that has always told our story the best”. This is evidenced by the films selected and screened at the Grimaldi Forum until Friday, June 4, which tell and reflect today’s daily life, with themes such as the family, generational conflicts, sex and emancipation of women. The winners of this edition will be chosen by the jury chaired by Raoul Bova, accompanied by the French actress Sara Forestier, as well as the actors Giacomo Ferrara and Mario de la Rosa, and the director and film critic Mario Sesti, who, speaking about the current period which sees us confronted with the health emergency, recalled that “it is the most tragic moments that have given rise to great comedies”, and quoting a sentence from Pirandello: “To make people laugh you have to be terribly serious”. The Career Award Features Hollywood Stars Two Hollywood stars were also guests of the press conference for the event: American actors, directors, screenwriters and producers Chazz Palminteri, who will receive the “Career Award” at the gala on Saturday June 5, and Nick Vallelonga, twice Oscar winner for the film “Green Book: on the roads of the South”, and president of the jury of the Monte-Carlo Film Festival last year. The long-awaited grand finale will take place during the award ceremony, on the occasion of the traditional Gala scheduled for Saturday 5 June at the Grimaldi Forum and during which Ezio Greggio, with his many guests from cinema and television, will reward this year’s winners. Also Featuring Awards for Movie Legend 2021 and Career Prize for a most famous Actress Already confirmed the “Movie Legend Award 2021”, awarded to Chazz Palminteri (“Once Upon a Time in the Bronx”, “Usual Suspects”, “Shots on Broadway”, “Modern Family”), nominated at the Oscars for best actor in a supporting role for “Shots on Broadway” by Woody Allen and recently appearing in “Godfather of Harlem”. The “Career Prize” will go to Italian actress Micaela Ramazzotti, nominated several times for the “David di Donatello” Prize and winner of the “David di Donatello Prize for Best Actress” for “La prima cosa bella”. Giancarlo Magalli, the presenter par excellence will also participate in the Gala evening with Enzo Iacchetti, the longtime companion of Ezio in the famous Italian satirical program Striscia la Notizia. Also famous from Italian television featured at the Comedy Festival are Brazilian actress and model Desirée Popper, and Antonia Truppo, Francesco Di Leva, Giovanni Esposito, protagonists of the new comedy “Benvenuti a casa Esposito”, which will have its world premiere at the Monte-Carlo Film Festival on Friday June 4th. Also eagerly awaited: Elisa Isoardi, the attractive Elisabetta Gregoraci, the former footballer Claudio Marchisio and the actress, presenter and writer Rocio Munos Morales, who will receive the “Monte-Carlo Award” for her exceptional role, as a woman, mother, writer and empowerment model. X Factor Idol Leo Gassmann will perform on stage During the evening, the idol of teenagers in Italy, released from the TV talent “X Factor” and who asserted himself among the New Proposals at the Sanremo Festival in 2020, Leo Gassmann, will perform on stage with his new single “Down”. The main objective of the Monte-Carlo Film Festival is the promotion and dissemination of the different genres of comedy through previews of films in competition and out of competition. A unique showcase on the international scene for a genre highly appreciated by the public but generally considered “minor” by the critics. But thanks to the event designed by Ezio Greggio and the late Maestro Mario Monicelli (Festival co-founder), it has actually helped resurface comedy more prominently at other international festivals such as Cannes, Rome, Berlin and Venice.
5438	dbpedia	1	0	https://en.wikipedia.org/wiki/Category:David_di_Donatello_winners	en	Category:David di Donatello winners	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Category:David_di_Donatello_winners
5438	dbpedia	1	42	https://www.amarcort.it/2019/en/giuria.html	en	Amarcort Film Festival	http://www.amarcort.it/img/logo-amarcort.png	http://www.amarcort.it/img/logo-amarcort.png	[ "https://www.facebook.com/tr?id=1645577385682401&ev=PageView&noscript=1", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-regione-emilia-romagna.gif", "https://www.amarcort.it/2019/img/logo-comune-rimini.gif", "https://www.amarcort.it/2019/img/icona-facebook-n.png", "https://www.amarcort.it/2019/img/icona-instagram-n.png", "https://www.amarcort.it/2019/img/icona-twitter-n.png" ]	[]	[]	[ "rimini", "amarcort", "cortometraggi", "corti", "festival", "november 2019", "film", "cinema", "cinema breve", "giuria", "francesca fellini", "edo tagliavini", "giuseppe tagliavini", "gianfranco miro gori", "alberto gimignani" ]	null	[]	null	Amarcort Film Festival - La Giuria che decreterà i vincitori del festival di cortometraggi di Rimini	en	../icons/favicon.ico	Amarcort Film Festival	http://www.amarcort.it/	GRAND JURY Sandrine Cassidy Sandrine Faucher Cassidy è Senior Director per Festival e Distribuzione alla USC School of Cinematic Arts. In quanto tale, consiglia e tutora student e alumni, aiutandoli a strategizzare le carriere e i festival e la distribuzione dei loro corti e lungometraggi indipendenti. Aiuta a costruire quel ponte vitale tra la scuola cinematografica, il circuito dei festival e l'industria cinematografica. Il catalogo USC di cortometraggi cresce di circa 2000 titoli l'anno. Sandrine si occupa della distribuzione di quei corti in tutto il mondo. Alcuni di questi film includono corti di registi di fama come George Lucas, Robert Zemekis etc. Con oltre 25 anni di esperienza nell'industria cinematografica e nei festival internazionali sin dalla sua posizione come promoter di film all'Unifrance Film International, Sandrine Cassidy ha costruito la propria carriera specializzandosi nella distribuzione, esposizione di corti e lungometraggi e il supporto di registi indipendenti. Andrea Lodovichetti Andrea Lodovichetti was born in Italy in 1976 and currently lives between Europe and the US. Graduated in Film Directing at the Centro Sperimentale di Cinematografia (National School of Film in Italy), he worked as 2AD for the Academy Award winner director Paolo Sorrentino. Director, producer and screenwriter, he won a consistent number of international Awards including the Italian Golden Globe and the Looking for a Genius Award at the Babelgum Film Festival in Cannes, headed by Spike Lee. Luca Nervegna Luca Nervegna works as director of photography and has nearly twenty years of experience in the cinema field. After years spent working whithin the industry in Rome, he has founded a film company, in partnership with Giacomo Benini and entirely focused on the region of Romagna: the Furia Film. Tony Parnis Tony undertook film studies in Canada and produced and hosted Servizz Xandir Malti on Graham Cable TV in Toronto. He won four Graham Awards for drama in Maltese, and Producer of the Year from Graham Cable Television. He was also awarded the Canada Birthday Award for Achievement (Government of Ontario). In 1984 he joined Xandir Malta's Newsroom as editor / director. Later as Head of Drama of PBS he directed and produced TV drama serials and various documentaries. Independently he wrote and directed the feature film Operation White Dove which was shown both in Malta and Australia, and also directed Bawxati The Movie, and Pawlu ta' Tarsu which were also screened at local Cinamas. In 1990, he joined One Productions as head of drama, and produced and directed drama and various award winning documentaries, and as an independent director/producer he has also done sterling work for NET TV. Tony has won several Broadcasting Authority Awards for Drama and documentaries as well as the BPC Award to Journalism (TV). He also, won the award for Best Cultural Programme with Joyce Grech for the production of the Malta International TV Short Film Festival aired on TVM. He has served as judge on several film festivals, including the Short-Shock 2007 International Film Festival in Anapa, Russia, and The Golden Knight Film Festival in Malta (Malta Cine Circle) and the Malta Journalist Awards. Tony is the Festival Director/Producer of The Malta International TV Short Film Festival that is broadcasted by PBS, Malta national television for the past eleven years. Elena Zanni Elena Zanni was born in a cinephile family of entrepreneurs. She spends her childhood in the many cinemas owned by his family, who also run some independent movie theatres like the parish indie cinema in Gabicce Mare, the very first challenge of his father, Silvio Zanni, back in the 60s. Elena literally grows up in the movie houses. She now runs one of the most known movie theatres in the world and in Italy: Fulgor, Fellini's movie theatre. Praised, discussed and still loved by many for its long history, Fulgor movie house is more than 100 years old and it raised the little Federico Fellini who fell in love with it. That is why Fulgor is displayed in many of his movies. It is the first indie cinema to open its doors in Rimini, in 1914, and it was led by a resourceful woman, Ida Ravulli. The cinema reopens in January 2018, on Fellini's birthday, to celebrate the non-forgotten director. This time, another charismatic woman is in charge of it: Elena Zanni. She begins her activity in 2009 thanks to his father. Together, they decide to take over Settebello in Rimini to turn it into an independent movie theatre. Thanks to the precious help of the many collaborators she meets during her carrier and thanks to her foresight, she takes over her family business and runs it with success, winning the management of Fulgor. Nowadays, she manages projects which lead to the great cultural events organized in her movie theatres in Rimini. Writers, artists, actors, directors, musicians but also scientists and entrepreneurs, leaders of the national cultural scene, animate those spaces which are no more just 'cinemas', but a real cultural, social, artistic and humanitarian melting pot. All of this is possible thanks to the sensible and big efforts that her team put in place every day, in order to convey feelings and awareness to people. FELLINI'S AWARD JURY Francesca Fabbri Fellini My name is Francesca Fabbri Fellini, born in 1965, professional journalist. Being daughter of his sister, Maria Maddalena, I'm the only remaining heir for Maestro Federico Fellini's DNA. I'm the worldwide ambassador of this work. In addition to being peacefully legitimized to the protection of Maestro's name and image by being his heir, I'm also the only and exclusive owner for trade marks composed of FEDERICO FELLINI's patronymic (including his signature), registered trademark in Italy and abroad, in order to distinguish actual and/or potential commercial activities suited to Maestro's prestige and image, and to avoid the attempts of hoarding sales power connected to Fellini's name by third parties. Therefore, I take care of Maestro Fellini's name, image of his works and of his signature. Defending artist Fellini is a job. Born in Bologna in 1965 under the sign of Gemini, with Libra on the ascendant, Francesca lived her first 19 years in Rimini, with her parents Maria Maddalena Fellini and Giorgio Fabbri, a pediatrician. At 23 years she graduated in Foreign Languages and Literature and in 1987 she signed her first writing in video for RAI, for the program "Muoviamoci su Rai Due" with Sidney Rome, composed of 180 episodes. After this experience, she signed many more contracts with RAI: from 1999 to 2006 she's one of the correspondents for "La vita in diretta" with Michele Cucuzza on Raiuno. She worked with authors such as Michele Guardì, Senza Sampò, Licia Colò. She really likes television, but cinema has been in her chromosomes since forever (she defines herself as "raised with cinema and tortellini"): from 1993 and 1997 she collaborated with radio network RTL 102.5, managing cinema, and thanks to this experience she became a professional journalist. From 2004 to 2006 she signed and hosted on RTL: "Asa NIsi MAsa L'ANIMA del cinema", which took its name from the magic sentence repeated by Guido/Mastroianni, main character of "Otto e mezzo". Francesca thought about this title for her program as a tribute to her uncle "CHICCO". The 'Fellinette', as her uncle Federico used to call her, loves good food, theatre, books, flowers and spending her time with her little big friend Alfie, a white poodle who only lacks of words. Her favorite movie is Amarcord, of which she knows every line and which she watches as soon as she can. Blasco Giurato Born in Rome on 7th June 1941, he's a cinematographer and became known working with Giuseppe Tornatore in "Nuovo Cinema Paradiso". Thanks to his work with his film he also gained a nomination to BAFTA. Filmography (partial): Sapore di mare 2 - Un anno dopo (Bruno Cortini, 1983) Olga e i suoi figli (Salvatore Nocita, 1985) Il camorrista (Giuseppe Tornatore, 1986) Teresa (Dino Risi, 1987) Nuovo Cinema Paradiso (Giuseppe Tornatore, 1989) Sinbad of the Seven Seas (Enzo G. Castellari, 1989) Saremo felici (Gianfrancesco Lazotti, 1989) Tolgo il disturbo (Dino Risi, 1990) Una pura formalità (Giuseppe Tornatore, 1994) Belle al bar (Alessandro Benvenuti, 1994) Chicken Park (Jerry Calà, 1994) Passaggio per il paradiso (Antonio Baiocco, 1998) Ferdinando e Carolina (Lina Wertmuller, 1999) Vajont (Renzo Martinelli, 2001) Piazza delle Cinque Lune (Renzo Martinelli, 2003) L'estate del mio primo bacio (Carlo Virzì, 2005) Il mercante di pietre (Renzo Martinelli, 2006) Ma l'amore... sì! (Marco Costa eTonino Zangardi, 2006) Tutte le donne della mia vita (Simona Izzo, 2007) Zodiaco, miniseries (2008) 100 metri dal Paradiso (Raffaele Verzillo, 2012) Il bambino cattivo (Pupi Avati, 2013) Un ragazzo d'oro (Pupi Avati, 2014) Oltre le nubi (Marcella Mitaritonna, 2014) Le nozze di Laura (Pupi Avati, 2015) Mi rifaccio il trullo (Vito Cea, 2016) Prigioniero della mia libertà (Rosario Errico, 2016) Stato di ebbrezza (Luca Biglione, 2018) Television work: Il balordo (Pino Passalacqua - miniserie TV, 1978) Piazza di Spagna (Florestano Vancini - miniserie TV, 1992) La missione (Maurizio Zaccaro - miniserie TV, 1998) Un nero per casa (Gigi Proietti - film TV, 1998) Luigi Piccolo Luigino Piccolo (Giuti) was born in Udine, studies Literature in Padua with the idea of becoming a restorer. In 1980 he arrives in Rome, contacted by Paolo Tommasi, set designer and costume designer for Giancarlo Cobelli. After two years as assistant to the costume designer, he meets Pietro Farani who asks him help in running tailoring history: there, the majority of the costumes for the masterpieces in Italian cinema from 60s to 70s were realized. And all of this happened thanks to the collaboration with Danilo Donati, usual costume maker for Pasolini, Fellini e Zeffirelli, two Oscar Awards and several other prizes. Since 1997, after the passing of Farani, the tailoring passes directly into his hands; without disowning his past, tailoring oriented in historical reconstruction of costumes and, with great pride, between his last years' clients we can remember Colleen Atwood, Tim Burton's costume designer, who won four Oscars. Starting with a small fundus found in tailoring, during the years Piccolo created a notable collection of authentical dresses: more than 3000 pieces, starting from 1750s to High Fashion collections of the 60s; he uses this material for studying, which is very important to philologically reproduce the time. For five years now he's teaching, with great passion, reciprocated by his students, History of Cinema at IED in Rome and, for a year now, History of Costume at Accademia di moda e costume (Academy of fashion and costume), which is also based in Rome. ALDINA JURY Samuele Sbrighi (Born in Santarcangelo di Romagna, Rimini - 21.10.1975). Is an italian actor, director and screenwriter. He graduated in 1997 from Accademia d'Arte Drammatica Antoniana in Bologna and is a member of Centro di Cinema e Teatro "Duse" in Rome, hosted by Francesca De Sapio from 2000 to 2004. He is known to television audience for his role as Billo in "Un posto al sole d'estate" in 2008/2009 and for his role as inspector Giacomo Romani in "Centovetrine" 2010/11. In 2006 opens at cinema "La Vida es un Carnaval", a movie that sees him in the three hats of director, author and actor. In 2013 he is one of the main characters of "Una notte gli studios", cinema movie directed by Claudio Insegno, and he's testimonial for the national campaign of Ministry against AIDS, directed by Raul Bova. During the same year, he shoots "La Prof. 5" and the successful webserie "Interno giorno". He's in the radio, on M20, hosting the section "Good News" of the programm "AQPP". In 2014 he's in "Un passo dal cielo 3" along with Terence Hill and he's one of the main characters of "Forse Sono Io 2", a webserie directed by Vincenzo Alfieri. From 2014 to 2016 he's Biagio Izzo's theatre company, in which he takes part to the national tour for shows such as "Come un Cenerentolo" (directed by Claudio Insegno) and "L'amico del cuore" (Directed by Vincenzo Salemme". In 2017 he's one of the main characters in the cinema movie "Tiro Libero" by Alessandro Valori. In 2017 he debuts in theatre as a director and author with "Un altro spettacolo con cui rovinare una serata ad amici e parenti" and in 2018 he directs and writes the show "L'evoluzione della specie". In 2018 he also takes part as actor in the RAI fiction "L'Allieva 2", in Giorgia's music video "Le tasche piene di sassi" and he's screenwriter and co-protagonist with Maria Grazia Cucinotta, Ivano Marescotti and Pietro Maggiò in the feature film "Tutto Liscio" by Igor Maltagliati, produced by "La Famiglia Film" with the contribution of region Emilia Romagna. After shooting many music videos, in 2019 he's director and screenwriter for music video "Rossetto", a song by the winner of platinum record "Random". Since 2016 he's founder and teacher of Centro di Cinema e Teatro "La Valigia dell'Attore", a laboratory for acting, established in Romagna. Charles Stroud Started off in modern Theatre as actor/director together with working as a projectionist in a local Cinema. A few years in Film art departments followed at Malta's Film facilities. Directed and coordinated events both for the Private and Public sector. These include Opening and closing ceremonies for the Games of the Small States of Europe, Grand Harbour Spectacles on VE Day, complete production and direction of Malta's Millennium activities and part production and direction of Malta's accession celebrations into the EU with mega projections on Fort St. Angelo in Malta's Grand Harbour. 1973 employed with Television Malta as programme producer and director, showing specialisation for drama and documentaries. Employed with NET Television as Head of Programmes, Produced and directed Best Drama Production 2003. 2005 set up the Media Production company, "26th Frame" and directed numerous award winning productions. In 2018/19 wrote and Co Produced "Carmelo" for PBS Television Malta together with a TV Series "Nostalgija". Attended film making courses and seminars, including most recent Master Classes with writer John Coolle, in Working on a Micro Budget, Crowd Funding, Marketing and Distribution, (Valletta Film Festival 2015) Film Production and Script Writing (Storyworks) 2015. Commenced production of Short Animation Films and major animation projects. 2016 19 with productions shortlisted in international film Festivals. Attended and represented Malta in International Seminars and Conventions covering all aspects of film production. Gave talks, courses and seminars on Audience attitudes, Television, Acting for TV, Cinema and Public Events Organisation. Served on boards and committees including the National Festivities Committee as president (1987 - '91), the Foundation of European Carnival Committees as vice-president (1988 - '91), Radio 101 (1991 - '94 ), Mediterranean Film Studios (1992 - '93), and the Council for Culture and the Arts (2002 '05). Sat on judging panels for Photographic, Art, Costume, Drama, Beauty and Song competitions including Malta's prestigious Golden Knight Film Festival and the Television Short Film Festival. Producer/Manager of Malta's first Film Expo 2017. Enrico Zoi Family, cinema, theater, journalism , music and poetry: here's Enrico Zoi, Florentine born in 1959, graduated in Literature on a poem from the 1500s. To his credit also various books, including two poetic sillogues and the recent collection of fairy tales "Favole per Irene" (2018), illustrated by his son Filippo. Zoi has been writing press releases for the Municipalities of Bagno a Ripoli and Impruneta for 25 years. He published thousands of interviews, articles, film and theater reviews and puzzles and seen (currently) 6400 films, a figure destined inexorably and daily to rise. With Philippe Chellini, Zoi is Alessandro Benvenuti's cinematographic biographer (two books) and the author of the twenty-year volume of Leonardo Pieraccioni's 'Ciclone'. Zoi He was part of the Juries of 'Underflorence' (Florence Film Festival, 1991), 'Under Rock - Futurock a Firenze' (1992), 'Schermi Irregolari' (2001, 2016, 2017 e 2018), 'Amarcort Film Festival' (2014, 2016, 2017, 2018), 'Cartoon Club' (2018, 2019). He also has an editorial football incursion, having written a book, "Firmamento Viola", on Fiorentina, his favorite team. In recent times, he has ventured into theatrical writing, with the monologue show "Zenrico, or his clone?" (Co-author Massimo Blaco) and the two cinemonologue shows "As time goes by", dedicated to Humphrey Bogart, and "Dr. Jekyll & Mister(o) Totò", obviously on the Prince of laughter. YOUTH JURY - Cooperativa Sociale Ragazzi e Cinema Giorgia Aprile Annaluna Batani Jennifer Giacone Lorenzo Montaguti Jacopo Mussoni Dino Rebai Gaia Vannucci YOUTH JURY - Liceo Artistico Volta/Fellini - Riccione Filiberto Filanti Virginia Gabriele Carlotta Guglielmi Alessandro Pavlovi&cacute; Erika Ricci Asia Lucia Rocchi Beatrice Rosa REX JURY Giorgio Ghisolfi Once a student of the school "Ipotesi Cinema" run by Ermanno Olmi, he is now an entertainer, director, professor, and production manager with an extensive experience in the field of cinema and animation. He has worked with Bruno Bozzetto, Maurizio Nichetti, Guido Manuli, Enzo d'Alò. He wrote the theme song of the 47th Venice Film Festival and won awards for some tv spots and medium-length films. For Benetton, he directed "Birima son of Africa", a short film featuring the music of Youssou Ndour, the web series "Security.com" for Pirelli, and the animated video for the WWWF and its campaign "Now or Never" concerning climate change. As adjunct professor, he teaches subjects about cinema and communication in several schools such as the IED in Milan, the CISA in Locarno, the Insubria University and the High School of Linguistic Mediation in Varese. He is also the author and director of A-tube, the Global Animation Film Festival and A-tube Review 2019. For the publishing house Mimesis, he wrote the essay "Indiana Jones e il Cinema di Animazione" (2011) and the monographs "Star Wars. L'Epoca Lucas" (2017), "Superman&Co. Codici del Cinema e del Fumetto" (2018). Riccardo Sivelli He graduated as Master of Applied Arts at the Art Institute in Bologna. With a bachelor's degree in Surgical Anatomical Drawing achieved at Med School in Bologna, he has worked as advertising graphic designer and illustrator in several fields, and at the same time he has undertaken, in the role of designer, a few projects on set design, aimed at communication, interior design, theatre, film and advertisement setting. For almost 8 years he has worked as teacher, photographer and director in fashion. As a freelancer, he majored in the setting up of theme parks and worked for EuroDisney and for the main suppliers of carousels and coin-operated games. In 1999 he founded a communication and set design company in Rimini, which aims at bringing together the local artistic scene and prestigious clients. He was selected from ECIPAR in Rimini as best advisor for a project on female entrepreneurship and has obtained funding for a training course on work psychology, transactional analysis, lateral thinking and HR management. In those years, he broadened his experience by working for producers such as Casa Vianello, Stelle a quattro zampe, Quelli che il calcio, Smau Milano for WIND, TG5, the Bonci Theater in Cesena, Iceberg, Paolo Gerani, Roberts, Microsoft Italia and more. Riccardo Sivelli is the founder of "extralab" and is engaged in creativity and experimentation. He has a good knowledge of numerous materials, both traditional and composite. Moreover, he combines contemporary arts and groundbreaking materials. He is always looking for new types of communication and visual concepts in order to conceive effective communication projects that are able to appeal for the uniqueness and refinement of the manufacturing. Along the years, Riccardo Sivelli has developed a strong experience in the areas of communication, art, fashion and design. His projects are based on trends and how they can interact with one another in order to shape communication means, installations and committed projects. He relies heavily on the ongoing search for innovative techniques and materials, and on the development of new interaction systems between the digital world and the real world. Along with traditional materials, he specialized in the use of composite materials such as silicones, resins for different uses. As a video enthusiast, he combines traditional and video animation techniques for inventive projects addressed to the several demands of communication. Extralab is the embodiment of all his experiences, from which modeling samples, fake food, make-up, artistic installations, theatrical and film settings, and pilot projects are conceived. Sabrina Zanetti Born in Rimini in 1963, graduated in sociology with a specialization in mass communications and a master's thesis on animation films. From 1990 she has been working in the field of social research, particularly on issues such as juvenile disadvantage, intercultural disciplines and mass media. She is an expert in cinema and mass communications and has worked extensively in various cultural activities of the city of Rimini, collaborating on the organization of a large number of events dealing with music, film and visual arts. Since 1991 she has been taking care of the ACLI Rimini cultural activity,from the association activities (music clubs, dance, theater, photography and movie culture) to "Progetto Immagine", a special project including various activities and events dedicated to the world of communications. In 1984 she organizes two video-film events and since 1991 she becomes their Artistic Director: "Round - Video film festival for short films, dedicate to independent authors" (1984/2012). "Cartoon Club - International Festival of animation, comics and games". Since 1999, she's been organizeing activities and cultural events for the detained of the Prison of Rimini. From 2000 to 2008 she has been president of the ACLI of Rimini Province. From 1999 to 2009 she has coordinated the activities of the Social Services of the town of Verucchio. From 2001 to 2003 she has coordinated the activities of the Culture of the Municipality of Riccione. From 2005 to 2013 she has been president and director of "Foundation Enaip S. Zavatta" which organizes training courses and social activities. From 2008 to 2013 she has been managing director of CO.AP. Cooperativa Comunità Aperta a.r.l. that manages radio channels, TV and web in the Rimini province. In 1998, together with the musician Andrea Felli of Acanto Snc, she founded a sound research center located in Rimini which includes a professional recording studio called Farmhouse, a recording label and music publishings. GIRONZALON JURY (composed by campus "Emilia-Romagna welcomes Europe" students) Alessia Gallo Andrea Cimilio Anita Pavolucci Azzurra Ricci Benedetta Bronchi Camilla Maldini Cristina Sordano Elena Romano Elisabetta Zani Enrico Chiudinelli Enza Pulvirenti Federica Benini Gianluca Messini Ilaria Prenga Julian Bisacchi Kevin Ferrini Livia Guidi Luca Cola Luna Evangelisti Maria Laura Carrara Martina Dall'Ara Maurizio Nari Nabil Bella Nicola Capelli Roberta Calisesi Rostas Laurentiu Gabriel Sara Nardi Serena Mondello Silvia Cruccu Simona Ottaviani Simone Forti Sofia Di Pietro Stefania Rossi Swami Fusaroli Swami Prati Tiziano Neri Valentina Brulli Viola Dini FULGOR JURY Kristian Gianfreda Italian director and screenwriter. He was born on the 27th March 1971 in Rimini, where he still lives with his family. He has always been socially committed. After a short experience as a social educator in the rehabilitation centre "Luce sul Mare", in 1997 he gets in touch with the association "Comunità Papa Giovanni XXIII". For almost 20 years, until 2017, he has been in charge of "Capanna di Betlemme", a reception facility for homeless people. From 2011, he is also the spokesman for Housing Sociale, a project of the municipality of Rimini and contact person for solidarity projects dedicated to people who live in extreme poverty. In 2016, his social commitment leads him to be elected Councilman of Rimini in the civil list "Rimini Attiva" of the Democratic Party. In the same year, "Capanna di Betlemme" collects experiences from social outcasts: people living in poverty and in solitude. All of this life experiences impress Kristian, who strives to give those subjects a voice and make them visible at society's eyes. His experience in the audio-visual industry begins in 2011 with an internship at Produzioni L&C, in Rome. In 2002, he attends "CICS" (Centre for Social Communication) at the Gregorian University. In 2005, he attends theWorkshop Documentary in Europe for screenwriting and production promoted by "Festival dei Popoli" of Florence. In 2005, he collaborates to the screenwriting and production of TV documentaries for 2AFILM of Antonio e Pupi Avati. In 2002, for "L&C" of Luca De Mata, he realizes a documentary series called "La Valigia con lo Spago" for the National Italian Television, while in 2011 he realizes "Musulmani Europei". He is head of production and director of the production studio "Audiovisivi Apg23" of the association "Comunità Papa Giovanni XXIII". In 2010, he becomes head of the communication, events and sensitization campaign office for the association. In these years, he has been producing and directing many documentaries, short films and social advertisements. Here's a list: Documentaries - "La strada di Oana" (2005), documentary movie on the life of a girl forced to prostitute herself; "Do you love Jesus?" (2005), documentary movie on Don Oreste Benzi's life; "Il metodo Apac" (2009), documentary on Brazilian prisons; "I bambini di Dakka" (2012), documentary on the life of children in the streets of Bangladesh; "Con gli ultimi sulle strade del mondo" (2012), documentary on "Comunità Papa Giovanni XXIII"; "So far so close" (2014), documentary on the Arab-Israeli conflict; "Vite in fuga" (2015), documentary on immigrants fled by refugee centres in Lebanon and their disembarkation; "I ragazzi del carcere minorile di Acireale" (2015), documentary on youth detention centre in Acireale; Short Films - "Da un pugno a una carezza" (2008) and "Oltre le sbarre" (2008), short film on prisons in Italy; "1,1,2,3,5" (2014), short film on disability; "Rimini homeless" (anno 2015), short film on poverty; TV Programs - "Punto a capo" (2005 2006) and "Scatechismo", (2010 2012), TV broadcasts on current events; Animation - "Thiago y el Caracol" (2014 e 2016), animation project for deaf-mute children; Social Advertisement - "Un pasto al giorno, qualcosa di straordinario" (2010) for the fundraising for meal centres of Comunità Papa Giovanni XXIII; "Moments" (2011) and "5x1000 un gesto d'amore che cambia la storia" (2012) for the 5x1000; "La mia famiglia esce dal foglio" (2012), advertising IULM's foster home of Milan; "Per le donne crocifisse" and "Questo e` il mio corpo" (2016, 2017), social adverts against prostitution.. Kristian Gianfreda has obtained many prizes and awards for his works. In 2012, he was awarded the prize for his advert "La mia famiglia esce dal foglio". In 2015, he obtained a special mention for "La strada di Oana" and "1, 1, 1, 2, 5" at l'Anello Debole di Capodarco Festival. In the same year, he wins the First Prize for best documentary with "So far, so close" at People for Peace and at The Prem Rawat Foundation. In 2012, he was invited at Fiuggi Film Festival as a member of the jury. He gained an international recognition thanks to his first feature film, "Solo cose belle". His movie has been applauded both by the public and the critics. For this movie, in 2007 he founded the production studio "Coffee Time Film", based Rimini. Roberto Grassilli Roberto Grassilli was born in S. Pietro in Casale (Bologna). Since the 80s he publishes comics, illustrations, cartoons on magazines and newspapers such as Alter, Linus, Frigidaire, Tempi Supplementari, Consumatori, Cuore, PuntoCom, il Fatto Quotidiano, Banca Etica, NavigareSicuri. As an illustrator, he works for Milano Libri, Conde' Nast, VociOff, Sperling & Kupfer, Cuore s.r.l, Inter Press Edizioni, Arcana Edizioni, Il Manifesto, Manutencoop, Kowalski, L'Arca Edizioni, Perdisa Editore, L'Arengo di Rimini, Edizioni Este, Bookrepublic, Telecom Italia, NdA Edizioni, Italica Edizioni, Edizioni Smasher, Bertoni Editore. He collaborated in various ways to events and manifestations, especially Biografilm Festival in Bologna, Mare di Libri in Rimini, Cesena Comics & Stories and Festa della Rete / Blogfest. In 1988 he established Showbiz with Steo Zacchi (illustration and graphic for album and advertisement campaigns for Italian music makers). In 1990 he moves to London to work in Spielberg's animation studio for the animated feature "Fievel goes West" (Amblin, Usa, 1991). In 1991 he enters the newsroom of the new weekly satire magazine Cuore, run by Michele Serra. He remains until qualifying as art-director and until the magazine closes in '96. In 97/98 he's responsible for publishing for Pan Distribuzioni (Marvel Italia) and collaborates to the realization of commercial websites (Alitalia, Ras, Microsoft Italia etc). In 1999 with Gianluca Neri and Gianluigi Mazzeschi he establishes Clarence srl. During the years of "net-economy", he works with marketing and graphics. Inside the well-known portal he also publishes a daily comic strip (sept. 2001): Net To Be. Speaking of which, it was also published in a comic collection: "To Be or Net to Be", Hops Libri, Milano, 2002. In 2004, moved to Rimini, he starts again with his illustrator and cartoonist career. He collaborates to the creation of Il misfatto, satiric insert for Il Fatto Quotidiano, he projects and realizes graphic for the editorial online series 40K, of which he also draws singular covers. In 2015 he creates la Realtà Diminuita. In 2018 he illustrates Orlando e il Pinguino, comic book for children, written by Sara Galli, Bertoni Junior Editore. The "side" business he's been most involved into, in particular from 1982 to 1991, as lead singer, was the rock band Lino e i Mistoterital. Piero Maggiò After competing as a professional boxer in the '80s, thanks to his resemblance to Marlon Brando, he then starts modeling for the most important fashion designers at the beginning of the '90s. In '95 he is Popeye for the famous Moschino Cheap and Chic campaign and in that same year he becomes its testimonial for the underwear. In 1997, he decides to study and pursue his passion: acting. He attends the Beatrice Bracco's acting school and he is cast in his first film, Elvis e Marilyn, directed by Armando Manni. Following, he stars in several films and in 2000 he is on the international set of the film Captain Corelli's Mandolin along with Nicolas Cage, Penelope Cruz and Christian Bale, with the direction of John Madden. In 2002 he is in El Alamein, directed by Enzo Monteleone and in Radio West, directed by Alessandro Valori. During those same years, Maggiò participates in several TV shows, among which Anni '60, Casa Vianello, Don Luca, L'ispettore Coliandro. In 2005 he founds La Famiglia Film studio with Samuele Sbrighi and produces La vida es un carnaval, directed by Samuele Sbrighi. In 2018, they produce Everything's Going Smooth (Tutto liscio!), directed by Igor Maltagliati, in which Maria Grazia Cucinotta and Ivano Marescotti star as protagonist, and distributed globally in 2020 thanks to Industry Works. Currently, he is on the TV show Il collegio, broadcast by Rai 2 channel, where he interprets the hall monitor of the school. Daniele Pagnoni Nasce a Rimini nel 1974, in un decennio di gran fermento sociale e politico in Italia. Daniele Pagnoni was born in Rimini (Italy) in 1974, in a lively social and economic decade. He obtained a degree in Engineering, a Master's degree and then started to work permanently in a multinational cooperation based in Milan, as a result of his education and dedication to his studies. In Milan, he dedicates both to his job and the cultural life, regularly visiting museums, cinemas, exhibitions and theatres. He gets into photography; an art he performs regularly even now he is back in his native town to enjoy the seaside and a happy family life. He is an associate and volunteer member of Palloncino Rosso, a cultural association. Here, he deals with the logistics and organization of cultural events, thanks to his passion for cinema and TV series. CANTAREL JURY Enrico Fink Born in Florence, where he always lived apart from two years passed in the USA. He graduated in Physics in 1994, immediately understanding that he wanted to focus on music and theatre. He produced and recorded music going from jazz to modern music, from street music to sacred music; he performed as singer, actor, flute player, on several stages starting from Sanremo Festival to Quirinale, from discos to international festivals, from sidewalks to major legitimate stages. He wrote and acted musical theatre shows such as "Patrilineare" (1998), "Lev" (1999), "Purimshpil!" (2000), "Yonah" (2002 who deserved an award from the European Association for Jewish Culture). He acted in Moni Ovadia's company from 2000 to 2004 on "Tevye un Mir", and "Il violinista sul tetto". He collaborates with the ancient music assemble Lucidarium, with which he recorded in France the cd "La Istoria de Purim". For Materiali Sonori he published in 2000 the album "Lokshen Patrilineare" and in 2005 "Il ritorno alla Fede del Cantante di Jazz" (produced by Arlo Bigazzi), in which he dedicates a revisit in a contemporary, electronic, jazz key many Jewish lyrics and musics from religious ambit. His main publications are "Klezmer Cronache di viaggi", Frame editions (1997); "La Mutazione" (1999) with group named Tacitevoci directed by Bruno de Franceschi. With the "Homeless L.I.G.H.T. Orchestra", in 2009, he published the cd "Quasi Live" (Officine della Cultura/Materiali Sonori Associated). He's musical director for O.M.A. (Orchestra Multietnica di Arezzo) and he published in 2009 the cd/dvd "Animameticcia" and in 2013 "portosantagostino" (Officine della Cultura). He's one of the founding members of the ensemble "Cantierranti" directed by Giampiero Bigazzi, with which he realized the narrative concert "Senza Padrone - sogni e storie dell'impresa a capitale collettivo". Since 2007 he teaches classes of Jewish music at Università degli Studi Ebraici in Rome. For Materiali Sonori in 2010 he publishes "La mamma, l'angelo e la ciambella" (with Stefano Bartolini playing sax and Marcella Carboni playing harp) and in 2011 takes care of the cd "La casa dei canti quasi 100 anni di Chazanut al Tempio Maggiore di Firenze". In 2012 with Arlo Bigazzi, Sabina Manetti e Cantierranti, he writes a song for Caterpillar Rai Radio 2 "Vedo chiaro limpido vero", which videoclip won as best music video. In 2014 the song gets included into the album "Fuori dal pozzo", realized with Arlo & Cantierranti and the participation of Sabina Manetti, Mino Cavallo, Marzio Del Testa, Moni Ovadia, Raiz... "Fuori dal pozzo" goes on tour. He held classes and conferences in many universities such as Yale, UC Santa Cruz, Università Federale di Rio de Janeiro; Fondazione Levi, Venezia; and also in the universities of Bologna, Genova, Venezia, Milano. He taught "Storia della Musica Ebraica" at the Corso di Laurea in Studi Ebraici in Rome; he regularly teaches at the Bet Midrash of the Jewish community in Florence. He taught music from Jewish tradition in many schools of musical specialization. Collaborating with Renaissance music group Ensemble Lucidarium, he studied Jewish authors from Italian Renaissance and presented several programs in festivals, universities and institutions all around the world. He's curator for Primo Levi Center in New York for the project "Italian Chazanut Round Table" dedicated to Erna Finci Viterbi. Enrico Fink he's coming back from his third Canadian tour and from a long theatrical season in which he directed Orchestra Multietnica from Arezzo on original compositions for the new show written by Stefano Masini and acted by Ottavia Piccolo. Matteo Medri Matteo Medri was born in Forlì on 8 September 1975 and he lives in Cesena since he graduated in Psychology. He gets close to the arts world in third grade by starting to play classical clarinet at the "Angelo Masini" music school in Forlì and graduating with the lower-level diploma of the 5th year at "Cherubini" Conservatory in Florence. After that, he started playing the drums with Maestro Stefano Paolini and forms a rock group (The Wizards), which performs with its own and unpublished music, with more than 65 live dates every year. The group gets reviewed by various trade magazines and publishes two CDs with independent production companies. During his university years he gets close to theatre and acting by participating in local and national drama courses with teachers from the international scene and by acting in some theatrical performances and in minor roles in TV fictions. During the same years, he establishes an association of social promotion (L'Aquilone di Iqbal) that takes care of activities for minors and art, also starting a path of official recognizing from Ministry of the role of Clowndoctor, through the establishment of a National Federation. Both those realities are operating today in the area with several projects. While participating in different artistic projects, he also operates as an animator/educator and street artist with many national realities such as WWF Italy, Arci NA, Regione Emilia-Romagna, etc. The experience he lived while realizing his group's music video made him find out a passion and love for video language. He then starts an educational process in that direction. He takes part of many courses with professional figures in different parts of Italy, such as a course in Rome's cinema academy with R. De Laurentiis and Acay Cinematografica, as well as getting closer to professionals by covering different roles. At the start of 2000s he establishes his own society (Metters Studio Films srl) and a production team, with which he took care of productions and 360° audiovisuals during the years (from commercials to documentaries, from short and medium-length films to formats and TV projects, from corporate to viral for web and social medias, and not to forget music videos and live events). Some of the companies and institutions that entrusted him to be the video director are: Technogym, Orogel, Zucchetti, Tubes, Yamaha (with Valentino Rossi), Elio Fiorucci, Eridania, Prink, Calibe, Regione Emilia Romagna, Regione Marche, Trevi, Avis EMR, Cosmoprof International, Hera, ecc. In the world of art and audiovisual he won several national and international prizes, such as the international festival "I've seen film festival" by Rutger Houer with the short film "Solo"; the "Red Dot Award" for the commercial video "Faraway" for Zucchetti.KOS company, and many more special mentions and prizes for short films, commercials and social media realized between 2005 and 2019. In music and artistic world he took care of audiovisual projects for: Dario Fo, FNC Italia, ONG Internazionale "Persone come noi", Max Gazzè, YoYo Mundi, Demo Rai Radio Uno with Michel Pergolani and Renato Marengo, Khorakhanè for Sanremo festival 2007, Libero.it portal with the videoclip project on women's bullying and more, SKYARTE with "Vai col Liscio" format, Mediaset friend with social adverts (among which we remember the one about abandoning animals, aired during all the summer in 2012), TV2000 and national channels with documentary about Clown Doctors (still airing). In theatre world he wrote three shows as a tribute to Fabrizio De André, two of them collaborating with authors and actors from national scene, which were added to some theatre bills in region EMR and Tuscany. Those shows had the coexistence of different artistic languages: from live music to painting, from acting to dance, to video projection. In his educational path he didn't miss out on professional experiences as a live events director (Repubblica delle Idee, Cosmoprof, Techongym, Utopia etc.) and as production manager to programs and institutions (Rai Radio 1- Demo Rai, RTI and national and regional television networks). Diego Spagnoli Born in the province of Brescia in 1959. Meet the Music at 16 and immediately fall in love with it, finding in her a lifestyle, a goal to reach. His studies led him to obtain a diploma as a surveyor, but his career behind a desk stopped shortly. Guido Elmi, a historical Artistic producer of Vasco Rossi, notices him, who after a concert organized by Diego asks him to be a professional member of the Group. Since 1982 Diego follows Vasco Rossi in the role of Stage Manager, coordinates people and things nec essary for the best performance of the Show as well as making his artistic contribution with his Performances as Master of Ceremony during the Band's presentations since 1996. He founded and is a director of ATTIVI E CREATIVI, a company that deals with entertainment services. His clients include many other Italian and foreign artists, as well as entertainment agencies. In addition to the technical role, he is involved in musical projects as DubMaster and Singer. When he's not busy touring in Diego, he like s to cook, hang out with people and design shows. He is currently busy writing a theater project. AFIC JURY (Best italian short movie) Pedro Armocida Art. Dir. Pesaro Film Festival Pedro Armocida (Madrid, 1971), a graduate of La Sapienza University of Rome in Literature, he is an essayist, professional journalist, film critic and adjunct professor. He contributes for Ciak magazine, 8 1/2, Film Tv and Il Giornale. He is art director of the Mostra Internazionale del Nuovo Cinema, member of the board of the AFIC, the Italian Film Festivals Association, general secretary of the trade union of Italian Film Critics (SNCCI). He is adjunct professor of Film Criticism in the Theatre, Cinema, Dance and Digital Arts Master's Degree Course at the for the La Sapienza University in Rome. He is a member of a shortlist of juries for the documentaries of the David di Donatello Awards (2018-2019). He was the editor and co-editor of various publications, among which: Ieri, oggi e domani. Il cinema di genere in Italia, Marsilio, Venice, 2019; L'attore nel cinema italiano contemporaneo. Storia, performance, immagine, Marsilio, Venice, 2017; Romanzo popolare. Narrazione, pubblico e storie del cinema italiano negli anni duemila, Marsilio, Venice, 2016; Esordi italiani. Gli anni Dieci al cinema (2010-2015), Marsilio, Venice, 2015; Il cinema argentino contemporaneo e l'opera di Leonardo Favio, Marsilio, Venice, 2006; Oltre la frontiera. Il cinema messicano contemporaneo, Revolver, Bologna, 2004; Cinema in Spagna oggi, Lindau, Turin, 2002. Luca Caprara Art. Dir. Corto Dorico Film Festival Screenwriter and producer of short films, film clips, educational videos, commercials, theatre performances. He organizes film courses, festivals and seminars, while also working with magazines and websites. He has been a radio host in several regional and national broadcast channels, where he was in charge of the cinema section. With the film director Andrea Lodovichetti, he founded the cultural association Lobecafilm and he wrote the short film Sotto il mio giardino, produced by the Centro Sperimentale di Cinematografia Scuola Nazionale del Cinema (Experimental film centre National film school) in Rome. Currently, Sotto il mio giardino is one of the short film which has been selected and awarded the most, having received awrds such as the Italian Golden Globe, the People's Choice Award at the Academy Festival of Beijing, the first prize at the Rhode Island International Film Festival and the Looking for Genius Spike Lee's International Competition Award at the Festival of Cannes. He wrote and produced with the director Andrea Lodovichetti the documentary PescAmare. He also wrote the screenplay of the film Le parole del silenzio. Together with Andrea Lodovichetti and Eros Tumbarello, he wrote the screenplay for Nero come le formiche (Black as the ants) and for the film L'origin du monde. He is the author of the original screenplay of the fictional feature-length film La bambina di Chernobyl, co-written with Massimo Nardin. He is the creator of a recital on Marcello Mastroianni named Il bel Marcello, as well as another recital about Monica Vitti, entitled L'avventura di chiamarsi Monica. He contributed to the realisation of the Ozu Film Festival in Sassuolo. Since 2018, with Daniele Ciprì, film director and director of photography, he is the art director for the CortoDorico Film Festival of Ancona, supported by MIBAC, the Ministry of Cultural Heritage and Activities. Gianluca Castellini Art. Dir. Sedicicorto Film Festival Born on 07 April 1962 in Forlì, Italy. He attended several courses in Film History and Directing. He organizes film clubs and film literacy activities. In 2004, he founded the Association "Sedicicorto". Since then, he has been Art Director of the Sedicicorto International Film Festival in Forlì. He is member of the promoting Committee of the CNC, the Italian National Short Films Centre. In 2008, he created the Golden FEDIC, a network composed by 12 film festivals and 30 film clubs. He has been an advisor member for FEDIC, the Italian Film Clubs Federation, since 2009. In 2011, in Cesenatico, Castellini founded ANIMARE, an animation film festival for children aged 3 to 13. Since 2014, he coordinates the REFF network, in which 15 film festivals take part. In 2018, he founded the IRANFEST, which focuses on Iranian cinema. He took part in many Italian and international film festivals as a jury member and a member of the selection committee. He works with several cultural associations to support programmes which promote the art of short films and the development of film literacy in the schools of his area. He participates in numerous Italian and international film festivals to contribute to the distribution network of short films in Italy and abroad. POPULAR JURY Alessandro Rossini Andrea Gobbi Anna Linsalata Annaflavia Bianchi Barbara Garagnani Carla Bonvicini Caterina Gobbi Clara Bollini Dario Virginillo Deano Giunchi Elisabetta Zavoli Erica Rocchi Fabrizio Pelaca Floriana Polino Gabriella Ancona Maria Del Carmen Moretto Marina Costantini Marina Cerdà Bernabeu Massimo Venturelli Michele Ghiselli Monia Facondini Monna Moatemri Nino Celli Patrizia Bacci Paolo Pini Redeo Amadori Rossella Salvi
5438	dbpedia	2	83	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	en	ITALIAN FILM FESTIVAL 2011 - Big Words	https://www.yumpu.com/en…ook/46595188.jpg	https://www.yumpu.com/en…ook/46595188.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/46595188/1/500x640/italian-film-festival-2011-big-words.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "" ]	null	[ "Yumpu.com" ]	null	ITALIAN FILM FESTIVAL 2011 - Big Words	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	Attention! Your ePaper is waiting for publication! By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. This will ensure high visibility and many readers! Inappropriate You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible.
5438	dbpedia	3	20	https://cinephiliabeyond.org/once-upon-a-time-in-america/	en	How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song • Cinephilia & Beyond	https://cinephiliabeyond…/2019/11/ubo.jpg	https://cinephiliabeyond…/2019/11/ubo.jpg	[ "https://cinephiliabeyond.org/wp-content/uploads/2015/11/Cinephilia-Beyond.png?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/b-1-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/04/uDsD3FeWNRPXWiYHqqicqc37Bht-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/04/uDsD3FeWNRPXWiYHqqicqc37Bht-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/03/interstellar-poster-by-zero-cooper-edition-v0-rrXOYnyepXRyWPlHDE8aYhPikxanaa5w2woDBK8phxA-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/b-1-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/03/interstellar-poster-by-zero-cooper-edition-v0-rrXOYnyepXRyWPlHDE8aYhPikxanaa5w2woDBK8phxA-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/b-1-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/03/interstellar-poster-by-zero-cooper-edition-v0-rrXOYnyepXRyWPlHDE8aYhPikxanaa5w2woDBK8phxA-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/11/WICKERMAN_QUAD-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/04/uDsD3FeWNRPXWiYHqqicqc37Bht-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/03/interstellar-poster-by-zero-cooper-edition-v0-rrXOYnyepXRyWPlHDE8aYhPikxanaa5w2woDBK8phxA-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/04/l19900-b4vfx-01-296x197.jpg?x97248", "https://imagedelivery.net/HVhOWIqvKU_HPECIf8frwg/7f90f29a-9bc9-4a04-ce6e-4220a998b100/public", "https://cinephiliabeyond.org/wp-content/uploads/2018/06/2-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2018/05/6-1-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2017/12/4-4-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/ubo-1050x1773.jpg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/plugins/revslider/sr6/assets/assets/dummy.png?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/37-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/39-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/63.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/18-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/22-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/21-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/43-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/64.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/33-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/57.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/52-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/27-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/embed-any-document-plus/images/loading.svg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/embed-any-document-plus/images/EAD-logo.svg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/embed-any-document-plus/images/reload.svg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/embed-any-document-plus/images/open.svg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-2-Image-2.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-3-Image-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-4-Image-4.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-6-Image-6.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-12-Image-12.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-14-Image-14.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-27-Image-27-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Page-28-Image-28.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/ouatia_drawing-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/ouatia_poster.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2021/01/1-4.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/Sergio-Leone-con-Ennio-Morricone.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/D2iMjwfUYAASWve.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/1-4.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/2-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/3-4.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/4-4.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/5-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/6-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/7-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/8-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/9-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/10-3.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/11-2.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/12.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/13.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/14-2.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/15-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/16-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/17-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/18-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/19-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/21-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/22-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/23-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/24-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/25-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/26-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/28-1-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/29-1-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/30-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/31-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/32-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/33-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/34-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/35-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/36-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/37-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/38-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/39-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/40-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/41-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/42-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/43-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/44-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/45.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/46-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/47-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/66-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/48-1-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/49-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/50-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/65.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/51-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/63.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/68.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/52-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/53-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/54-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/55-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/57.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/58.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/61.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/64.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/56.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/62.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/69.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/60.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/20-1.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2019/11/67.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/b-1-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2024/06/gravity_P-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/07/lf-296x197.jpeg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/06/MV5BMWY1ZGI0MDEtZTE1MC00OWM1LTgxNDMtZjJlY2Q2MDk2NTUzXkEyXkFqcGdeQXVyMTI5OTI1MzYz._V1_-scaled.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/04/mMxuE6S85SWtvIYfv7NJG0mjXSL-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/uploads/2023/03/dead-poets-society_uAezSu-296x197.jpg?x97248", "https://imagedelivery.net/HVhOWIqvKU_HPECIf8frwg/7f90f29a-9bc9-4a04-ce6e-4220a998b100/public", "https://cinephiliabeyond.org/wp-content/uploads/2023/01/26-296x197.jpg?x97248", "https://cinephiliabeyond.org/wp-content/plugins/gdpr-cookie-compliance/dist/images/gdpr-logo.png?x97248" ]	[ "//docs.google.com/viewer?url=https%3A%2F%2Fwww.dropbox.com%2Fs%2Fgsf8g7occiuj7bg%2FONCE%2520UPON%2520A%2520TIME%2520IN%2520AMERICA%2520%25281984%2529%2520%255BEnglish%2520Version%2520by%2520David%2520Mills%255D%2520%255BScan%255D.pdf%3Fdl%3D1&embedded=true&hl=", "https://www.youtube.com/embed/videoseries?list=PLPV3nUyTvwwpBlKvQq8VonfOzFSgpolHu", "https://www.youtube.com/embed/videoseries?list=PLBA50C3325B6D11BA", "https://www.youtube.com/embed/VtzUzh37o2o?feature=oembed", "https://www.youtube.com/embed/_APmVdXm4Xw?feature=oembed", "https://www.youtube.com/embed/MlLa5Jz33pM?feature=oembed", "https://cinephiliabeyond.org/donation.html" ]	[]	[ "" ]	null	[ "cinephiliabeyond" ]	2021-01-03T17:44:58+01:00	By Koraljka Suton I am not fascinated, as you say, by the myth of the West, or by the myth of the gangster. I am not hypnotized, like everyone east of New York and west of Los Angeles, by the mythical notions of America. I’m talking about the individual, and the endless horizon—El	en	https://cinephiliabeyond.org/wp-content/uploads/2014/12/favicon.ico?x97248	Cinephilia & Beyond	https://cinephiliabeyond.org/once-upon-a-time-in-america/	By Koraljka Suton I am not fascinated, as you say, by the myth of the West, or by the myth of the gangster. I am not hypnotized, like everyone east of New York and west of Los Angeles, by the mythical notions of America. I’m talking about the individual, and the endless horizon—El Dorado. I believe that cinema, except in some very rare and outstanding cases, has never done much to incorporate these ideas. And if you think about it, America itself has never made much of an effort in that direction either. But there is no doubt that cinema, unlike political democracy, has done what it can. Just consider ‘Easy Rider,’ ‘Taxi Driver,’ ‘Scarface,’ or ‘Rio Bravo.’ I love the vast spaces of John Ford and the metropolitan claustrophobia of Martin Scorsese, the alternating petals of the American daisy. America speaks like fairies in a fairy tale: “You desire the unconditional, then your wishes are granted. But in a form you will never recognize.” My moviemaking plays games with these parables. I appreciate sociology all right, but I am still enchanted by fables, especially by their dark side. I think, in any case, that my next film won’t be another American fable. But I say that here and I deny it here, too. ‘Once Upon a Time in America’ is my best film, bar none—I swear—and I knew that it would be from the moment I got Harry Gray’s book in my hand. I’m glad I made it, even though during the filming I was as tense as Dick Tracy’s jaw. It always goes like that. Shooting a film is awful, but to have made a movie is delicious. —Sergio Leone The great Italian director Sergio Leone established himself as the inventor of the spaghetti Western genre in the mid-1960s thanks to his Dollars trilogy (A Fistful of Dollars, For A Few Dollars More and The Good, the Bad and the Ugly) starring the legendary Clint Eastwood. His three following and equally adored films would become known as the Once Upon a Time trilogy and would end up spanning three decades—the first installment, called Once Upon a Time in the West, was released in 1968, the second one Duck, You Sucker! came out three years later in 1971, and the last one titled Once Upon a Time in America took him over a decade to make. During the 1960s, the director read the part-memoir, part-fiction novel The Hoods written by Harry Grey, a former Russian-American gangster whose real name was Herschel Goldberg and who, although hesitant at first, agreed to meet with Leone, only because he had seen and liked his Westerns. During their meeting, the director asked the not all too communicative Grey/Goldberg questions about his real-life experiences, to which the author only gave short answers, which was understandable due to his former lifestyle and the inevitable, justifiable paranoia that accompanied it. The two met several more times during the 1960s and 1970s, with Leone intending to understand the author’s perception of America better. Leone became so obsessed with turning the source material into a movie that, when approached by Paramount several years later, he even declined to make The Godfather. Little did the filmmaker know it would take him another ten years to get his passion project made and that it would, regrettably, be his very last one. The first draft of the movie was written by American author Norman Mailer, known for the novel The Naked and The Dead and his Marilyn Monroe biography. But the task of making a comprehensible screenplay out of the director’s colossal story turned out not to be an easy one, for Leone remained thoroughly unimpressed, later on telling American Film “I’m sorry to say, he only gave birth to a Mickey Mouse version. Mailer, at least to my eyes, the eyes of an old fan, is not a writer for movies.” The shooting script was ultimately written by Italian screenwriters Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini and Leone himself. The result was a 317-page long screenplay that was finished in 1981, with principal photography beginning on June 14, 1982 and ending on April 22, 1983. Robert De Niro was set to play the lead role, although he reportedly almost declined because the director peed on the toilet seat of the actor’s New York hotel suite, which De Niro interpreted as a power play. Luckily, the producer managed to convince him to take on the role of the protagonist called Noodles. Considered for the role of Noodles’ best friend Max were Harvey Keitel, John Belushi, Dustin Hoffman, John Malkovich and Jon Voight, until James Woods was cast. Brooke Shields was offered to play Noodles’ love interest Deborah Gelly, but the part then went to Elizabeth McGovern, with a young Jennifer Connelly playing her child self. A great portion of the film was shot at the Cinecittà Studios in Rome, and several scenes were filmed in Paris, St. Petersburg, Florida and Montreal. But the parts that were shot in the United States were as authentic as can be—the Jewish neighborhood where a bulk of the story takes place was a street in Brooklyn that had been made to look the way it did in the 1920s. It was on those streets that the main characters of Leone’s movie spent their childhoods, resorting to petty crimes at first, only to progress to more serious ones as time went on. This segment of the characters’ lives is presented to us in flashbacks and is meant to be seen as a collection of the main protagonist’s memories. The first part of the movie sees a grown-up Noodles hiding from hitmen in an opium den and eventually leaving the city. Only after he returns thirty years later are we, the viewers, given extensive glimpses into his childhood and are acquainted with his merry band of misfits that we had thus far only known by name. Leone constantly goes back and forth in time, establishing not only the lives of his characters at different stages, but also three distinguished areas of American history: the poverty of Manhattan’s Jewish ghettos in the 1920s, criminal life during the 1930 Prohibition era and finally the dangerous streets of 1968 New York. In an interview with Marlaine Glicksman, Leone stated the following about the United States: “America is so varied and exciting that after six months, you go back and find it completely changed. America interests me above all because it is so filled with contradictions, interesting contradictions, which change constantly. Even if you’ve decided that you don’t want to deal with that subject again, before you know it, the desire comes back to do it yet again. (…) The world is in America. In Italy is only Italy. France is full of France. Germany is full of Germany. In a continent that contains the entire world, contradictions are, of course, constantly arising. One of these contradictions that I like to sight is that two of the biggest moneymaking films in America were Mary Poppins and Deep Throat. One, of course, is the opposite of the other. But most likely seen by the same public.” And Leone depicts this world that is “in America” not just beautifully, but also realistically. For he is first and foremost an artistic genius, dedicated to detailed, intricate and deeply intimate portrayals of lives lived, friendships betrayed and dreams broken. In Once Upon a Time in America, he deals with the illusion of the American Dream, as seen through the eyes of Jewish kids whose entire childhoods are drenched in poverty, with the prospect of crime being the only logical solution, for which there exist no feelings of remorse or guilt. It is a visceral depiction of toxic masculinity which still reigns supreme in today’s world, showing inherently broken children rising to power through violence and corruption. It is also a painfully accurate portrayal of inexcusable misogyny which was once considered a norm, with acts of violence (sexual and otherwise) against women shown in great detail and with little to no restraint. It is also a story of a man who feels inferior to the woman he claims to love, leading him to exercise his dominance the only way he knows how—and resulting in her leaving him behind to make use of her talents and build a respectable life and career for herself. Once Upon a Time in America is also a narrative about our loyalties to one another, which more often than not lead to us sacrificing our own desires, wants and needs for the sake of life-long friendships that have become such a crucial part of our being, that giving them up would feel akin to dying. It is a story of a man who at one point comes to a forking in the road, but chooses to follow the path of least resistance and continues living the only life he has ever known, until it catches up with him. It is a tale of a human being who ends up exercising his free will and consciously choosing to believe a false narrative, so as to keep his memories intact, his self-concept alive and the life he wasted feeling remorse from crumbling before his very eyes. It is a complex and elaborately nuanced saga about the trajectories of once marginalized and impoverished people, about the guilt that accompanies betrayal, even when it is done for the purest of reasons, about the incessant passing of time that heals no wounds, when the carriers of said wounds are not looking for healing. Once Upon a Time in America requires the viewer’s full-blown attention and patience, with the camera constantly zooming in and lingering on the actor’s faces so as to convey as much emotional nuance as possible. The pacing is slow, but we do not mind, for it enables us to walk around in the characters’ shoes and experience the passing of time that leaves none of them unburdened. It is, in short, poetry in motion. There is a story the director once told, of an Italian critic who gave his film A Fistful of Dollars a bad review upon its release. “Then he became a fan of mine later. He went to the university here [Rome] with Once Upon a Time in America. We showed it to 10,000 students. And while the man was speaking that day to the students, with me present, he said, “I have to state one thing. When I gave that review about Sergio’s films, I should have taken into account that on Sergio Leone’s passport, there should not be written whether the nationality is Italian or anything else. What should be written is: ‘Nationality: Cinema.’” And Once Upon a Time in America could rightfully be described as pure, unadulterated Cinema with a capital C. Unfortunately, not many American viewers or critics thought so when the movie hit theaters in the summer of 1984. The reason was the severe injustice done to Leone’s masterpiece by the hands of US distributors. The story goes as follows: at the end of the shoot, the director had eight to ten hours of material on his hands, which he and his editor Nino Baragli managed to cut down to six, with the intention of it being released as two three-hour movies. But his vision seemed to be too grandiose for the producers who, given the critical and commercial failure of Bernardo Bertolucci’s historical drama film 1900 that was released in two parts in 1976, insisted he cut the material some more. After having reduced it to a length of four hours and twenty-nine minutes (269 minutes), the producers were still nowhere near satisfied. Leone ultimately gave them a 229-minute movie that had its premiere at the Cannes Film Festival in 1984 where it received a 15-minute standing ovation, and subsequently played in European theaters. This is the version that European audiences and critics talk about when praising Once Upon a Time in America as one of the greats, a masterclass in storytelling, directing, acting and cinematography. But American audiences were not so lucky, for what they got to see was an even shorter version of Leone’s classic, a 139-minute “travesty,” as Roger Ebert referred to it in his review, where he compares the original he had the chance to watch in Cannes and the butchered version that was presented to the American public. This desecration of Once Upon a Time in America was done without the director’s supervision and against his will, by an assistant editor who had worked on Police Academy. The version in question was not only barely comprehensible, but also ruined the cast and crew’s shots at even getting nominated for the following year’s Academy Awards (the movie did get two Golden Globe nominations though: for Best Director and Best Original Score). To make things even worse, the soundtrack provided by Leone’s frequent collaborator, the incredible Italian composer Ennio Morricone, was disqualified from the Oscar consideration to begin with, because his name was omitted from the opening credits. Apart from doing Morricone’s haunting score a great disservice, the 139-minute version failed on numerous other levels. In the American cut, Leone’s non-linear storytelling was abandoned for a chronological one, scenes have been extensively left out (the ones depicting Noodles’ childhood in particular), characters that had previously not been introduced suddenly appear on-screen, crucial pieces of information go missing and the relationships between the characters seem unmotivated and unclear. Even the ending, which is considered to be one of the most ambiguous ones in the history of cinema, sparking debate and various theories decades after its original release, has been cut short and turned into a more than obvious, yet somewhat dissatisfying, conclusion. Needless to say, everything that made Once Upon a Time in America truly enchanting was sacrificed and burned at the stake, turning the cut in question into an incomprehensible train wreck severely lacking the magic needed to hold its puzzle pieces together. The director’s collaborators and peers have frequently and unabashedly spoken out on the topic of the American cut, claiming that the alterations caused the filmmaker a great amount of emotional pain. And with Leone passing due to a massive heart attack several years after the movie’s release, James Woods even asserted that he died of a broken heart. For one of the greatest movies about America ended up being massacred beyond compare and presented to the American people in its lesser, far inferior form. “I’ve always had the sensation that people in America are always avant-garde,” Leone told Marlaine Glicksman in a 1987 interview, “Very attentive to all the new innovations. But it’s very specialized. The American public is a very specialized public. The reason it is taken as a realistic film is because inside the fable, I’ve put that kind of reality in. And it could easily be called, instead of Once Upon a Time in America, Once Upon a Time There Was a Certain Kind of Cinema. Because it was also an homage to cinema. And there’s my pessimism. Because I didn’t know yet that type of film is always going to become more extinct, that there won’t be anymore. Because there will always be more films that win five Oscars like Terms of Endearment.” Luckily, efforts would later be made to restore the 269-minute version that even European audiences did not get to see. It was announced in 2011 that the director’s original cut was to be re-created in an Italian film lab and that the process would be supervised by Fausto Ancillai, the movie’s original sound editor, and Leone’s children, who had the Italian distribution rights. But due to unexpected legal issues regarding certain deleted scenes, the cut ended up being 251 minutes long. This restored version premiered at the Cannes Film Festival in 2012 thanks to the efforts of Martin Scorsese, whose Film Foundation assisted with the restoration, which is now available on DVD/Blu-ray. Meaning that the movie can finally be viewed as it was meant to, with the ambiguous ending remaining intact and open to as much interpretation as ever. Was Max’s implied fate what had really come to pass? James Woods himself cannot be sure, for the director did not tell and even used a stand-in to shoot the scene in question. Or was the entire movie just an opium-induced dream of Noodles’, with the past being something he vividly remembered and the future that which he envisioned, so as to alleviate the guilt he felt for the actions he took? Leone himself did not oppose this theory, but rather confirmed that it just might be the case. Whatever his true intentions were, it is safe to say that the Italian auteur’s swan song will remain one of the most important chapters in the history of American cinema. Koraljka Suton is a member of the Croatian Society of Film Critics and has a master’s degree in German and English. For her thesis, she did a comparative analysis of Spielberg’s ‘Band of Brothers’ and ‘The Pacific’. Koraljka trained at a Zagreb-based acting studio for six years and fell in love with Michael Chekhov and Lee Strasberg’s acting techniques. She is also a contemporary dancer and a Reiki master who believes in the transformative quality of art. Read more » A Fable for Adults: Sergio Leone interviewed by Elaine Lomenzo, Film Comment Vol. 20, No. 4, July-August 1984. It’s a warm, sunny March day at Cinecittà, and the film Sergio Leone has been trying to make for ten years is now in the final days of shooting. Leone hovers over an editing table, absorbed in the action on the screen, with his producer, assistants, and interpreter at his side. The battle with his North American distributor, The Ladd Company, is at this moment not even a cloud on the Rome horizon. For now Leone can toil to make his $45-million dream come true. Once Upon a Time in America is based loosely on a book called The Hoods, written by Harry Goldberg under the pseudonym Harry Grey. In this autobiographical novel Goldberg recalls his experiences in the Prohibition Era, and attempts to explode the romanticized image of Gangsterism given us by Hollywood. After long talks with Goldberg, Leone began to translate into cinematic proportions the ways in which certain myths take precedence over reality. As we enter Leone’s favorite trattoria, you know this man has presence. Four maitre d’s greet us, and walking past the antipasto table, Leone nonchalantly samples each dish with his chubby fingers. On his way out, Federico Fellini, paying tribute to Leone’s reputed appetite, presents a caricature drawn on a linen napkin of Leone with spaghetti spilling out of his mouth. Only now, in this more comfortable environment, does Leone begin to talk about the genesis of Once Upon a Time in America, his preoccupation with American style and myth, and the indefinable dangerousness that instantly characterizes the American actor, setting him apart from all others. You’ve been shooting this film for six months, and you are now in the early stages of editing. Are you satisfied with your material? Is the “fun” part over or is it just beginning? The fun part is with the first idea; the “idea” is forming a stage. Editing is the true making of the film. But here is where the doubt surfaces—which kills all the fun. This film is the first you’ve made after ten years. Does this create a pressure on you to continue in a style similar to your famous westerns? This question of style, it is something indecipherable. Style comes on its own; it’s part of you, part of all your experiences. The minute you try to change “styles” means that you are going to go into mannerisms or something that has nothing to do with your own vision of the world. Style has to do with that particular vision of how things are. Cinematically speaking, style means your own personal way of telling a story. It can be applied in telling a story about a cowboy or gangster or anyone. For example, any good assistant to any good director has to be light years away from his maestro, from his director. If you imitate him 100 percent, you don’t become anything but an imitation of the man you’ve worked with. Sure, but you can recognize a master’s influences and still draw on your own resources. That’s true, but it comes on its own, afterward. When you’re taken with somebody’s style, you might consciously or unconsciously imitate it. That’s the thing to avoid, because the minute you do that out of an admiration for style you become a bad copy of the original. And so a good first assistant is better off if he works with bad directors, because he somehow maintains himself, learns all the other things, and comes out with his own style. Bad directors amplify your own sense of imagination. Above all, they give you a sense of limitation in that you know what you shouldn’t do. On the other hand, you can have an experience next to a director you love very much but to avoid becoming his bad copy, you have to get away and do your own expression. What is it about the myth of the Epic-West and now the East of Jewish gangsters that fascinates you so? After 20 years of filmmaking, you draw your inspiration from the American fairy tales. Especially since Vietnam and the Nixon years, America seems to be a dirty word in Europe. I’m fascinated with America—more fascinated with America than American myths or fables. I have a fascination with certain American writers who helped form my youth: Chandler, Dos Passos, Hammett, Hemingway, Fitzgerald. But these writers are only important to me in that they are part of my memory bank and my childhood. When I think of them I see my own childhood. This is also thematic in terms of the film I’m doing right now, in the sense that it is a film based on memory. Inside the film are all the images that I like. There’s an homage to a certain type of filmmaking that I love or cinema that I love. There’s an homage to the script writers who for better or worse helped me to discover the America that I didn’t know, and those who helped me to dream about America. What do you know about the country besides what you’ve gathered from these writers? Have you spent any time in America other than the “casting time” that is behind closed doors? I can’t see America any other way than with a European’s eyes, obviously; it fascinates me and terrifies me at the same time. The more I love her [America] the more I feel light years away from her. I’m aware of becoming a part of a generation that is now becoming decrepit—Europe is old and decrepit and I feel part of that generation of Europeans more than Americans. I’m fascinated by the youthful aspect of Americans even when it includes contradictions, and naive qualities of being incredulous at certain things. It’s this mixture of all these things—the contradictions, the youth, the growing pains—that makes it fascinating, that makes it unique. America is a dream mixed with reality. The most beautiful thing is that in America, without any notice, suddenly, dream becomes reality, reality becomes dream. That’s the thing that touches me the most. America is like Griffith and Spielberg together. It’s Watergate and Martin Luther King at the same moment. It’s Johnson and Kennedy. All those contrasts: dream and reality always clashing together. Since we don’t know each other, I want to give you a complete picture of myself, why I’m interested in America, why I’m always occupying myself with America: because in America, there’s the whole world. In Italy there’s Italy and in France there’s France. The problems of America are the problems of the whole world: the contradictions, the fantasies, the poetry. The minute you touch down on America, you touch on universal themes. For better or worse, that’s the way it is. But America is constantly being accused of cultural imperialism by Europe? I don’t agree with that. I don’t think it’s right to accuse her of that, because America being a giant nation occupies herself first with trying to content her own country. And this is a big problem for America, trying to make Americans content. It’s a giant problem because the country is nude up of many, many countries put together. To arrive at satisfying all the varied tastes of Americans means to get to a point of satisfying all the tastes worldwide: worldwide needs, tastes, fantasies. That’s why Americans have no problems in terms of film or TV. The images go out into the world and meet the same needs of other peoples, because of that universal collective consciousness. There are certain themes that run through your new film: solidarity with the outcasts of society, choices dictated by despair, closeness of male friendships, betrayal, violence and corruption, which also ran through your earlier films. Do you see these themes as “American”? I’m trying to do a film that can’t easily be categorized. It’s not a realistic film, not historical. It’s fantastic, it’s a fable. I force myself to make fables for adults. But you do deal with those questions? There are themes that are inside of me. Friendship, for example, is a theme I feel very much, maybe because I was an only child. Obviously all these themes come up because they play a major part in my own psyche. And I’m essentially a Roman, which doesn’t necessarily mean being essentially Italian. It means something else because Romans are a separate race. Romans always have a paradoxical sense about things; they have an unfettered sense of irony and self-criticism. The irony is almost always placed against themselves or made in terms of themselves. All of this put together means that I put into my films certain of my own phantoms or ghosts. Sometimes if I choose settings for my films that are underdeveloped or slightly criminal, it’s also to make the point that sometimes the good guy, if you scrape a little of the varnish off, is a little less good, and the bad guy, with a little less of the “bad guy” varnish, is a little less bad. There’s a small Roman story: A cardinal dies who did good and bad. The bad he did very well and the good he did very badly. Let’s talk a little about the talent you came across in America. Was it difficult casting this film? Is there a perceptible difference between the talent in America and the talent in Europe? If so, what in your opinion accounts for this? The talent in America is based first of all on the number of people, and then this blind love they all have on arriving or becoming—whether it’s an actor, director, or whatever else. It takes them up to some extreme type of sacrifice. I’ve never seen stars work as waiters in any other part of the world; in America, they do, they start off that way. This means they choose a very humble work in order to be exclusively at the service of their art. They are taken in and totally absorbed by their ambition, their dedication to the arts. There’s a common factor involved in all of this. They always say that Neapolitans are naturally born actors. I would say that they are natural comics, and that Americans are natural actors. They are helped enormously by the extreme richness of language. Could it also be something to do with the freedom that Americans have, politically, socially, culturally? As children it’s part of our cultural experience to have choice: to wear what we want, to say what we want, to eat what we want, to live where we want, to move away from the family, and so forth. Yes, total liberty from infancy on. Children are exposed to everything. People talk in front of them and together with them. A 50-year-old can be friends with someone who’s ten. All those things are a result of that liberty, and they provide an enormous sense of spontaneity, an enormous amount of security and a great availability to acting and to delivery. Thus, whoever really loves this work then chooses to study it, very well and precisely, whether it’s with Actors Studio or wherever—ten or twenty-methods of approach to this kind of work, mixed with an intense process of study. Consummate actors are the product. We don’t have that here. Our resources are almost always more geared to immediate spontaneity and immediate contact with people more than the form of expression used. A spontaneous actor in Italy, if he’s young and spontaneous, can only be broken down by an acting school in Italy, not encouraged or taken to a point of higher expression. He will be restrained. That’s why neo-realism was born in Italy. Because in that moment it was impossible to use professional actors to report the times they were living in at that point. It became false and studied and manneristic. How do you manage to communicate with your cast when you don’t speak English? I have this picture of you “conducting” them, rather than “directing” them. I use an extrasensory imagination, where I use no language. This relationship is particular, certain nuances have to be created. The use of words eliminates these nuances or “sits on them.” In this process of directing there becomes an extrasensory demonstration between the actor and myself. A “felt” relationship between actors and myself specifically, because there is no verbal dialogue. On this film Robert De Niro collaborated with you on the casting. Is this a practice that you’d repeat? I’d repeat it immediately with him. He was much faster than I could be at understanding whether a New York accent would lie right on an actor or not. He always left the total responsibility on me to decide on the actor’s quality in terms of his delivery or acting, and the same for physical characteristics. That choice was left to me. He was a great collaborator. I’d like you to talk about your long relationship with composer Ennio Morricone. At what point do you discuss the music for your films? Before, during, or after the shooting? Do you almost hear the music while you’re shooting or is the music a direct result of the action? I talk about the music of the film long before the filming begins. I have the music programmed before I begin shooting, so I can use it while I’m shooting. For me, the music is part of the dialogue, and many times much more important than the dialogue. It becomes an expression in itself. So the music is number one in part of this process, and you direct to the sound and beat of the music? When we’re not using direct sound for dialogue it’s much easier. When we’re using direct sound, obviously we can’t use music as the background, because it would ruin the sound. But I do play my music on the set whenever I can for the actors. But the music plays in your head constantly? The work is done originally for me. I discuss it with Morricone months ahead of time, and the music guides me through the film in terms of certain sentiments or emotions. I have him create ten or fifteen or twenty themes before choosing one. Because the one I choose is the one that gives me the most primary sensation about what the intensity of that particular moment or pan of the film is. The first musical test. I make on myself. Now that you’ve finished filming, are you developing any other projects that you would like to discuss? No, because at this moment or phase in production, I’m still taken with idiosyncrasies that occur during the making of the film. I’m also taken with a love for the project that I have—the amount of love needed to take the film to the end and finish it. I have another sentiment, too: I always think this is the last film I will make. You have said throughout that you draw a lot on the past. But what about your life now? What influences affect your art now? Are they perceptible, or is this a moot question? By indicating the past we can discover the future. Where does that leave the present? The present is transitory. It’s only right that the present should become the past or immediately the future. The present today is what counted yesterday or tomorrow. For tomorrow to become better you should take a look again at yesterday. “I’M A HUNTER BY NATURE, NOT A PREY” An interview with Sergio Leone from the pages of the June 1984 issue of American Film written by Pete Hamill. Throughout the candid interview, it’s clear filmmaking is a sacred belief to Leone who hails from a family steeped in the tradition of filmmaking. Often attributed with perfecting the spaghetti western genre with A Fistful of Dollars (1964), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968), Leone developed an artistic voice with a precise knack for uncovering the raw realities of the often cartoonish and glamorized American Wild West conceived by Hollywood during the 1950s. Leone confides to Hamill about the arduous and lonely process of filmmaking throughout the 10-year process on what would be his last and arguably greatest film. Here he speaks to the sacraments of technical filmmaking and his devoted belief in the idealized American dream with the sentiment, “America is the determined negation of the Old World, the Adult World.” During the filming of Once Upon a Time in America, Sergio Leone was generally unavailable for interviews. However, earlier this spring, he found time to talk about his approach to filmmaking. The interview took place in Rome and was translated by Michel De Matteis. When you were a boy, was there an America in your head? Yes, certainly, as a child, America existed in my imagination. I think America existed in the imaginations of all children who bought comic books, read James Fenimore Cooper and Louisa May Alcott, and watched movies. America is the determined negation of the Old World, the adult world. I lived in Rome, where I was born in 1929, when it was the capital of the imperial Mussolini melodrama—full of lying newspapers, cultural ties with Tokyo and Berlin, and one military parade after another. But I lived in an anti-Fascist family, which was also devoted to the cinema, so I didn’t have to suffer any ignorance. I saw many films. Anyway, it was mainly after the war that I became decisively enchanted by the things in Hollywood. The Yankee army didn’t only bring us cigarettes, chocolate bars. Am-lire army-issue money, and that peach jam celebrated by Vittorio De Sica in Shoeshine—together with all this, they brought a million films to Italy, which had never been dubbed into Italian. I must have seen three hundred films a month for two or three years straight. Westerns, comedies, gangster films, war stories—everything there was. Publishing houses came out with translations of Hemingway, Faulkner, Hammett, and James Cain. It was a wonderful cultural slap in the face. And it made me understand that America is really the property of the world, and not only of the Americans, who, among other things, have the habit of diluting the wine of their mythical ideas with the water of the American Way of Life. America was something dreamed by philosophers, vagabonds, and the wretched of the earth way before it was discovered by Spanish ships and populated by colonics from all over the world. The Americans have only rented it temporarily. If they don’t behave well, if the mythical level is lowered, if their movies don’t work any more and history takes on an ordinary, day-to-day quality, then we can always evict them. Or discover another America. The contract can always be withheld. Your father, Vincenzo Leone, was a film director. How did that affect your first impression of films? As a child, I was convinced that my father had invented the cinema himself. I knew that my father was Santa Claus and that, on the other side of the cinematic field, beyond the geometric lines of the screen, great masses of technicians, makeup artists, scene shifters, and hairdressers crowded in. I knew all about electric cables, cameras, microphones, reflectors. It’s probably also because of this that the technical side of my moviemaking is so important. I go to the dubbing room as if I’m going to Mass, and mixage, for me, is the most sacred rite. I think filming itself is fun, especially in Death Valley and under the Brooklyn Bridge, where coyotes cry and ships toot their horns. But the Moviola is the altar of a voodoo rite. One sits down in front of the console and plays his hand with the heights of the heavens. I always knew that films were made by men and structured like prayers. Could you describe the arduous process of coming up with a screenplay for Once Upon a Time in America? It was after I made The Good, the Bad, and the Ugly that the subject of Once Upon a Time in America began to buzz in my ears. I found this book, The Hoods, by Harry Gray, in a Rome bookshop. More than anything else, it was a perfect and loving hymn to the cinema. The story of these Jewish gangsters—unlucky three times over and determined five times over to challenge the gods—attached itself to me like the malediction of the Mummy in the old movie with Boris Karloff. I wanted to make that film and no other. We began to procure rights to the cinematographic adaptation, which, however, was already in the hands of other film-world hombres. It wasn’t very easy, but we finally managed, with cleverness and many dollars, to rip off the rights from the legitimate holders. That was already the first sign of where things were heading. Then the infernal screenplay-writing season began. Norman Mailer was among the first to work on it. He barricaded himself in a Rome hotel room with a box of cigars, his typewriter, and a bottle of whiskey. But, I’m sorry to say, he only gave birth to a Mickey Mouse version. Mailer, at least to my eyes, the eyes of an old fan, is not a writer for movies. Mysterious arguments within the production cropped up—material problems and supernatural problems, metaphysical mess-ups of every type—and each successive screenplay came out inferior to the concept. And then, a long time after I had willingly gone over to the enemy—that is, to the production side—there was this meeting with Arnon Milchan, who, before dedicating himself to cinematographic production, must have been employed as an exorcist at some Gothic cathedral. The fact is that everything, from one moment to the next, began to take form. Leo Benvenuti and Stuart Kaminsky, the detective writer and the film devotee, miraculously concluded the screenplay, the sun shone again in the sky and away we all went to the great adventure. We worked solidly for two years straight and we finally reached port, it seems to me, with banners waving in the wind and the crew intact. You seem to be fascinated with American myths, first the myth of the West, now that of the gangster. Why is this? I am not fascinated, as you say, by the myth of the West, or by the myth of the gangster. I am not hypnotized, like everyone east of New York and west of Los Angeles, by the mythical notions of America. I’m talking about the individual, and the endless horizon—El Dorado. I believe that cinema, except in some very rare and outstanding cases, has never done much to incorporate these ideas. And if you think about it, America itself has never made much of an effort in that direction either. But there is no doubt that cinema, unlike political democracy, has done what it can. Just consider Easy Rider, Taxi Driver, Scarface, or Rio Bravo. I love the vast spaces of John Ford and the metropolitan claustrophobia of Martin Scorsese, the alternating petals of the American daisy. America speaks like fairies in a fairy tale: “You desire the unconditional, then your wishes are granted. But in a form you will never recognize.” My moviemaking plays games with these parables. I appreciate sociology all right, but I am still enchanted by fables, especially by their dark side. I think, in any case, that my next film won’t be another American fable. But I say that here and I deny it here, too. Why does the Western seem to be dead as a movie genre? Has the gangster film taken its place? The Western isn’t dead, either yesterday or now. It’s really the cinema—alas!—that’s dying. Maybe the gangster movie, in contrast to the Western, enjoys the precarious privilege of not having been consumed to the bones by the professors of sociological truth, by the schoolteachers of demystification ad nauseam. To make good movies, you need a lot of time, a lot of money, and a lot of goodwill. And you need twice as much of it today as you needed yesterday. And the old golden vein, in California’s movieland, where these riches once glistened so close to the surface, unfortunately seems almost completely dried up now. A few courageous miners insist on digging still, whimpering and cursing television, fate, and the era of the spectaculars which impoverished the world’s studios. But they are dinosaurs, delivered to extinction. What was it that you saw in Clint Eastwood that no one in America had seen at that time? The story is told that when Michelangelo was asked what he had seen in the one particular block of marble, which he chose among hundreds of others, he replied that he saw Moses. I would offer the same answer to your question—only backwards. When they ask me what I ever saw in Clint Eastwood, who was playing I don’t know what kind of second-rate role in a Western TV series in 1964, I reply that what I saw, simply, was a block of marble. How would you compare an actor like Eastwood to someone like Robert De Niro? It’s difficult to compare Eastwood and De Niro. The first is a mask of wax. In reality, if you think about it, they don’t even belong to the same profession. Robert De Niro throws himself into this or that role, putting on a personality the way someone else might put on his coat, naturally and with elegance, while Clint Eastwood throws himself into a suit of armor and lowers the visor with a rusty clang. It’s exactly that lowered visor which composes his character. And that creaky clang it makes as it snaps down, dry as a martini in Harry’s Bar in Venice, is also his character. Look at him carefully. Eastwood moves like a sleepwalker between explosions and hails of bullets, and he is always the same—a block of marble. Bobby, first of all, is an actor. Clint, first of all, is a star. Bobby suffers, Clint yawns. Does it surprise you that an actor could become president of the United States? Should it have been a director? I’ll tell you, very frankly, that nothing surprises me any more. It wouldn’t even surprise me to read in the newspapers that a president of the United States, for a change, had become an actor. I wouldn’t be able to hide my surprise if all he did was take on worse films than those done by certain actors who became presidents of the United States. Anyway, I don’t know many presidents, but I do know too many actors. So I know with certainty that actors are like children— trusting, narcissistic, capricious. Therefore, for the sake of symmetry, I imagine presidents, too, are like children. Only a child who became an actor and then a president, for example, could seriously believe that The Day After concealed who knows what new yellow peril. A director, if possible, would be the least adapted of any to be president. I can picture him more as the head of the Secret Service. He would move the pawns and they would dance, accordingly, to the end, to produce, if nothing else, a good show. If the scene works, great. Otherwise, you redo it. Old Yuri Andropov, if he had been a director instead of a cop, would have enjoyed greater professional satisfaction and—who knows?—he might have lived longer. Most of your films are very masculine. Do you have anything against women? I have nothing against women, and, as a matter of fact, my best friends are women. What could you be thinking? I tolerate minorities. I respect and kiss the hand of the majorities, so you can just about imagine then how I genuflect three or four times before the image of the other half of the heavens. I even, imagine this, married a woman, and, besides having a wretch of a son, I also have two women as daughters. So if women have been neglected in my films, at least up until now, it’s not because I’m misogynist, or chauvinist. That’s not it. The fact is, I’ve always made epic films and the epic, by definition, is a masculine universe. The character played by Claudia Cardinale in Once Upon a Time in the West seems a decent female character to me. If I can say so, she was a fairly unusual and violent character. At any rate, for a couple of years now. I’ve been harboring the notion of a movie about a woman. Every evening, before going to sleep. I rummage over in my mind a couple of not bad story ideas for it. But either out of prudence or superstition—as is only human, and even too human, I prefer not to talk about it now. I remember that once in 1966 or ’67, I spoke with Warren Beatty about my project for a film on American gangsters and, a few weeks later, he announced that he would produce and star in Bonnie and Clyde. All these coincidences and visions disturb me. How do you think you fit among the Italian and other European directors? Which directors do you admire? Which are overrated? Yes. without a doubt, I, too, occupy a place in cinema history. I come right after the letter L in the director’s repertory, in fact a few entries before my friend Mario Monicelli and right after Alexander Korda, Stanley Kubrick, and Akira Kurosawa, who signed his name to the superb Yojimbo, inspired by an American detective novel, while I was inspired by his film in the making of A Fistful of Dollars. My producer [on that film] wasn’t all that bright. He forgot to pay Kurosawa for the rights, and Kurosawa would certainly have been satisfied with very little and so, afterwards, my producer had to make him rich, paying him millions in penalties. But that’s how the world goes. At any rate, that is my place in cinema history. Down there, between the K’s and the M’s generally to be found somewhere between pages 250 and 320 of any good filmmakers directory. If I’d been named Antelope instead of Leone, I would have been number one. But I prefer Leone; I’m a hunter by nature, not a prey. To get to the second part of the question, I have a great love for the young American and British directors. I like Fellini and Truffaut. However, I’m not an expert on overrating. You should ask a critic—the only recognized experts on over-, under-, or tepid ratings. The critic is a public servant, and he doesn’t know who he’s working for. Which comes first: the writer or director? The director comes first. Writers should have no illusions about that. But the writer comes second. Directors, too, should have no illusions about that. What advice would you have for young people who want to be directors? I would say, read a lot of comic books, watch TV often, and, above all, make up your minds that cinema is not just something for snobs, other moviemakers, and the mothers of petulant critics. A successful movie communicates with the lowbrow and the highbrow public alike. Otherwise, it’s like a hole without the doughnut around it. F. Scott Fitzgerald once said, “Action is character.” Do you agree? The truth is that I am not a director of action, as, in my view, neither was John Ford. I’m more a director of gestures and silences. And an orator of images. However, if you really want it. I’ll declare that I agree with old F. Scott Fitzgerald. I often say myself that action is character. But it’s true that, to be more precise, I say, “Ciack! Action and character, please.” Certainly we must mean the same thing. At other times—for example when I’m at the dinner table—I sometimes say, “Ciack! Let’s eat. Pass the salt.” When you’re not making movies, what do you do? I will confess that since I was a child, when no one dreamed of asking me these questions, I always imagined I would respond with a preemptory and dry “Stop right there! Nothing doing. I won’t even hear of it. My privacy is sacred and I have no intention of putting it on display in the piazza just for the amusement of nosy journalists like you.” I try, every time, but then they shame me like a dog and I end up admitting all the horrible truth. That is, the following: that I sunbathe, go to the movies and to the stadium, think about my next films, read books and screenplays, meet friends, go on vacation sometimes, play chess and hang around the house irritating my family with, what’s worse, superfluous observations. I’m very fond of my family, as all Italians are, including Lucky Luciano and Don Vito Corleone, but I wouldn’t know how to talk to them. They say they put up with me, but the truth is that I put up with them. Now that you’ve finished Once Upon a Time in America, are you able to step back and assess the film? Once Upon a Time in America is my best film, bar none—I swear—and I knew that it would be from the moment I got Harry Gray’s book in my hand. I’m glad I made it, even though during the filming I was as tense as Dick Tracy’s jaw. It always goes like that. Shooting a film is awful, but to have made a movie is delicious. When Sergio Leone made ‘Once upon a Time in America,’ it was an event. Here was the man who had invented the spaghetti Western, coming to New York to make a Jewish gangster epic. Everybody, including my friends Bob De Niro and Joe Pesci, was in it; everybody in New York was working on it. We all knew it would be unlike anything we’d ever seen. The version released in the summer of 1984 pleased no one, Leone least of all. The much longer cut that came out later that year restored his extraordinary Proustian structure, but it was missing 40 minutes that Leone felt to be crucial to his grand, 20th-century canvas. Recently, with the help of the Leone family, 25 minutes of material was found, including an extended excerpt from Antony and Cleopatra, featuring Elizabeth McGovern, and a long-rumored exchange between De Niro and Louise Fletcher. These scenes and others have now been re-inserted into the picture, and the restoration—a collaboration involving the Cineteca di Bologna, L’Immagine Ritrovata, and the Film Foundation—is nearly complete. A great film just became that much greater. —Martin Scorsese Screenwriter must-read: Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini & Sergio Leone’s screenplay for Once Upon a Time in America [PDF]. (NOTE: an early script by David Mills which differs from the finished film; for educational and research purposes only). The DVD/Blu-ray of the film is available at Amazon and other online retailers. Absolutely our highest recommendation. Here is a great booklet and press kit from the 1984 Sergio Leone’s epic masterpiece, courtesy of CineFiles. From the Tom Jung papers, this sketch is one of several conceptual designs pitched for the film’s poster art. U.S. theatrical poster art. Short documentary Once Upon a Time: Sergio Leone profiling the making of the film. A documentary commission by Film4 that was first broadcast in 2000. Robert De Niro talks about Sergio Leone, Once Upon a Time in America and Harry Grey’s book The Hoods. ENNIO MORRICONE There is a lot of talking, of listening to things. Quite frequently, everything is scrapped and we start again from scratch. Often when everything has been accepted Sergio starts to doubt the decision and then more doubts come. It becomes a very complicated process that has to be endured. But it is quite normal that it should be like this; it doesn’t upset me, or even bother me, because it means that when a decision is finally made it is the right one. —Ennio Morricone From Christopher Frayling’s book, Sergio Leone: Something to Do with Death. The music in Once Upon a Time in America plays a important role in keeping with the general atmosphere of melancholy. The shooting script was full of explicit references to musical themes. But Sergio Leone had strong views about the particular melodies he wanted, which owed nothing to Harry Grey and a great deal to his own biography: ‘I asked for a different kind of score from Ennio Morricone this time. We began with a song of the period—“Amapola”. And I wanted to add to this some very precise musical themes: “God Bless America” by Irving Berlin, “Night and Day” by Cole Porter, “Summertime” by Gershwin. In addition to the original score by Morricone, and these “mythic” melodies to conjure up an epoch, I added something from today: “Yesterday” by John Lennon and Paul McCartney. I chose these… because they were such a lucid form of nostalgia in my head and maybe in reality, because for me they were touching base.’ Irving Berlin’s ‘God Bless America’ had been written in 1918 to celebrate the end of the First World War, but it did not become a public anthem until Armistice Day in 1938, when Kate Smith’s live version was recorded. Thus, strictly speaking, associating it with celebrations at the end of Prohibition in December 1933 was a slight anachronism. But the song was another immigrant’s fairy-tale, and Leone wanted the irony of its use in this context. ‘Yesterday’, recorded by the Beatles in 1965, subsequently the most ‘covered’ song in history, was called upon to provide a bridge to the first 1968 sequence, albeit rearranged as muzak. It was to be reprised as if played at the Long Island party, during Noodles’ climactic discussion with Senator Bailey. Leone had started discussing the music for Once Upon a Time in America immediately after completing Giù la testa, and the score was more or less complete by 1975-6, seven years before a foot of film was shot, which must be a record. Ever since Leone came to Morricone with the ready-made deguello theme for Fistful of Dollars, the composer had been very sensitive about starting with a piece of music found by someone else. On this occasion, though, Carla Leone confirms that ‘“Amapola” was chosen by Sergio’. Originally a Spanish tune by Joseph M. La Calle, it had been given English lyrics by Albert Gamse and become one of the greatest hits of 1924. A 1930s recorded version had been arranged by Jimmy Dorsey. Leone may have been reminded of it in 1971 when he heard the soundtrack of Carnal Knowledge, where Jules Feiffer’s script called for ‘dance music of the forties’ in the opening sequences, and director Mike Nichols selected a version of ‘Amapola’ rearranged by Al Dubin and Harry Warren. In 1989, Morricone reflected, ‘I think Leone’s choice was on this occasion justified. The film needed historical reference-points, whether this one or other well-known pieces, all corresponding to precise dates or events.’66 (After the film was released, ‘Amapola’ re-entered the pop operatic repertory; it reached a sort of apotheosis in the final medley sung by the ‘Three Tenors’ at the Baths of Caracalla in July 1990.) ‘Amapola’ was to be heard first, in a 1924-style arrangement, on Deborah’s wind-up gramophone; later, in an over-lush string arrangement, played by the seaside restaurant orchestra during Noodles’ big night out. The tune was also to be woven into Morricone’s ‘Deborah’s Theme’—transposed from A to E major—as if the two had blended in Noodles’ memory. The ‘found music’ tended to correspond to real moments in the narrative, with its source shown on screen. As did ‘Cockeye’s Song’, played on the pipes of Pan as the children strut their stuff around Delancey Street, and superimposed by Morricone on Hebraic themes to evoke the ethnic community in which they grew up. This was a development of the ‘cross-referencing’ of Leone’s earlier films. As Morricone recalls: ‘The musical construction arose from our conscious mixture of two musics—some from the musical reality of a given epoch, some specially composed. To illustrate the 1920s and 1930s, for example, I carefully kept the orchestration of the period, so that the audience could immediately identify the historical time when the action takes place. Where the original themes were concerned, they had to evoke less palpable things—such as the passage of time, or particular emotions such as nostalgia, love or joy.’ Instead of using the score to beef up big action sequences, or to provide ironic punctuation to the image, for Once Upon a Time in America it would have a quasi-religious feel to it—as if calling Noodles back to his distant past. It had a traditionally melodic feel, in more mainstream arrangements usually in the key of E. As Leone was to put it, ‘This time the emotions were so sharply defined, so strong and so romantic, that we agreed the music ought to be less emphatic than usual… it ought to come from a long way away.’ He opted for the pipes of Pan ‘because Gheorghe Zamfir, the great Romanian concert performer, had enchanted me, and because the pipes are the most haunting of instruments—like a human voice and like a whistle.’ A piece which Leone almost turned down in its early stages, fearing a resemblance to the Once Upon a Time in the West theme, became ‘Deborah’s Theme’. Leone was to remember that ‘this love theme was, I think, originally composed for a Zeffirelli film but was never used’, and its selection continued his time-honoured tradition (going back to Fistful days) of re-evaluating Morricone music that other directors had earlier rejected—and then, when the theme proved to be a success, telling all and sundry how clever he had been to spot its potential. The theme consists of a series of short, hesitant musical phrases, with a few beats of silence between them: each time they return, the phrases arc enriched with new embellishments, until the climax when the soprano voice of Edda Dell’Orso is introduced. It is a direct musical expression of Noodles’ frustrated desire, compounded by moments from ‘Amapola’. But the human voice, scored as another musical instrument, was much less in evidence in Once Upon a Time in America than in the previous two Leone films. Morricone explains: ‘There is a reason why I used less of Edda dell’Orso’s voice in this particular score… and it was right not to use it in the childhood scenes. The voice seemed perfect for moments which lament the passing of childhood, to lead the audience to think about times past—the thirty lost years of Noodles.’ One such moment was the very last image of the film, when the main title theme was repeated, with soprano harmony, as Noodles inhales the smoke of an opium pipe, lies on his back and, finally, smiles. Such music, said Morricone, ‘comes into the film when the camera looks into the eyes of the character. The theme then singles out what he is thinking at that moment, what is going on inside.’The overture to Rossini’s Thieving Magpie, another piece of ‘found’ music, which accompanies the baby-switching sequence, was selected by Carla Leone, as were some of the jazz inserts played in Fat Moe’s speakeasy. For the ‘Prohibition Dirge’, a stately New Orleans funeral march which turns into hot jazz as the party gets into full swing, Morricone followed the script by providing an arrangement in the mid-1930s style of Louis Armstrong. The main themes were all composed by 1976, ready for refining and recording when at last the schedule was finalized: Leone intended to play the music on the set ‘with a few instruments, not necessarily the full orchestra’—to create the right atmosphere, focus concentration and ‘to help the chief camera operator find the softness necessary to make tracking shots, as if he was playing a violin’. That was the plan, anyway. Final revisions would take just one month, and recording another. But, as Morricone emphasizes, ‘Sergio and I always think through our work to the very end, without ever declaring ourselves satisfied’. And Leone would keep having second thoughts: ‘Every so often, Sergio, when the music was already written, would phone me and say, “Listen, let’s have a quick meeting—because I’m beginning to have doubts about that theme for Deborah.” Then he would listen to it, and calm down again. Because he still liked it, after all. This went on about every three months… And for the scriptwriters it seemed sometimes as if everything would become a crisis, and they would have to start doing everything all over again. With me, however, he just seemed to want his judgement confirmed every now and again.’ TONINO DELLI COLLI, AIC Director of cinematography for three major films of Leone—The Good, the Bad and the Ugly, Once Upon a Time in the West and Once Upon a Time in America. Born in Rome on 20 November 1922, he began working at Cinecittà as a teenager in 1938. He began working as a film cameraman in the mid-1940s and in 1952 was the first Italian cinematographer to make a colour film, Totò a colori. He became a master of his art at home and abroad. He created the lighting for Pasolini’s films from 1961 on, and until 1976 worked with directors Louis Malle, Roman Polanski and Jean-Jacques Annaud. He was also chief cinematographer for the last three films of Federico Fellini. He never retired and died of a heart attack in Rome on 16 August 2005. In the 1960s, Delli Colli began his working relationship with Sergio Leone, a collaboration that would bring him his greatest fame in the United States. Leone and Delli Colli reimagined the Westerns of John Ford and Howard Hawks, taking genre films to the level of art through glacial but tense pacing; innovative sound design; fresh, minimalist dialogue; and, above all, obsessive and almost exclusive use of extreme close-ups and very wide shots. The results were dubbed “spaghetti Westerns.” The Good, the Bad and the Ugly (1966) was reportedly made for $250,000 and was a box-office blockbuster. Once Upon a Time in the West (1968) had a bigger budget, and Henry Fonda was cast against type as a ruthless villain. “Sergio was a skinny kid who was working as an assistant to Bonnard,” recalls Delli Colli. “After Bonnard died, Sergio finished the shooting of The Last Days of Pompeii, and then directed The Colossus of Rhodes. Sergio came to Spain, where I was making a [Luis García] Berlanga film called El Verdugo [The Executioner, also known as Not on Your Life] with Nino Manfredi. It was 1963, and he was looking for money from our producer, the former goalie of the Real Madrid [soccer team], who in turn was being financed by a pharmaceutical company. He had the idea of making a film about the eagles of Rome, but there wasn’t a cent to be had. “Back in Rome one night, Sergio took me to see Kurosawa’s Yojimbo. He told me it was a good idea for a low-budget Western. That was true, because all the action took place in one little town, and little towns like that were still around in Spain. So I helped him find the producer, but I had no plans to make the film myself because I couldn’t work for nothing.” Later, Delli Colli heard that there were near riots at Rome’s Supercinema because crowds were trying to get in to see A Fistful of Dollars (1964). The surprise international hit kick-started Leone’s career. “Sergio was a real go-getter, a very meticulous artist who paid attention to everything he did, right down to the smallest details,” says Delli Colli. “For the images, he asked for things that were truly effective: full light for long shots because he wanted the details to be visible on screens of all sizes, and close-ups with the individual hairs of the characters’ beards visible. It was impossible in Spain—he wanted deep, long shadows, the deepest and longest we could get, and the [sun went] down late. On the set, we prepared in the morning, and then we just died waiting for the right light. I did everything I could to accommodate him within the limits of what was possible. And then there were the details! He wanted to shoot the actors’ eyes in every scene. I told him we could shoot 100 meters of eyes—looking here, looking there—and then use them whenever he wanted. But he wasn’t having any of that. And that’s how it went for the entire shoot. But his three-hour films pass quickly [when you watch them]. A three-hour film made today is a chore to sit through.” Delli Colli’s collaboration with Leone reached its apogee with Once Upon a Time in America (1984), a sweeping gangster epic that earned acclaim at Cannes but was radically cut down in the editing room by its U.S. distributor. Leone’s original cut received a few special screenings in the States and only recently became available on home video. “Once Upon a Time in America was a long film because there were a lot of interruptions [during production], thanks to Sergio’s meticulousness and his desire to make a film that would be unique in its genre,” says Delli Colli. “First, we couldn’t find the right actors because he had specific types in mind, but we kept looking. Even though he couldn’t speak a single word of English, he was able to make himself understood by using French, always with a smile on his lips. The American actors loved working with him. The interiors were shot in Rome, at the De Paolis Studios, and the exteriors were shot in a Puerto Rican neighborhood in New York. It was the sets that inspired my choices in terms of the cinematography. The story is a complex one, but when you see the film, you understand that it was worth the trouble. It displays all of Sergio’s artistry.” —Tonino Delli Colli, AIC, American Cinematographer (A Lifetime Through the Lens) SERGIO LEONE: THE WAY I SEE THINGS Western towns controlled by outlaws. Cigar-chewing heroes in looming close-ups. Operatic showdowns. Throbbing music. Movie buffs know the trademark elements of the great Italian filmmaker, Sergio Leone, by heart, but the engaging documentary Sergio Leone: The Way I See Things will surely give even the most ardent fan new insights into this unique master. The maestro behind such genre epics as A Fistful of Dollars, The Good, the Bad, and the Ugly and Once Upon a Time in the West, Leone (1929-1989) was a superb stylist who took the American Westerns he loved as a kid and transformed them into visual arias all of his own, in the process influencing such directors as Quentin Tarantino and Robert Rodriguez. Just as fascinating as his films, Leone’s larger-than-life personality is profiled here in an illuminating journey, rich in both anecdotes and gorgeous clips from his movies. By examining Leone’s superb use of image, sound and the frame, the film reveals the magic and the rough beauty of his arid vistas and outsized characters. Actors Eli Wallach and Claudia Cardinale, directors Giuliano Montaldo and Vittorio Giacci and historian Christopher Frayling, among others, offer invaluable contributions to Giulio Reale’s exhilarating Sergio Leone: The Way I See I Things, a mesmerizing portrait that makes us look at an old master with fresh eyes. —Fernando F. Croce Here are several photos taken behind-the-scenes during production of Sergio Leone’s Once Upon a Time in America. Photographed by Angelo Novi © The Ladd Company, Embassy International Pictures, Producers Sales Organization, Warner Bros. Intended for editorial use only. All material for educational and noncommercial purposes only.
5438	dbpedia	1	39	https://kids.kiddle.co/Sabrina_Ferilli	en	Sabrina Ferilli facts for kids	https://kids.kiddle.co/i…o%2C_2022_14.jpg	https://kids.kiddle.co/i…o%2C_2022_14.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/1/16/David_di_Donatello%2C_2022_14.jpg/300px-David_di_Donatello%2C_2022_14.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Sabrina Ferilli facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Sabrina_Ferilli	Sabrina Ferilli (born 28 June 1964) is an Italian theatre and film actress. She has won five Nastro d'Argento (including a special award in 2016 for civil engagement for her performance in Me, Myself and Her), a Globo d'oro, six Ciak d'oro and received four nominations for David di Donatello. In 2013, she was a protagonist of the Oscar-winning film La grande bellezza directed by Paolo Sorrentino. Early and personal life Ferilli was born in Rome on 28 June 1964. Her father was also from Rome and a spokesman for the Italian Communist Party in the region of Lazio and her mother, who grew up in Fiano Romano, was a housewife and native of Caserta, Southern Italy. She attended the Liceo Clasico Orazio ("Orazio classical high school") in Rome. After having unsuccessfully attempted to enter the Centro Sperimentale di Cinematografia in Rome, she began her career as a film actress in secondary parts, acting in Sweets from a Stranger by Franco Ferrini, and small roles in second-tier films at the end of 1980s. Ferilli was married to Italian lawyer Andrea Perone from 2003 to 2005. Since 2011, she has been married to manager Flavio Cattaneo. Career In 1990, Alessandro D'Alatri cast her in a small role for the movie Red American. In 1993 she appeared in the comedy Anche i commercialisti hanno un'anima alongside Enrico Montesano and Renato Pozzetto, Il giudice ragazzino with Giulio Scarpati and in Marco Ferreri's Diario di un vizio. The following year she had a breakthrough role in The Beautiful Life by Paolo Virzì, which won her the Silver Ribbon for Best Actress, Best Supporting Actress. During the following years he has been involved in the movie Ricky Tognazzi and continues to appear in good comedies, such as Ferie d'agosto always of Virzì and Return to Home Gori of Alessandro Benvenuti. She hosted the Sanremo Festival 1996 along with Pippo Baudo and Valeria Mazza. Two years later, he has been co-starred in the dramatic film You Laughter and the comedy Francesco Nuti. She later also worked in theatre in some productions of Garinei and Giovannini comedies, including Rugantino and Let's Try More and made appearances in some television comedies. In 2000, she modeled for a Max calendar, which has sold over 1 million copies. On 24 June 2001, to celebrate the scudetto for AS Roma, she performed a dance at Circus Maximus in front of hundreds of thousands of fans. She had a lead role in the controversial 2003 film The Water ... the Fire by Luciano Emmer which debuted at the Venice Film Festival. She later participated in several Italian Christmas comedies known as cinepanettoni: Christmas in Love, Christmas in New York, Christmas in Beverly Hills and Christmas Holiday to Cortina. She defended her work in less serious films by saying, "How do you call them? Cinepanettoni? Well, then I'm happy to be associated with it because I love panettons, turrus and pandora." In 2008, she appeared in Virzì's Your Whole Life Ahead of You, once again winning the Silver Ribbon. In 2013, she was chosen as a judge in the twelfth edition of Friends of Maria De Filippi and also appeared in the subsequent season. In the same year, she starred in Eros Puglielli' TV series We Kiss Our Hands – Palermo New York 1958 on Canale 5, and was chosen as the opening presenter of the Roma Film Festival. Her 2013 performance as one of the protagonists in The Great Beauty by Paolo Sorrentino helped the film to win the Oscar for Best Foreign Film Best Foreign Film on 2 March 2014. In December 2014, she debuted on the new Agon Channel with the talk show Contratto with Luca Zanforlin. On 11 April 2015, she appeared in the fourteenth edition of Amici di Maria De Filippi with Francesco Renga and Loredana Bertè. In 2015, she starred with Margherita Buy in Io e lei by Maria Sole Tognazzi, a lesbian retelling of Édouard Molinaro's Il vizietto. The actress said she was very happy to have participated in a movie like this. She was awarded a Golden Ciak at Best Actress for the film and was nominated for the David of Donatello for Best Actress Starring David of Donatello and Silver Ribbon for Best Actress Starring. Beginning in April 2016, she was again in the jury of the 15th edition of Amici di Maria De Filippi with singers Anna Oxa and Loredana Bertè. Filmography Films Title Year Role(s) Director Notes Sweets from a Stranger 1987 Franco Ferrini Cameo appearance The Rogues Young woman Mario Monicelli Uncredited The Sparrow's Fluttering 1988 The woman of stars Gianfranco Mingozzi Il volpone Rosalba Marignano Maurizio Ponzi Rimini Rimini - Un anno dopo Waitress Bruno Corbucci Segment: "La scelta" Night Club 1989 Erina Sergio Corbucci Red American 1991 Zaira Alessandro D'Alatri Naufraghi sotto costa Jole Marco Colli Donne sottotetto 1992 Diana Roberto Giannarelli Vietato ai minori Barbara Maurizio Ponzi Law of Courage 1994 Angela Guarnera Alessandro Di Robilant Anche i commercialisti hanno un'anima Sonia Maurizio Ponzi La bella vita Mirella Paolo Virzì Strangled Lives 1996 Miriam Ricky Tognazzi August Vacation Marisa Paolo Virzì Arance amare Alice Michel Such Return to Home Gori Sandra Salvini Alessandro Benvenuti You Laugh 1998 Nora Paolo and Vittorio Taviani Mr. Fifteen Balls Sissi Francesco Nuti I fobici 1999 The woman Giancarlo Scarchilli Segment: "Frutto proibito" Le giraffe 2000 Roberta Tiberi Claudio Bonivento Freewheeling Nurse Silvia Vincenzo Salemme L'acqua… il fuoco 2003 Stefania / Elena / Stella Luciano Emmer Christmas in Love 2004 Lisa Pinzoni Neri Parenti Really SSSupercool: Chapter Two 2006 Nunzia Carlo Vanzina Cars Sally Carrera (voice) John Lasseter, Joe Ranft Italian voice-over Natale a New York Barbara Ricacci Neri Parenti Your Whole Life Ahead of You 2008 Daniela Paolo Virzì I mostri oggi 2009 Stefania Enrico Oldoini Segment: "Il malconcio" Sabrina Segment: "La fine del mondo" Alice Segment: "Euro più euro meno" Natale a Beverly Hills Cristina Neri Parenti Cars 2 2011 Sally Carrera (voice) John Lasseter, Brad Lewis Italian voice-over Vacanze di Natale a Cortina Elena Covelli Neri Parenti The Great Beauty 2013 Ramona Paolo Sorrentino Me, Myself and Her 2015 Marina Baldi Maria Sole Tognazzi Forever Young 2016 Angela Fausto Brizzi Ballerina Régine Le Haut (voice) Éric Summer, Éric Warin Italian voice-over Omicidio all'italiana 2017 Donatella Spruzzone Maccio Capatonda Cars 3 Sally Carrera (voice) Brian Free Italian voice-over The Place Angela Paolo Genovese Ricchi di fantasia 2018 Sabrina Francesco Miccichè Onward 2020 Laurel Lightfoot (voice) Dan Scanlon Italian voice-over Il sesso degli angeli 2022 Lena Leonardo Pieraccioni Television Title Year Role(s) Network Notes I ragazzi della 3ª C 1987 Girl from Sardinia Italia 1 Episode: "A Carnevale ogni scherzo vale" The Ogre 1988 Anna Television movie Valentina 1989 Edna Episode: "Rembrant e le streghe" Senza scampo 1990 Lucia Rai 1 Television movie Una storia italiana 1993 Matilde Miniseries Un commissario a Roma Patrizia Spinosi Episode: "Specchio d'acqua" Sanremo Music Festival 1996 1996 Herself / co-host Annual music festival Mai dire Gol 1996–1997 Herself / co-host Italia 1 Sports/comedy show (season 7) Il padre di mia figlia 1997 Lisa Canale 5 Television movie Leo e Beo 1998 Laura Television movie Commesse 1999–2002 Marta De Santis Rai 1 12 episodes Le ali della vita 2000–2001 Rosanna Ranzi Canale 5 4 episodes Almost America 2001 Antonia Rai 1 Television movie Cuore di donna 2002 Flavia Television movie Rivoglio i miei figli 2004 Sonia Canale 5 Miniseries Al di là delle frontiere Angela Ghiglino Rai 1 Television movie Lives of the Saints Cristina Innocente Canale 5 Miniseries Dalida 2005 Iolanda "Dalida" Gigliotti Television movie Angela – Matilde – Lucia 2006 Angela / Matilde / Lucia Trilogy television movies Due imbroglioni e… mezzo! 2007 Gina Television movie Anna e i cinque 2008–2011 Anna Modigliani 12 episodes Due imbroglioni e… mezzo: The Series! 2010 Gina 3 episodes Caldo Criminale Anna Tardelli Television movie Né con te né senza di te 2012 Francesca "Capitana" Sipicciani Rai 1 Miniseries Baciamo le mani – Palermo New York 1958 2013 Gabriella Vitaliano Canale 5 Miniseries Amici di Maria De Filippi 2013–2016, 2019, 2022 Herself / Judge Talent show (seasons 12–15, 18, 21) Contratto 2014–2015 Herself / Host Agon Channel Talk show House Party 2016 Herself / Guest host Canale 5 Variety show (episode 1) Rimbochiamoci le maniche Angela Tusco 8 episodes Storie del genere 2018 Herself / Host Rai 3 Talk show L'amore strappato 2019 Rosa Macaluso Canale 5 Miniseries Tú sí que vales 2019–present Herself / Popular judge Talent show (seasons 6–present) Amici Speciali 2020 Herself / Judge Spin-off of Amici di Maria De Filippi Svegliati amore mio 2021 Nanà Santoro Miniseries Dinner Club Herself Prime Video Docuseries Sanremo Music Festival 2022 2022 Herself / Co-host Rai 1 Annual music festival Stage Title Year Role(s) Theatre Alleluja brava gente 1994–1995 Belcore Teatro Sistina Un paio d'ali 1997 Sgargamella Rugantino 1998–2001 Rosetta Awards and nominations Award Year Category Nominated work Result Ciak d'Oro 1994 Best Supporting Actress Law of Courage Nominated 1995 Best Actress La bella vita Won 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2014 The Great Beauty Won 2016 Best Actress Me, Myself and Her Nominated Comedy Actress of the Year Won David di Donatello 1995 Best Actress La bella vita Nominated 2009 Best Supporting Actress Your Whole Life Ahead of You Nominated 2014 Best Actress The Great Beauty Nominated 2016 Me, Myself and Her Nominated 2022 Prize "Donatello Speciale" Herself Won Flaiano Prizes 1997 Best Performance in a TV Movie or Miniseries Il padre di mia figlia Won 2001 Almost America Won 2005 Dalida Won Globo d'Oro 2008 Best Actress Your Whole Life Ahead of You Won Nastro d'Argento 1993 Best Supporting Actress Donne sottotetto Nominated 1995 Best Actress La bella vita Won 1997 August Vacation Nominated 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2013 The Great Beauty Won 2014 Prize "Nastro Speciale" Won 2016 Best Actress Me, Myself and Her Nominated Best Movie with a Social Theme Won 2017 Best Supporting Actress Omicidio all'italiana Nominated 2018 The Place Nominated Sacher Prize 1995 Best Actress August Vacation Won Telegrolla Prize 2001 Best TV Actress Almost America Won 2004 Al di là delle frontiere Won Venice Film Festival 1993 Prize "Panorama" La bella vita Won 2013 Prize "Kinéo" The Great Beauty Won Vittorio De Sica Prize 2004 Best Actress L'acqua… e il fuoco Nominated See also
5438	dbpedia	0	22	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	en	Historical Dictionary of Italian Cinema [2 ed.] 9781538119471, 9781538119488	https://dokumen.pub/img/…781538119488.jpg	https://dokumen.pub/img/…781538119488.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/historical-dictionary-of-middle-eastern-cinema-0810860902-9780810860902.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-african-american-cinema-historical-dictionaries-of-literature-and-the-arts-9781442247017-9781442247024-1442247010.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-mauritius-2-ed-9780810824805-0810824809.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-the-shakers-2nbsped-9781538102312-9781538102305.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-israel-2nbsped-0810855410-9780810855410-9780810864030.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-norway-2nbsped-9781538123119-1538123118.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-estonia-2nbsped-9780810875135-9780810872448.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-chinese-intelligence-2nbsped-153813019x-9781538130193.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-contemporary-germany-2nbsped-9781442269576-9781442269569.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-burkina-faso-2nbsped-0810834057.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	Table of contents : Contents Editor’s Foreword Preface to the Second Edition Acknowledgments Reader’s Note Acronyms and Abbreviations Chronology Introduction THE DICTIONARY A B C D E F G H I L M N O P Q R S T U V W Y Z Appendix Bibliography About the Author Citation preview
5438	dbpedia	3	2	https://en.wikipedia.org/wiki/Leonardo_Benvenuti	en	Leonardo Benvenuti	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Applications-multimedia.svg/30px-Applications-multimedia.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2008-11-01T18:36:56+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Leonardo_Benvenuti	Italian screenwriter "Leo Benvenuti" redirects here. For the American screenwriter, see Leo Benvenuti and Steve Rudnick. Leonardo Benvenuti (8 September 1923 – 3 November 2000) also called Leo, was an Italian screenwriter. He wrote for more than 130 films between 1948 and 2000. He was born in Florence, Italy and died in Rome, Italy.[1] Selected filmography [edit] References [edit]
5438	dbpedia	1	81	https://www.filmtheatreacademy.com/special-teachers/	en	Special Teachers	https://www.filmtheatrea…2/Tyler-Mane.jpg	https://www.filmtheatrea…2/Tyler-Mane.jpg	[ "https://www.filmtheatreacademy.com/wp-content/plugins/revslider/sr6/assets/assets/dummy.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/cropped-FTA_275x20_trasparente.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/12/Tyler-Mane-600-x-600.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/Maurizio-Mattioli.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/StanleyIsaacs-1.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/Winnie-new-e1673297992447.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/12/Renae-Geerlings-2.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/12/Massimo-Boldi-png-600-x-600.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/12/Pietro-Tenoglio-600-x-600.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2014/09/Ale-Sesti.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/12/Antonio-Monaco-600-x-600.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2022/10/Claudiu-Raymond-1.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/valerio-caprara.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/Andrea-Roncato.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/Untitled.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/Eliza-Roberts.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/Rico-Simonini.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/01/robert-miano.jpg", "https://www.filmtheatreacademy.com/wp-content/uploads/2023/03/Progetto-senza-titolo.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2024/07/American-Flag-960-x-540.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/cropped-FTA_275x20_trasparente.png", "https://www.filmtheatreacademy.com/wp-content/uploads/2020/04/cropped-FTA_275x20_trasparente.png" ]	[]	[]	[ "" ]	null	[]	2023-03-28T15:59:00+00:00	The international guests are: Tyler Mane (American actor of the films Halloween I and II ; X Men) - Bernard Hiller (acting coach of the Hollywood stars) - Renae Geerlings (American actress of the film Halloween II and screenwriter of Tomb Raider) - Clayton Norcross (actor of Beautiful) - Louisa Burns Bisogno (Award Winning Screenwriter) - Winnie Rickert Hiller (acting coach of L Cool J and musical writer) - Stanley Isaacs (Producer, Director, Writer of Columbia Pictures, Walt Disney).The international guests are: Tyler Mane (American actor of the films Halloween I and II ; X Men) - Bernard Hiller (acting coach of the Hollywood stars) - Renae Geerlings (American actress of the film Halloween II and screenwriter of Tomb Raider) - Clayton Norcross (actor of Beautiful) - Louisa Burns Bisogno (Award Winning Screenwriter) - Winnie Rickert Hiller (acting coach of L Cool J and musical writer) - Stanley Isaacs (Producer, Director, Writer of Columbia Pictures, Walt Disney).For the national sphere, the Academy boasts Master Class and courses with Giancarlo Giannini, Michele Placido, Edoardo Leo, Maurizio Mattioli, Fioretta Mari, Luca Miniero, Isa Danieli, Fabio De Caro, Stefano Russo, Massimiliano Gallo, Claudio Insegno, Francesco Pannofino, Andrea Roncato, Maurizio Casagrande, Sergio Solli, Maria Basile Scarpetta and many others.	en	https://www.filmtheatrea…-512-1-32x32.png	Film Theatre Academy	https://www.filmtheatreacademy.com/special-teachers/	Maurizio Mattioli is the favorite actor of Sergio Martino, he works next to Monica Vitti and Ugo Tognazzi in Scusa se è poco (1982) and instead begins to do the comic shoulder for actors such as Christian De Sica, Massimo Boldi, but especially the already nominated Pippo Franco, Leo Gullotta and Oreste Lionello that he will find on television when he joins the Bagaglino, directed by Pingitore in his parodies of Bill Clinton. But those times are still very far away, he will first have to pass More beautiful than this (1982) with Vittorio Caprioli, but also many films by Michele Massimo Tarantini, Neri Parenti and Carlo Vanzina. His film debut was with Mariano Laurenti’s film Patroclooo!… and the soldier Camillone, big and cool 1973, who sees him wearing the shoes of a soldier together with Pippo Franco, Piero Vida, Pupo De Luca, Luciana Turina, Adriana Facchetti and Giorgio Bracardi. From that moment on, it will be a constant presence of policemen and comedies with a military background. In 1978 he worked alongside Alida Valli in Porco Mondo and in his career he could also boast of having been directed by Nanni Moretti in a tiny role (a man in the crew) in Sogni d’oro (1981). In 1991 he was directed by Mario Monicelli in Rossini! Rossini! with Philippe Noiret, Claudio Gora and Vittorio Gassman, then it will launch in series and miniseries such as: Gas Station (1989), Iron Class 2 (1991) and its spin off Those of the special (1992). It is the meeting with Stefano Reali that makes him change his career, Reali will impose him in fact in numerous fiction, genre that will never disdain to participate, from Una storia italiana (1992) onwards. He works with Stefania Sandrelli in Nottataccia (1992), is again on television with the tv film For love or friendship (1993) and then experiments with the theater with the role of Annibale in “Un paio d’ali” (1997), but especially with that of Mastro Titta (role inherited from Aldo Fabrizi) in a legendary “Rugantino” (1998 – 2004) that held the bench for three editions, within which will support: Valerio Mastandrea, Sabrina Ferilli, Simona Marchini. He also voiced some animated characters for the films Il principe d’Egitto, Z la formica and La gang del bosco, without forgetting the dog from the TV series Tequila & Bonetti (2000). But his career, at least in this second part, is mainly projected towards the small screen, a choice that will allow him to become a face much loved by television that will appreciate both the cadence from Romanaccio DOC and the good-natured air that circulates around him. He took part in Ladri si nasce (1997) and his sequel Ladri si diventa (1998), passing through the TV series The mysteries of Cascina Vianello and Ultimo (1998), arriving at Le ragazze di Piazza di Spagna (1998), Cuori in campo (1998), Anni ’50 (1998) and Anni 60 (1999), Tre stelle (1999), La casa delle beffe (2000), Villa Ada (2000, still with Sandrelli), Cuccioli (2002) and La palestra (2003). Nominated for the Nastro d’Argento for Best Supporting Actor for Il pranzo della domenica (2003) with Rocco Papaleo, he starred alongside Valerio Foglia Manzillo and Claudio Bigagli in Verso Nord (2004), directed by his friend Reali, in Il lupo by Stefano Calvagna and in Questa notte è ancora nostra (2008), but will still prefer the small screen with: O la va o la spacca (2004), A cyclone in famiglia (2005), The Colors of Life (2005), I Cesaroni (2006), Domani è un altra truffa (2006), Piper (2007) and Di che peccato sei? (2007). In recent years he has returned to the big screen with other funny comedies by Carlo Vanzina and Paolo Genovese. In 2011, in addition to his participation in the drama film Almeno tu nell’universo, he was also cast in the comedy directed by Ezio Greggio Box Office 3D. The following year it is again directed by Vanzina in the comedy Good Day, set in different Italian cities in order to tell the various stereotypes that characterize our country, as well as by Fragasso in Operazione vacanze. We also find it in Massimiliano Bruno’s Viva l’Italia and in E io non pago – Un film d’evasione by Alessandro Capone, two comedies representing the current state of moral dignity of our country. He will return to work in numerous comedies with Vanzina (Mai Stati Uniti, Sapore di te) and Federico Moccia (Universitari – Molto più più che amici), then collaborating on the comedy by Paolo Genovese from the stellar cast Tutto colpa di Freud. In July 2014 he received the special recognition Leggio d’oro, for having distinguished himself in film and television dubbing in Italy. In this year that consecrates him as one of the cult characters of the small and large Italian screen, he will also be in the cinemas with When you die… You will die! and Ambo. In 2015, on the other hand, there are three other lucky roles as an actor, in the films Le leggi del desiderio by Silvio Muccino, and in Fratelli di sangue by Pietro Tamaro, two films of different genres, where Mattioli juggles with his usual naturalness. Two comedies, in 2016, will definitely make him feel closer to his natural artistic habitat: Crime does not retire and Everything can happen in the village of miracles. In 2017, the two films MMA Love Never Dies by Riccardo Ferrero and Italian Business by Mario Chiavalin. With the Film Theatre Academy he starred in the medium-length film “Waiting for the Sun”, directed by Antonio Monaco. Massimo Boldi is an Italian actor, comedian, film producer, musician and television presenter, also known by the nickname of Cipollino, named after Max Cipollino, one of his best-known comic characters. For more than twenty years he has partnered with the Roman actor Christian De Sica, with whom he formed one of the most successful associations of Italian cinema (except in the period from 2005 to 2018 for production causes). He is also the founder of Mari Film. In his television career he has won 11 Telegatti. After some participation and compression roles in the late seventies and early eighties (Movie rush – La febbre del cinema nel 1976, Il… Belpaese di Luciano Salce nel 1977, Sono fotogenico di Dino Risi nel 1980, Eccezzziunale… veramente di Carlo Vanzina nel 1982, Il ragazzo di campagna di Castellano e Pipolo nel 1984), has known success as the new comedian of Italian cinema from the middle of the same decade with the diptychs of School of thieves (1986, 1987) and Yuppies (1986, 1986)A cult film of which De Sica and Christian continued with a series of Christmas comedies – the so-called cine-panettoni – produced by Luigi and Aurelio De Laurentiis for Filmauro. In 1992 Boldi ran for election with the Italian Socialist Party[6] in the Como-Sondrio-Varese constituency: on that occasion he won 1,930 votes and was not elected (finished sixth on the Garofano list, which elected three deputies, more than 14,000 votes from the last of the winning candidates). [7] This remains a short parenthesis, set aside, which immediately returned to acting. He has repeatedly stated that he has voted for Silvio Berlusconi since the 1994 general election and that he is one of his best friends. Massimo Boldi’s only experience in a dramatic role is his performance in Pupi Avati’s 1996 film Festival. In it he played a comedian in decline who finds himself unpredictably in the running for an award at the Venice Film Festival. The reference is to the true story lived by the great Walter Chiari and Carlo Delle Piane during the award ceremony of the “Leone” at the Venice Film Festival in 1986. Also at Rai will do Acrobats you die, The tapestry and Fantastic 8, the latter conducted by Adriano Celentano. On the networks Mediaset had already participated in successful programs such as Drive In, where he played in the first edition of his character “Cipollino” and in the others the parody of Star Trek, became “Bold Trek”, then Risatissima, Grand Hotel, 4 editions of Sabato al circo and La strana coppia, as well as countless participations in television programs both Rai and Mediaset. In particular in A roundabout on the sea, again in partnership with Teo Teocoli will give rise to a parody of the tales of Diabolik: Boldi was in the gag the thief, only apparently silly, “Diaboldik”, while Teocoli played a certain “Inspector Rinko”Clear pun on Inspector Ginko, the thief’s nemesis in black tights. Boldi also hosted Canale 5 Striscia la notizia (1996-1997), three editions of Scherzi a parte (1994 /2002/ 2005) and La sai l’ultima? (2008). He has also been several times a guest of Paolo Bonolis in the program Ciao Darwin , as head of some categories in different editions. After the separation from De Sica, in 2006 Boldi shot Olé by Carlo Vanzina. In 2007 he founded his own production company, Mari Film s.r.l. and shot Matrimonio alle Bahamas by Claudio Risi, with the return in the cast of Fichi d’India, Biagio Izzo and Enzo Salvi, released in theaters on 16 November, earning in the first weekend more than 3,200,000 euros, then in 2008 The girlfriend of Enrico Oldoini’s father, with Simona Ventura who placed first at the box office in 3 days with 2,850,000 euros. In 2010 it was released in the rooms A Natale mi sposo di Paolo Costella, with Vincenzo Salemme and Nancy Brilli, who finished first at the box office in the first week with 2,680,000 euros, and in 2011 Matrimonio a Parigi, again by Claudio Risi, coming out for the first time in October and getting first place at the box office in the first week. After three years of absence, he returns to the cinema with Ma tu di che segno 6? (2014) by Neri Parenti, with Gigi Proietti, Vincenzo Salemme and Ricky Memphis, Matrimonio al Sud (2015), again by Paolo Costella, La coppia dei campioni by Giulio Base, alongside Max Tortora, and Un Natale al Sud by Federico Marsicano (2016), Natale da chef (2017) by Neri Parenti. Per Canale 5 starred in his first fiction, giving birth to the character of “great dad” Lorenzo Fumagalli in the television series Un ciclone in famiglia, directed by Carlo Vanzina and with Maurizio Mattioli and Barbara De Rossi among others. The first episodes of Un ciclone in famiglia were filmed in 2004, just 24 days after the death of Boldi’s wife; they aired for the first time in January 2005, obtaining a great success with critics and audiences among young people. This led to four more series in the following years. In 2009 Boldi returned to work with Mattioli and De Rossi in Un coccodrillo per amico and in 2010 with the only De Rossi in Fratelli Benvenuti, both fiction made again for Canale 5, which on 21 December 2012 will also broadcast his first 4-legged Christmas Panettone. Cinema Due cuori, una cappella, directed by Maurizio Lucidi (1975) What sign are you? , directed by Sergio Corbucci (1975) Sturmtruppen, directed by Salvatore Samperi (1976) Movie rush – La febbre del cinema, directed by Ottavio Fabbri (1976) Honeymoon in three, directed by Carlo Vanzina (1976) Come ti rapisco il pupo, directed by Lucio De Caro (1977) Tre tigri contro tre tigri, directed by Sergio Corbucci and Steno (1977) The… Belpaese, directed by Luciano Salce (1977) Io tigro, tu tigri, egli tigra, first episode, directed by Renato Pozzetto (1978) Saxophone, directed by Renato Pozzetto (1978) Male, female, flower, fruit, directed by Ruggero Miti (1979) I am photogenic, directed by Dino Risi (1980) Lend me your wife, directed by Giuliano Carnimeo (1980) Nobody is perfect, directed by Pasquale Festa Campanile (1981) The craziest army in the world, directed by Marino Girolami (1981) Fracchia la belva umana, directed by Neri Parenti (1981) Eccezzunale… veramente, directed by Carlo Vanzina (1982) Sturmtruppen 2 (all at the front), directed by Salvatore Samperi (1982) Our thanks to the Puglia region for providing us with the Milanese, directed by Mariano Laurenti (1982) Il ragazzo di campagna, directed by Castellano e Pipolo (1984) The Two Carabinieri, directed by Carlo Verdone (1984) The Firemen, directed by Neri Parenti (1985) Il tenente dei carabinieri, directed by Maurizio Ponzi (1986) Yuppies – I giovani di successo, directed by Carlo Vanzina (1986) Scuola di ladri, directed by Neri Parenti (1986) Grandi magazzini, directed by Castellano and Pipolo (1986) Yuppies 2, directed by Enrico Oldoini (1986)[11] Missione eroica – I pompieri 2, directed by Giorgio Capitani (1987) Scuola di ladri – Part Two, directed by Neri Parenti (1987) Montecarlo Gran Casinò, directed by Carlo Vanzina (1987) Il volatore di Aquiloni, video, directed by Renato Pozzetto (1987) Mia moglie è una bestia, directed by Castellano e Pipolo (1988) Fratelli d’Italia, directed by Neri Parenti (1989) Natale ’90, directed by Enrico Oldoini (1990) Natale ’91, directed by Enrico Oldoini (1991) Anni 90, directed by Enrico Oldoini (1992) Sognando la California (1992) 90’s – Part II, directed by Enrico Oldoini (1993) S.P.Q.R. – 2000 e ½ anni fa, directed by Carlo Vanzina (1994) Natale ’95, directed by Neri Parenti (1995) Festival, directed by Pupi Avati (1996) Walking through time, directed by Carlo Vanzina (1996) A spasso nel tempo – L’avventura continua, directed by Carlo Vanzina (1997) Puppy, directed by Neri Parenti (1998) Paparazzi, directed by Neri Parenti (1998) Fans, directed by Neri Parenti (1999) Natale 2000, directed by Carlo Vanzina (1999) Body Guards – Guardie del corpo, directed by Neri Parenti (2000) Merry Christmas, directed by Neri Parenti (2001) Christmas on the Nile, directed by Neri Parenti (2002)[12] Christmas in India, directed by Neri Parenti (2003) Christmas in Love (2004) Christmas in Miami, directed by Neri Parenti (2005) Olé, directed by Carlo Vanzina (2006) Wedding in the Bahamas, directed by Claudio Risi (2007) La fidanzata di papà, directed by Enrico Oldoini (2008) At Christmas I’m getting married, directed by Paolo Costella (2010) Wedding in Paris, directed by Claudio Risi (2011) Ma tu di che segno 6?, directed by Neri Parenti (2014) Wedding in the South, directed by Paolo Costella (2015) The pair of champions, directed by Giulio Base (2016) A Christmas in the South, directed by Federico Marsicano (2016) Christmas as a chef, directed by Neri Parenti (2017) Amici come prima, directed by Christian De Sica (2018) On holiday on Mars, directed by Neri Parenti (2020) Tic toc, directed by Davide Scovazzo (2023) Enzo Jannacci – I come too, directed by Giorgio Verdelli – docufilm (2023) – himself Television The Devil’s Games – TV miniseries, 1 episode (1981) Il vigile urbano, directed by Castellano e Pipolo – TV series, episode 1×09 (1989) Café Room – TV sitcom, episode 2×02 (2005) – guest star A Cyclone in the Family – TV series, 22 episodes (2005-2008) A crocodile for friend, directed by Francesca Marra – film TV (2009) Non smettere di sognare, directed by Roberto Burchielli – film TV (2009) Brothers Welcome – TV series (2010) Natale a 4 zampe, regia di Paolo Costella – film TV (2012) 1992 – TV series, episode 1×07 (2015) – guest star Untraditional – TV series (2016) – guest star Television programs Canzonissima 1974 (National Programme, 1974) All inclusive (Network 2, 1979) Acrobats Die (Network 2, 1980) All Gag (Network 2, 1980) Crazy Bus (Network 2, 1981) Hello Goggi (Channel 5, 1981) I didn’t know, but I know (Antennatre, 1982) Drive In (Italy 1, 1983-1988) Hilarious (Channel 5, 1985) Grand Hotel (Channel 5, 1985-1986) Fantastic (Rai 1, 1987-1988) A roundabout on the sea (Channel 5, 1989-1990) Saturday at the circus (Channel 5, 1989-1991) Calciomania (Italy 1, 1990) Taste of the sea (Canale 5, 1991) The Strange Couple (Italy 1, 1992) The Great Network Circus 4 (Network 4, 1992) Seratissima (Channel 5, 1993) The Last Song (1993) The Quizzone (Channel 5, 1995) Very nice (Rete 4, 1996) Streak the News (Channel 5, 1997) Tai-Tanic (Rai 2, 1998) Zelig (Italy 1, 1999) Stupid Hotel (Rai 2, 2003)[13] All Around (Channel 5, 2002, 2005) Do you know the last one? (Channel 5, 2008) Dancing with the Stars (Rai 1, 2013) – contestant Top Dieci (Rai 1, 2021) – competitor Claudiu Raymond is an international Master Class organizer in Hollywood, Los Angeles. His parents emigrated to Germany where he followed them two years later. At the age of 14 he learned to play guitar and learned to play bass and harmonica. Singer, dancer and talented artist, he played and sang in various bands in Germany, mainly Rock’n’Roll and Rockabilly. Fascinated by martial arts as a child, Claudiu began training in Taekwon-Do at the age of ten, Ninjitsu at the age of 14, who considers his main skill and was also trained in Wingchun and Muay Thai. That makes him an all-around martial artist. He got booked for his first modeling concert at the age of 15 as a track model in Germany and got his first acting job that same year when he was cast as a T-Bird in the musical “Fat” in Stuttgart, Germany. His first visit to the United States was at the age of 19 as a model. Two years later he moved to Huntington Beach, California, where he lived for a year and a half and studied acting and directing at Golden West College. After numerous engagements as a stage actor, musicals, short films and feature films in Los Angeles and also in Stuttgart, Germany, he wrote, produced, directed and starred in his first short film, “Martial Judgment.” This film was awarded at the Martial Arts Short Film Festival in Berlin in 2006. Growing up in three languages and in different cultures, he speaks seven languages fluently, these are: English, German, Romanian, Spanish, Italian, Hungarian and Serbo-Croatian. He also has a degree of expertise in French, Russian and Portuguese. Claudiu Raymond began focusing on the production of his films in 2006. Before founding SnipeShot Productions & Casting in the same year, he gained extensive experience as a co-producer at the German production company Los Banditos Films.There he helped produce feature films, commercials and music videos and was also active in many areas of film production behind the camera, while pursuing his acting career. SnipeShot also served as a casting agency specializing in specific types (mugs of gangsters, glamorous models, etc.), exotic vehicles and classic cars for movies, commercials, music videos and more. In 2011, Claudiu changed the name of its production company to Rockoco Films and in 2013 moved its headquarters to Beverly Hills, California. He now produces thrillers, comedies, science fiction and action films. The multifaceted artist and entrepreneur, Claudiu Raymond, has recently starred in the pilot episode for the TV series “Dead End – At The End We Die”. He was offered several roles for the next period and consistently produced independent feature films. In 2019, Claudiu became an executive partner of production and entertainment company L.I.F.E. Productions, Inc., a high-tech entertainment, marketing and advertising company based in Los Angeles. We are a leader in the production of feature films, TV films, dramatic television series, comedy and reality, music videos, fact and lifestyle programming, digital marketing and advertising, as well as AIA (Artificial Intelligence Artists) and digital preservation. He is a very popular and very commercial actor who passed, together with his friend and colleague Gigi Sammarchi, through the door of comedy, leaving an indelible mark in the eighties. The artistic association with Gigi Sammarchi First of all, it was the meeting with Gigi Sammarchi, where he imposed himself in the nice role of his mother, adorned with a fuxia robe and with knitting needles always in hand, where he told the public about his misadventures with her husband and son, played by Sammarchi. After years of performances in clubs as cabaret performers and pianobar singers – they were part of the musical group I ragazzi della nebbia -, in 1977 debuted at Rai with the show related to the Lotteria Italia “Io e la befana”, together with Raimondo Vianello and Sandra Mondaini. The film debut It all starts in the eighties with Qua la mano (1980), a film by Pasquale Festa Campanile that sees Roncato and Sammarchi working alongside Lilli Carati, Mario Carotenuto, Adriano Celentano, Philippe Leroy, Renzo Montagnani, Enrico Montesano and Adriana Russo, while the following year they are in the cast of the TV series All Inclusive. Success in the comedy Very often companions of sets of Christian De Sica, Massimo Boldi, Serena Grandi, Moana Pozzi – with which he will also have a long relationship – and Gegia in comedies with roses where the two, usually, interpret the Italian classics in search of easy towing, Starring in the films of Sergio Martino and Carlo Vanzina, in 1984 they are the comic shoulders of Loretta Goggi in “Hello Goggi”, obtaining a great success in the show “Premiatissima” with Johnny Dorelli and Ornella Muti. In 1986 they enter the program “Grand Hotel” next to Ciccio Ingrassia and Franco Franchi and the following year they participate in “Festival” conducted by Pippo Baudo and Lorella Cuccarini and next to another two comedian Zuzzurro and Gaspare, real names of Andrea Brambilla and Nino Formicola. But they will also be hosts of TV programs such as “Saturday at the circus”, “The good things of life” and “20 years”. Andrea Roncato dresses as a priest The yellow TV show Don Tonino (1988) will have a great success, where Roncato will have the opportunity to play for the first time in his career a dramatic role, as a priest who solves crimes. However, the excellent interpretative test will not push him to leave the comedy, indeed it will strengthen even more his presence in the cinema in the first cinepanettoni of Neri Parenti and Enrico Oldoini, including a Christmas Holiday ’91 (1991) with Alberto Sordi and Claudio Gora. The imposition in fiction In the following years, it will be mostly on the small screen with miniseries such as The Voice of the Heart (1995) and fiction such as Mom, I got depressed dad (1996). Married in 1997 with the showgirl Stefania Orlando, divorced from this after only two years, throwing himself at work that will continue to prefer the cathodic tube: the TV movie The Story of Gigi 2 (1997), the TV show The mysteries of Cascina Vianello – where he will wear for the first time a police uniform -, Ladri si diventa (1998), Carabinieri (2002-2008) in the role of Costante Romanò and La palestra (2003) and Crimini – Rapidamente (2006), emerging as a secondary actor. Remember me The flagship of his career remains, the part of Luigi in the film by Gabriele Muccino Remember me (2003) with Fabrizio Bentivoglio, Laura Morante, Nicoletta Romanoff, Monica Bellucci. And after shooting The coach in the ball 2, next to Lino Banfi, in 2011 he is in the cast of two comedies: At least you in the universe and The big heart of the girls, directed by Pupi Avati. But few know that Andrea Roncato has the artistic direction of a local: the NAOMI in Marina di Montemarciano. Robert Miano was born in New York City and raised in the South East Bronx around when Joe DiMaggio and Yogi Berra played for the New York Yankees. In school, Robert joined the Glee Club and realized that he had a gift for singing. At the age of 15, he started his showbiz career when a talent agent heard him singing with a Du-op Group on a Bronx street corner. This lead to a recording of “Kingdom Of Love” by the Preludes on the Cub Label, a new subsidiary of MGM Records. Today “Kingdom Of Love” is a collector’s item and is still being played on the “Oldies but Goodies” Radio Station in New York. Through the years, Robert continued to make records and ultimately became a Columbia Recording Artist. Robert loved singing for people by making personal appearances on TV, in nightclubs, hotels and concerts. On an open casting call, Robert auditioned for the lead rock singer in the play “Satyricon”. He landed the role. The musical was presented at the Stratford Shakespearean festival in Ontario Canada and was a huge success. When Robert returned home to New York, he had a calling to travel around the world. With $200 and a round trip ticket, he took his guitar and duffel bag and flew off to Europe. He spent the next 2 1/2 years traveling around the world as a troupe adore. He earned his living by singing and playing his guitar on the streets, in restaurants and bars, wherever he found an audience. After Europe, he traveled to the Middle East, Africa, South America and then back home to New York where Robert decided to pursue another life-long dream of acting. After studying with Lee Strasberg and Warren Robertson, Robert landed a lead role in the Broadway show “Fame”, a play about the life of Marilyn Monroe. After 5 weeks of rehearsal, the play opened at the “Golden Theater” and sadly closed the following day. Robert started his film career in New York, when director Michael Winner cast him as one of the muggers in the original Death Wish (1974) with Charles Bronson. Shortly after that, Howard Koch met Robert at the Plaza Hotel singing in the Green Tulip room. He offered Robert a role in the movie Badge 373 (1973) with Robert Duvall. After that, Robert had another calling and decided to move to Los Angeles, where he has lived for the past 30 years. In that period of time, Robert has appeared in over 100 feature films in starring or co-starring roles with actors like Al Pacino and Johnny Depp in Donnie Brasco (1997) where Robert played “Sonny Red”. He co-starred with Jeremy Irons in Dungeons & Dragons (2000), a cameo with Kim Basinger in Jumpshot (2004) directed by Mark Rydell, with Morgan Freeman in Edison (2005), with Christopher Walken and Benicio Del Toro in The Funeral (1996) directed by Abel Ferrara, just to name a few. Robert has also guest-starred on numerous TV shows like Frasier (1993), Caroline in the City (1995), The Shield (2002), Star Trek: Deep Space Nine (1993), as a regular on General Hospital (1963), a recurring role on The Young and the Restless (1973), and many more. When Robert is not working in front of the camera on a film or TV show, he dedicates his time coaching actors. Sharing his expertise in what he has learned over the years. He currently studies at the Actors Studio where he is a lifetime member. There is no finish line. It’s about the journey and not the destination. One can always improve, says Robert. He teaches at the Film Theatre Academy.
5438	dbpedia	0	34	https://duomo.firenze.it/en/opera-magazine/post/8790/giotto-s-bell-tower-entry-by-reservation-from-next-may-3rd	en	Giotto's bell tower, entry by reservation from next May 3rd	https://duomo.firenze.it/getFile.php?id=2737	https://duomo.firenze.it/getFile.php?id=2737	[ "https://duomo.firenze.it/en/opera-magazine/post/8790/static/metacms/templates/opa/images/logo.svg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=79070&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=2715&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=2737&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=79177&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=2714&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=1892&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/getImage.php?id=2713&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/8790/application/mediaArchive/Image/c209efea406700edc55365c941c13e63_FABIO_MUZZI_©_2022_ALTA_109.JPG", "https://duomo.firenze.it/en/opera-magazine/post/8790/static/metacms/templates/opa/images/logo-footer.svg" ]	[]	[]	[ "" ]	null	[ "Antonella Chiari" ]	2023-04-21T00:00:00	Giotto's bell tower, entry by reservation from next May 3rd	en	https://duomo.firenze.it…png?v=3eBXPz8jdk		https://duomo.firenze.it/en/opera-magazine/post/8790/giotto-s-bell-tower-entry-by-reservation-from-next-may-3rd	From 3 May 2023 to visit Giotto's bell tower in Florence (owners of the "Giotto pass" ticket) it will be necessary to book an entry time. The Opera di Santa Maria del Fiore has decided to adopt this system, already used with excellent results for Brunelleschi's Dome, to try to facilitate visits and gradually eliminate the long waiting lines that form to access the monument. In addition, the goal is to reduce the pressure on the monument, promoting better conservation of the same. The first bookable entrance to visit the Bell Tower will be at 8.15 and the last at 18.45, a total of 15 daily entrances for a maximum of 120 people per slot. Another important novelty is the opening, from May 1st, of a left-luggage office in Piazza Duomo 38/r (next to the entrance to the Museum), where visitors to the Dome will have to leave bulky objects free of charge such as rucksacks, parcels, containers, large size, etc. In fact, 60% of visitors who access the Dome show up with bulky luggage, especially backpacks, which slow down the checks and do not allow an easy visit to the monument's visitors, having to make an uphill journey of 463 steep steps and go down the same number . "It is a free service that the Opera offers to holders of the Brunelleschi pass ticket and it is the intention of our institution to gradually extend it to all visitors to our monuments", explains the general manager, Lorenzo Luchetti. The luggage storage regulations, complete with all the instructions to follow, can be consulted in the place itself, as well as on the Opera website (also downloadable in PDF format) and at the ticket offices with a QR Code. To support these changes, staff will be available at the entrances to the Bell Tower, the Crypt of Santa Reparata, the Baptistery, the Museum and the Cathedral square, who will have the task of facilitating entry by providing information in several languages. The monuments of the Duomo of Florence, apart from the entrance to the Cathedral which is free, can be visited by purchasing three types of tickets: the "Brunelleschi pass" which includes a visit to the Dome, the Bell Tower, the Crypt of Santa Reparata, the Baptistery and the Museo dell'Opera del Duomo; The "Giotto Pass" with which you can visit the monuments and the museum with the exception of the Dome; the “Ghiberti pass” to visit the Baptistery, the Crypt of Santa Reparata and the Museum. All three tickets are valid for 3 days starting from the day of activation.
5438	dbpedia	1	97	https://international.unicatt.it/ucscinternational-master-in-international-screenwriting-and-production-program-structure	en	Cattolica International			[ "https://static.unicatt.it/resources/common/assets/images/logo-unicatt-padding-bg.svg", "https://static.unicatt.it/resources/common/assets/images/logo-unicatt-text.svg", "https://static.unicatt.it/resources/common/assets/images/logo-unicatt-padding-bg.svg", "https://international.unicatt.it/ucscinternational-almed-Francesco%20Arlanch%201.jpg", "https://international.unicatt.it/ucscinternational-almed-Emanuela%20Canonico%201.png", "https://international.unicatt.it/ucscinternational-almed-AlexDAvenia-rid.jpg", "https://international.unicatt.it/ucscinternational-almed-Maria%20Chiara%20Oltolini%201.jpg", "https://international.unicatt.it/ucscinternational-almed-Edoardo%20Gino%201.jpg", "https://international.unicatt.it/ucscinternational-almed-Amanda%20Devine%201.png", "https://international.unicatt.it/ucscinternational-chiara%20munarin.jpg", "https://international.unicatt.it/ucscinternational-Foto%20Clara%20Dufay.jpg", "https://static.unicatt.it/resources/common/assets/images/logo-unicatt-vertical.svg" ]	[]	[]	[ "" ]	null	[]	null		en		Cattolica International	https://international.unicatt.it/ucscinternational-master-in-international-screenwriting-and-production-program-structure	Address: Milan campus: Via Giosuè Carducci, 28/30, 20123 Milano MI Piacenza campus: Via Emilia Parmense, 84, 29122 Piacenza PC Cremona campus: Via Milano, 24, 26100 Cremona CR Brescia campus: Via Trieste, 17, 25121 Brescia BS Rome campus: Largo Francesco Vito, 1, 00168 RM Contacts Interested in applying to a BSc/MSc degree or a specializing master programme? @: international.inquiry@unicatt.it Phone: +39 02 7234 5108 Already applied to a BSc/MSc degree or a specializing master programme and need information? @: international.admissions@unicatt.it Phone: English +39 027234 5259 Italian +39 027234 5258 Interested in receiving more information about a short-term programme? @: international.inquirySA@unicatt.it Phone: +39 02 7234 5114 Already applied to a short-term programme? @: international.advisor@unicatt.it Phone: +39 02 7234 5114 Programme Screenwriting theory (8 ECTS) Script analysis and project evaluation (8 ECTS) Writing techniques for audiovisual products: (12 ECTS) Screenwriting practice: treatments, scenes and dialogues, scripts, pitches The writing of genres and adaptation. Writing for different formats: comic books, novels, documentaries, entertainment TV shows, advertising, the web, mobile media, and transmedia projects Screenwriting and production of animation projects The audiovisual industry: (4 ECTS) Industries and audiences TV acquisition and programming and film distribution The physical production: pre-production, shooting, post-production, contracts and budgeting Communication ethics (4 ECTS) Workshop and practical exercises (8 ECTS) Final project (16 ECTS) Internship and final Project Three months before the end of classes, participants in the MISP will choose one of the two following career tracks: screenwriting or production, and invest their time after the end of the classes on their final project or on their internship. MISP students who choose the screenwriting career will present a script for a feature film or a TV pilot, which can be either an original idea or an adaptation. This script can be written in English, Italian, French or Spanish. MISP students who will choose the production track will undertake an internship on a film/TV series shooting (or also, if possible, within an established production or distribution company, a TV network or an advertising agency). For foreign students who do not speak Italian, it can be difficult/impossible to begin an internship for the production track in Italy: in this case either they have to find and internship in their own country or they have to choose the writing track, and deliver a script as their final work. For a good number of the students who will choose the screenwriting path, at the end of their final projects there will also be the possibility of doing an internship in some production company or network or writers room. This internship cannot be guaranteed in advance for everyone, as it will always depend on the acceptance of the candidate by the employer. Director Armando Fumagalli, Università Cattolica del Sacro Cuore Scientific Committee Luca Bernabei, Ceo Lux Vide Paolo Braga, Università Cattolica del Sacro Cuore Arturo Cattaneo, Università Cattolica del Sacro Cuore Armando Fumagalli, Università Cattolica del Sacro Cuore Luca Manzi, Screenwriter and creative producer Tutor Eleonora Recalcati, story editor and screenwriter Annalisa Gandossi, scritp consultant (Sky Originals Italy) Teachers and tutors of the final projects Marco Alessi, screenwriter (Elisa di Rivombrosa, Rino Gaetano, Immaturi) and producer (Tahrir, Atlantide, Disco Boy) Robert Amidon, executive producer, Atlas Entertainment (Triple Frontier, What/If) Francesco Arlanch, screenwriter (Anna Karenina, Doc – Nelle tue mani, Blanca). Renata Avidano, story editor and screenwriter (La strana coppia, Cosi fan tutte, Before Pintus). Francesco Balletta, screenwriter (Distretto di polizia, Ris, Alfredino) Deborah Belford de Furia, script consultant Colorado, Hollywood Gang, Medusa, Adam Bernstein, Tv director, Emmy winner (30 Rock, Fargo, Breaking Bad) Paolo Braga, professor Università Cattolica and screenwriter (Jules Verne) Andrea Brusa, writer and director (Magic Alps, Inverno, Le voci sole) Elena Bucaccio, head of Tv drama, Lux vide and screenwriter (Che Dio ci aiuti, Buongiorno mamma!) Bobette Buster, script consultant, Los Angeles, and professor at NorthEastern University, Boston, Pixar Animation Studios, etc. Gianfranco Cordara, Digital Supply Chain Consultant, Crunchyroll, Los Angeles. Lucia Cereda, head of development, Medusa. Laura Cotta Ramosino, TV series development executive, Cattleya (Nero a metà, Tutto può succedere, Circeo) Luisa Cotta Ramosino, Director, Original Series, Netflix Italy Craig Detweiler, professor at Gran Canyon University (Phoenix) and documentary director Jennifer Dornbush, screenwriter and author, Los Angeles Ryan Dornbush, VP and Director, Operations and HR, Alcon Entertainment, Los Angeles Armando Fumagalli, professor, Università Cattolica, script consultant for Lux vide. Jordi Gasull, screenwriter and producer, Madrid (Lope, Tadeo Jones, Atrapa la bandera /Capture the Flag, Mummies). Giorgio Grignaffini, General Manager Taodue Nadia Grippiolo, producer (Alex & Co., Come diventare grandi nonostante I genitori, Marta e Eva) Steve Kaplan, script consultant and founder HBO New Writing Program Francesca Longardi, producer Cattleya (Io non ho paura, Benvenuti al Sud, Summertime, Petra) Luca Manzi, screenwriter and creative producer (Don Matteo, Boris) Emanuele Marchesi, head of development, Sky Originals Italy Jeff Melvoin, showrunner (Northern Exposure, Alias, Designated Survivor, Killing Eve) Carlo Micciché, Director, Osservatorio Editoriale, Mediaset Erica Negri, Head of Commissioning, Scripted Production, Sky Originals, Italy. Gennaro Nunziante, screenwriter and director (Sole a catinelle, Quo vado, Il vegetale, Belli ciao) Paolo Paggetta, Coordinator Pay and Svod Department, Mediaset Alberto Pasquale, Director Umbria Film Commission, Film Business University Lecturer Mara Perbellini, screenwriter (La vita che corre, Penny on MARS, Marta e Eva) Erminio Perocco, copywriter (commercials Telecom, Lavazza) and advertising director (Crodino). Miranda Pisione, screenwriter and lecturer Valentina Pozzoli, head of development, Onza Partners, Madrid Eleonora Recalcati, story editor and screenwriter (Che Dio ci aiuti, Maggie e Bianca Fashion Friends, Marta e Eva) Mario Ruggeri, screenwriter (Don Matteo, Un passo dal cielo, Devils) Maurizio Sangalli, screenwriter (Love Bugs, Il mammo, Casa e bottega). Paolo Sigismondi, professor Global Entertainment, University of Southern California, Los Angeles Lea Tafuri, screenwriter (Coco Chanel, Chiara Lubich, Alda Merini) John Truby, head of Truby Writers Studio, Los Angeles Andrea Valagussa, screenwriter (Distretto di polizia, La strada di casa, Fino all’ultimo battito) Gaia Violo, Screenwriter (Blood & Treasure, Star Trek), and creator (Absentia, In From the Cold), Los Angeles Nicholas Weinstock, producer Invention Films (Severance, Escape at Dannemora, Thelma) John Williams, Cinema writer and director, professor at Sophia University, Tokyo Fabrizio Zappi, Director, Rai Documentari Special lecturers Eleonora Andreatta, Vice President, Original Content, Netflix Italy Giorgio Assumma, Lawyer, President Fondazione Perseus Pierdomenico Baccalario, author and founder, Book on a Tree Luca Barbareschi, actor, producer and director (Adriano Olivetti, Something Good, J’Accuse) Luca Bernabei, Ceo Lux Vide (War and Peace, Medici, Masters of Florence, Doc, Leonardo) Massimo Bruno, Director DeAKids Channels Valentina Cambi, Freelance Writer and Editorial Coordinator (Disney Publishing, Rai-Eri, Piemme, etc.) Alessandro D’Avenia, novelist and screenwriter (Bianca come il latte rossa come il sangue, Ciò che inferno non è, L’arte di essere fragili). Paolo Del Brocco, ceo RaiCinema Ilaria Gomarasca, head of First Cut +, Film Festival Consultant, Paris Giulia Ichino, publishing editor Bompiani, Giunti Publishing Group Silvia Martinoli, author Disney publishing and journalist for Topolino Jaime Ondarza, ceo Fremantle Southern Europe and Israel Carlotta Quattrocolo, Executive Editor, Global Magazines, Disney Maria Rodriguez Rabadan, Universidad Carlos III, Madrid Marilena Rossi, director of Italian fiction, Mondadori Paola Ruggeri, International Tv Marketing Analyst, Mediaset Andrea Scrosati, ceo Fremantle Europe Antonio Stefanucci, line producer (La piovra, Ris, Volare, Ognuno è perfetto) Alessandro Usai, Ceo Colorado Film David Zannoni, Zannoni Media Consulting, Mexico Michele Zatta, producer Raifiction (Mare fuori, Il cacciatore) Teachers of the animation workshop Alfio Bastiancich, head of animation, Showlab. Andrea Bozzetto, director (Topo Tip) Robin Lyons, screenwriter and producer, Calon, Cardiff - UK (Hana’s Helpline, YoYo) Luca Milano, Director, Rai Kids Evelina Poggi, producer, Lynx Multimedia Factory Margherita Premuroso, animator and director, Milan and London Silvia Rigotto, executive producer, script consultant and agent (Rigotz Stories) Giorgio Scorza, producer and director (Strappare lungo I bordi) Maurizia Sereni, head of development Movimenti Teachers of the workshop “Writing the musical” Philip LaZebnik, Screenwriter (Mulan, Pocahontas, The Prince of Egypt) Pippa Cleary, author and musician, London ((The Secret Diary of Adrian Mole Aged 13¾, The Great British Bake Off Musical) Ronald Kruschak, screenwriter and producer, Germany (Snow White and Me, A Little Peace) Due to Covid restrictions or difficulties for teachers to travel, some of the classes could be held on line. The aim of the direction of the course is to have as many classes as possible in presence. But in spite of this a total of 5% to 10% of classes on line could reasonably be expected. The Master in International Screenwriting and Production was born with two post-graduate courses in Tecniche di scrittura per la fiction (2000 and 2001), that became a Master Universitario di I livello in 2002-2003. The Master has been running every other year (2004-2005, 2006-2007, etc. until 2014-2015) with the name of Scrittura e produzione per la fiction e il cinema. Since 2016-2017 it has been taught completely in English and it has the MISP name. The alumni of the MISP have been writers, story editors, creative producers and in some cases directors of more than 2.000 hours of feature films and/or prime time Televisions and/or Tv series broadcasted in the main International platforms like Netflix, Amazon, DisneyPlus, etc. They have been working, among many other achievements: As head writers for Don Matteo (from season 4 onwards), for Distretto di polizia 6, 7, 8, 9, for all the seasons of Ho sposato uno sbirro, Un passo dal cielo, Che Dio ci aiuti, La strada di casa, Non dirlo al mio capo, Buongiorno mamma!, Viola come il mare, Per Elisa, I fantastici 5, Made in Italy, Doc - nelle tue mani, Blanca (all top rating series for prime time of RaiUno and Canale 5) and series for Sky, Netflix, Amazon like Christian, Un amore, Summertime, Sono Lillo, Odio il Natale, Costiera; for animation series like Angel’s Friends, Virus Attack, Cuccioli cerca amici, Jules Verne; for the teen series Talent High School, Maggie and Bianca fashion friends, Nudes, PoV, Penny on MARS, Marta & Eva, Sfidiamoci. As screenwriters, they have written episodes of successful TV series broadcasted in Rai, Mediaset, Sky Amazon Prime, Netflix, HBO Max such as (besides the TV series above) Medici Masters of Florence (starring Dustin Hoffman and Richard Madden), Il Commissario Rex, Elisa di Rivombrosa, Incantesimo, Nati ieri, Ris, Le stagioni del cuore, La squadra, Ritorno a Rivombrosa, Le tre rose di Eva, Tutto può succedere, Il processo, Tutta colpa di Freud, Gomorra, Home Sweet Rome, Blackout and miniseries like Giovanni Paolo II, San Pietro, La signora delle camelie, Pompei, Chiara e Francesco, La terza verità, Rino Gaetano, Paolo VI, Il mistero del lago, L’uomo che cavalcava nel buio, Davide Copperfield, Sant’Agostino, Sotto il cielo di Roma, Santa Barbara, Anna Karenina, Sotto copertura, Chiara Lubich, Alfredino, many animation series (Hana’s Helpline, Igam Ogam, YoYo, Grisù, Berry Bees, The Sound Collector, Topo Gigio, etc.), some sit-coms for Rai Educational (Tracy e Polpetta, Lab Story), for Disney Channel (Quelli dell’intervallo, Life Bites) and for Mediaset (Camera Café). As story editors or creative producers, they have had credits on international series and miniseries like, Leonardo (starring Aidan Turner and Matilda De Angelis), Augusto (starring Peter O’Toole and Charlotte Rampling), Coco Chanel (nominated to the Emmy, starring Shirley MacLaine), Callas e Onassis, Don Bosco, Edda Ciano, Maria Goretti, Papa Giovanni, Rita da Cascia. Soraya, Le ragazze di San Frediano, La freccia nera, Sissi, Enrico Mattei, Pinocchio, Cinderella, War and Peace; and in TV series like Devils (starring Patrick Dempsey and Alessandro Borghi), I Cesaroni, La compagnia del cigno, Alex & co., Petra, I delitti del BarLume, Strappare lungo i bordi, Un’estate fa, Call My Agent - Italia and many others. For cinema, they have been working as screenwriters for Una famiglia perfetta, Something Good, Bianca come il latte rossa come il sangue, Italiano medio, The Start-Up, Chiamatemi Francesco, Ride, Padrenostro, Solo cose belle, Con chi viaggi, Pensati Sexy, Il legionario, and many others. Short films written, directed and/or produced by Misp’s alumni have been winning awards all over the world, including Emmy Student Award, Venice Film Festival and David di Donatello. Other alumni have been working on advertising or as theatre play authors or as production assistants, or assistant directors in many films or TV series. Others have been working as authors for comics (Disney Publishing, ReNoir, Manga Vibe), or in tv channels or networks (Italia 1, Rete 4, Canale 5, Sky Cinema, Lei tv, Discovery), or in production or distribution companies or in specialized press (Best Movie, Box office) or publishing companies (Mondadori, Rizzoli, Il Castoro). In the area of novels, the alumni of MISP have been authors, among others, of international best-sellers like Bianca come il latte rossa come il sangue, published in around twenty countries; and some series of novels for young girls like Leila blue and Aria (both series for Mondadori), which have been also published in many countries. Only in 2022 and 2023 around twenty novels have been published by our alumni, with some of the top Italian publishing companies like De Agostini, Mondadori, Piemme, Rizzoli, etc.
5438	dbpedia	3	36	https://sonic-cinema.com/wordpress/movie/the-santa-clause/	en	The Santa Clause : Sonic Cinema			[ "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/1994/12/MV5BMTZlNzk1MjItYjJlYy00MTAxLWJkNjEtZmNiNmVlNjQ4NDE5XkEyXkFqcGdeQXVyMzI0NDc4ODY@._V1_.jpg&h=270&w=180&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2024/04/A-Strange-Path-691x1024.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2023/04/Dasara_Film.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2020/12/77a37-promising-young-woman-2020-poster.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2020/09/MV5BOTNhNGYzYzktN2FjOS00NTZiLThlMjktYTFhYTg5ZmQ1Yjc0XkEyXkFqcGdeQXVyMTE1MzI2NzIz._V1_SY1000_CR006661000_AL_.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2020/06/Blackfeet-Boxing-Poster-686x1024.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2018/09/MV5BOWY4MjkyZDgtMzc5ZC00ZmExLWJiYWItNzJkMGJlN2IzMDkwXkEyXkFqcGdeQXVyNjM1MTMzMg@@._V1_SY1000_SX675_AL_.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2019/06/MV5BNGU3ZjQxYTYtZjkzMi00OTNlLWJkZTMtOTM1MDIyODcyY2QzXkEyXkFqcGdeQXVyNDMwNjkwOQ@@._V1_SX1777_CR001777658_AL_-1024x379.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2023/04/nWCX-4WMUqz_HM5jwfXL6J6htmb4JiA0ymYQMclAf_4-1024x735.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2022/01/tantura-still-1_51692467597_o-1024x576.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-content/themes/Boxoffice/timthumb.php?src=https://sonic-cinema.com/wordpress/wp-content/uploads/2015/11/12247034_10153285110738214_3326333401879626542_n.jpg&h=60&w=80&zc=1", "https://sonic-cinema.com/wordpress/wp-includes/images/rss.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://sonic-cinema.com/wordpress/movie/the-santa-clause/	“The Santa Clause” is one of the most inspired holiday film premises of all-time: a divorced father, and a business, has his son for Christmas Eve. He hears something on the roof, investigates, and sees Santa Claus, who is startled, slips, and dies. The father then becomes Santa Claus, helping him connect with his son in a way he hasn’t been able to in years. Yeah, that sounds grim, but the script by Leo Benvenuti and Steve Rudnick has a lot of fun with the idea. This is an example of a family film that doesn’t talk down to kids, and is smart enough to engage adults, as well. Scott Calvin (Tim Allen) is an executive at a toy company who’s just had a very big year. He’s just left the holiday party at his company, and is running late to meet his ex-wife to get his son Charlie (Eric Lloyd) for Christmas Eve. After burning the turkey, they end up at Denny’s for dinner, and go home to get ready for Christmas, including a reading of ‘Twas The Night Before Christmas. Something wakes Scott and Charlie up in the middle of the night, and when Scott goes to investigate, he sees a man in a Santa suit heading for the chimney. Scott yells at him, and the man slips and falls off the roof, dying instantly. Scott finds a card on the man, saying that if he puts on the suit, the reindeer will know what to do; yes, there are reindeer and a sleigh on the roof. Scott and Charlie get whisked away to the North Pole, where Scott gets the lowdown from the head elf, Bernard (David Krumholtz). This is the real deal, and Scott needs to get ready for a new normal that involves a beard, adding some weight, and being to the North Pole by Thanksgiving. However, this new normal, and Charlie’s absolute belief in it, makes things difficult on the homefront for Scott, as his ex-wife (Wendy Crewson) and her new husband (Judge Reinhold), a psychiatrist, are troubled by Scott’s sudden changes. It’s been a while since I’ve seen this movie before now, but one of the things that I came to remember about watching this movie is how honest this movie played the family tensions and issues that come with divorce. This was one of the first times in a while that Disney, in the live action realm, had really been able to blend sentimental family fun with deeper emotions successfully, although not too many filmmakers have been able to replicate it since. A big part of the reason the film works, of course, is thanks to Allen in the lead role. Famous for his family man role of TV’s “Home Improvement” at the time, he adapted that sort of persona well to the big screen here, and had a great rapport with all the actors on camera, especially with young Lloyd. This film hinted at what was to come from Allen with his iconic role in Pixar’s “Toy Story” the next year, both in terms of family-friendly comedy and grounded emotions when they are required by story. “The Santa Clause” is a great example of Disney at the peak of their powers as a studio capable of beloved family filmmaking that doesn’t forget that adults watch these movies, as well. It’s a winner, and I’m glad I reminded myself of it.
5438	dbpedia	0	35	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	en	ITALIAN FILM FESTIVAL 2011 - Big Words	https://www.yumpu.com/en…ook/46595188.jpg	https://www.yumpu.com/en…ook/46595188.jpg	[ "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/46595188/1/500x640/italian-film-festival-2011-big-words.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "" ]	null	[ "Yumpu.com" ]	null	ITALIAN FILM FESTIVAL 2011 - Big Words	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	Attention! Your ePaper is waiting for publication! By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. This will ensure high visibility and many readers! Inappropriate You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible.
5438	dbpedia	1	80	https://issuu.com/thecolombo_/docs/italian_film_festival_2017	en	Italian film festival 2017	https://image.isu.pub/17…age_1_social.jpg	https://image.isu.pub/17…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/thecolombo_/photo_large.jpg", "https://image.isu.pub/170626031907-20d0462a5b963a411e3b1fbc65c9d16f/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/170505024126-e1f23ee267867a7b25a988c71894f8cb/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2017-05-29T23:22:42+00:00	Italian Film Festival 14th of June - 25th June at The Academy.	en	/favicon.ico	Issuu	https://issuu.com/thecolombo_/docs/italian_film_festival_2017	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
5438	dbpedia	0	8	https://www.cambridge.org/core/journals/renaissance-quarterly/article/for-honor-and-profit-benvenuto-cellinis-medal-of-clement-vii-and-his-competition-with-giovanni-bernardi/04F60EB581089A50769F291FFAC21745	en	For “Honor and Profit”: Benvenuto Cellini’s Medal of Clement VII and His Competition with Giovanni Bernardi	https://static.cambridge…-size-image=true	https://static.cambridge…-size-image=true	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://static.cambridge.org/covers/RQX_0_0_0/renaissance-quarterly.jpg", "https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg", "https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg", "https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg", "https://www.cambridge.org/core/page-component/img/rights-icon.d4a677c.svg", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://upload.wikimedia.org/wikipedia/commons/a/a9/Google_Scholar_logo_2015.PNG", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[]	[]	[ "" ]	null	[ "Beth L. Holman" ]	null	For “Honor and Profit”: Benvenuto Cellini’s Medal of Clement VII and His Competition with Giovanni Bernardi - Volume 58 Issue 2	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/journals/renaissance-quarterly/article/abs/for-honor-and-profit-benvenuto-cellinis-medal-of-clement-vii-and-his-competition-with-giovanni-bernardi/04F60EB581089A50769F291FFAC21745
5438	dbpedia	2	16	https://blog.scuolaleonardo.com/2023/10/18/3-volte-di-fila-episode-4-season-5/	en	EPISODE 4 (SEASON 5) ITALIANO ON	https://blog.scuolaleona…5E41600x1084.png	https://blog.scuolaleona…5E41600x1084.png	[ "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog1.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog-scuolaleonardo.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/10/PODCASTS5E41600x1084-620x420.png", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2022/09/star-award-web-350x320.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/11/Bufale-1600x1084-1-350x320.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/01/S3E1-copertina1600x1084-350x320.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/summer-in-siena-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/studiare-italiano-alla-ldv-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/leonardino-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/07/IMG_20240624_163811-1-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/02/akikostory-130x130.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/09/chiarawolfy2023-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/06/ued-award-2022-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/04/S4E1-copertina-1600x1084-mangiapregama-130x130.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg" ]	[]	[]	[ "" ]	null	[ "Scuola Leonardo da Vinci", "www.facebook.com" ]	2023-10-18T00:00:00	Discover the meaning of the expression "volte di fila" in this episode with 2 special guests. They will tell us about the award won by the school and the elegant ceremony they attended.	en		Blog of Leonardo da Vinci ;)	https://blog.scuolaleonardo.com/2023/10/18/3-volte-di-fila-episode-4-season-5/	In this episode of our podcast, we have two guests from the Scuola Leonardo Da Vinci: Chiara Avidano and Wolfango Poggi, the directors of the schools in Turin and Milan. They will tell us about the 2023 "ST Star Award" award ceremony in which they participated, and how exciting it was to receive the award as the best "Italian language school". This award, very important in the language travel sector, is collected every year at a gala evening held in a luxury hotel in London. A real Oscar (but we could say a "David di Donatello"… do you remember the episode?) for all those who work in the field of study holidays abroad. The episode will also focus on the expression "3 volte di fila". You can listen to the 4th episode of the fifth season of ITALIANO ON-AIR on our website at: https://podcast.scuolaleonardo.com/premiati-3-volte-di-fila-episodio-4-stagione-5/ Or you can listen to it below. On our website https://podcast.scuolaleonardo.com/ you will find the transcripts of the episode! We are also present on the main streaming platforms! Follow ITALIANO ON-AIR on Spotify or Apple Podcasts to receive a notification every time a new episode is released. Through the site, you can also send us feedback. Write to podcast@scuolaleonardo.com or leave us a voice message. Listen to the episode "Premiati 3 volte di fila" on the leading podcast platforms: Apple Podcasts Spotify Amazon Music Google Podcasts Find all the episodes at: https://podcast.scuolaleonardo.com/ with the transcript of the episodes.
5438	dbpedia	1	14	https://blog.indiecinema.co/italian-directors/	en	Italian Directors to Know	https://blog.indiecinema…rico-Fellini.jpg	https://blog.indiecinema…rico-Fellini.jpg	[ "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia.jpg", "https://blog.indiecinema.co/wp-content/uploads/2022/10/indiecinema-background-sottile-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/litespeed/avatar/e19c3b6d4c41b6c9c2f7a830ff40410c.jpg?ver=1723477705", "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia-1024x250.jpg" ]	[]	[]	[ "" ]	null	[ "Fabio Del Greco" ]	2023-09-17T14:50:56+00:00	Since the origins of cinematographic art, Italian directors have inspired the most famous directors in the world.	en	https://blog.indiecinema…presso-32x32.jpg	Indiecinema	https://blog.indiecinema.co/italian-directors/	Since the origins of cinematographic art, Italian directors have influenced and inspired the most famous directors from all over the world, creating some of the most important absolutely must-see movie, cinema masterpieces of all time. Italy is one of the birthplaces of arthouse cinema and the artistic element has actually been the most essential element in the history of Italian cinema. The first Italian filmmakers began to take an interest in films a couple of months after the Lumière brothers began their film exhibitions. The very first Italian director is thought to have been Vittorio Calcina, an associate of the Lumière brothers, who filmed Pope Leo XIII in 1896. The very first films date back to 1896 and were shot in the main Italian cities. These short experiments immediately interested the working class as entertainment, motivating Italian directors to produce unreleased films to the point of laying the foundations for the birth of a real film market. In the early years of the 20th century, silent cinema established itself, with various avant-garde Italian directors. In the early 1900s, creative and legendary films such as Othello (1906), The Last Days of Pompeii (1908), The Inferno (1911), Quo Vadis (1913), and Cabiria (1914), were made as adaptations of books or theatrical performances. Italian directors used elaborate sets, luxurious clothing and record spending plans to produce pioneering films. The first European film movement, Italian futurism, dates back to the late 1910s. After a period of contraction in the 1920s, the Italian film market rejuvenated in the 1930s with the arrival of sound cinema. Many Italian directors dedicated themselves in those years to the cinema of Telefoni Bianchi, comedies with attractive settings. While the Italian fascist government provided financial support to the country’s film market, particularly the construction of the Cinecittà studios, the largest film studio in Europe, it similarly participated in censorship, and thus many Italian films produced in the late 1930s they were films by propaganda. A renewal for Italian directors occurred at the end of the Second World War with the birth of the Italian neorealist movement, which achieved broad public and critical consensus throughout the post-war period, and which introduced the careers of Luchino Visconti, Roberto Rossellini, Vittorio De Sica. Neorealism declined in the late 1950s in favor of lighter films, such as those of Italian comedy and great directors such as Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina and Gina Lollobrigida achieved worldwide fame during that period. From the mid-1950s to the end of the 1970s, Commedia all’Italiana and many other categories developed thanks to auteur cinema, and Italian directors achieved a position of excellence both nationally and abroad. [13] [14] Spaghetti Westerns achieved appeal in the mid-1960s, reaching their peak with Sergio Leone’s Dollars Trilogy. Italian erotic thrillers, or Giallo, produced by Italian directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror category around the world. In the 1980s, for various reasons, Italian directors went through a crisis. Throughout the 1980s and 1990s, Italian directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought Italian cinema crucial praise, while the most appreciated directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti. Here is a partial list of Italian directors to know (in alphabetical order) Gianni Amelio Gianni Amelio was born in San Pietro di Magisano, province of Catanzaro, in Calabria. His father moved to Argentina soon after he was born. He spent his youth and adolescence with his mother and grandmother. The lack of a father figure will be a common thread in Amelio’s future works. During his university studies in Messina, Amelio began to think about cinema, writing as a film critic for a local newspaper. In 1965 he moved to Rome, where he worked as an operator and assistant director for people such as Liliana Cavani and Vittorio De Seta. Amelio’s initial work is the television film La città del sole, directed in 1973 for RAI and inspired by the work of Tommaso Campanella. In 1982 he made his film debut with Colpire al cuore, about Italian terrorism, presented at the Venice Film Festival. In 1987 Amelio created The Boys of Through Panisperna, about the lives of Italian physicists of the 1930s such as Enrico Fermi and Edoardo Amaldi. 1989’s Open Doors (Open Doors), including Gian Maria Volonté, established Amelio as one of Italy’s best directors and won best foreign film at the 1991 Academy Awards. Interesting was The Child Thief in 1992, which won the Special Jury Prize at the 1992 Cannes Film Festival plus 2 Silver Ribbons and 5 David di Donatello. In 1994 Lamerica, on the Albanian migration to Italy, doubled its success, with 2 Silver Ribbons and 3 Davids. 4 years later, Cosi Laughing (So They Laughed) won the Golden Lion at the Venice Film Festival. Amelio won another Nastro d’Argento for best director for 2004’s The Keys to the House. Michelangelo Antonioni Antonioni was born into a thriving landowning family in Ferrara, Emilia Romagna, in northern Italy. Born into a working class family, he managed to acquire wealth through night classes and work. As a child, Antonioni loved drawing and music. A precocious violinist, he gave his first performance at the age of 9. He abandoned the violin with the discovery of cinema in his adolescence, drawing would remain an enduring enthusiasm. He is best known for directing his trilogy about modernity and alienation: L’Avventura (1960), La Notte (1961) and L’Eclisse (1962), along with the English-language film Blow-up (1966), considered masterpieces of world cinema. His films have been called enigmatic reflections on the human soul and feature escapist plots, surprising visual structure and an obsession with modern landscapes. His work significantly influenced subsequent art cinema. Antonioni has won numerous awards and is the only director to have won the Palme d’Or, the Golden Lion, the Golden Bear and the Golden Leopard. Pupi Avati Pupi Avati, born November 3, 1938, is an Italian screenwriter, producer and film director. He is known to horror film fans for his two crime works of art, The House with Laughing Windows (1976) and Zeder (1983). After attending school and studying Political Science at the University of Florence, he began working at a frozen food company. At the same time, he became passionate about jazz, ending up as a professional clarinetist. In the second half of the 1950s he played and trained in the Doctor Dixie Jazz Band, which also included Lucio Dalla. At first he thought he was an expert musician, then he realized he didn’t have the essential skill. In the mid-1960s he chose to devote himself to cinema after seeing 8 1/2 by Federico Fellini. Avati’s enthusiasm for music, as well as his love for his hometown, which was the setting for most of his films, would end up being recurring themes in his productions. Mario Bava Mario Bava was born in Sanremo, Liguria, on 31 July 1914. Mario Bava’s very first aspiration was to become a painter. Unable to finish paintings at a good pace, he entered his father’s service, working as an assistant to other Italian cinematographers such as Massimo Terzano. He also assisted his father in the special effects department at the Luce Institute. He has worked as a director, cinematographer, special effects artist and film writer, regularly regarded as the Master of Italian horror. His low-budget genre films, known for their unique visual style and ingenious technical resourcefulness, are a mix of fiction and realism. He was a leader of Italian genre cinema, and is considered among the most important authors in the horror genre. After offering impactful work and other help on productions such as Hercules (1958) and Caltiki, The Immortal Monster (1959), Bava made his directorial debut with the horror film Black Sunday, released in 1960. He went on to direct films such as The Girl Who Knew Too Much, Black Sabbath, The Body and the Whip, Six Daughters (1964), Planet of the Vampires, 1965, Kill , Baby, Kill, 1966), Diabolik (1968), Chain Reaction (A Bay of Blood, 1971), The Horrors of Nuremberg Castle (Baron Blood, 1972), Lisa and the Devil (1974) and Rabid Dogs (Rabid Dogs, 1974). Marco Bellocchio Born in Bobbio, near Piacenza, Marco Bellocchio had a strict Catholic childhood: his father was a lawyer, his mother a teacher. He began studying in Milan but then chose to enter film school, first at the Centro Sperimentale di Cinematografia in Rome, then at the Slade School of Fine Art in London. His very first film, Fists in the Pocket, was financed by a relative and shot at home, in 1965. Bellocchio’s films include China is Near (1967), Slap the Monster on Page One) (1972), In the name of the Father (1972), Marcia triumphale (Victory March, 1976), Salto nel vento (A Leap in the Dark, 1980), Enrico IV (Henry IV, 1984 ), Devil in the Flesh, 1986 and My Mother’s Smile, 2002. Bernardo Bertolucci Bernardo Bertolucci was an Italian director and screenwriter with a career that spanned 50 years. Considered among the best directors of Italian cinema, Bertolucci’s work has achieved worldwide recognition. He was the first Italian director to win the Academy Award for Best Director for The Last Emperor (1987), with many awards including 2 Golden Globes, 2 David di Donatello, a British Academy Award and a César Award. A student of Pier Paolo Pasolini, Bertolucci made his directorial debut at 22 years old. His second film, Before the Revolution (1964), had strong global reviews and has been called a work of art of Italian cinema. His 1970 film The Conformist, an adaptation of Alberto Moravia’s original, is considered a classic of world cinema and was shortlisted for an Academy Award for Best Adapted Screenplay and the Berlin Golden Bear. His 1972 sensual drama Last Tango in Paris was scandalous and hampered by censors because of its sex scenes, as well as an unscripted rape scene, which actress Maria Schneider did not allow. This was followed by films such as the historic and impressive Novecento (1976), the family drama La Luna (1979) and the black comedy Tragedy of a Ridiculous Man (1981). His epic movie 1987’s The Last Emperor, a biopic of Chinese emperor Puyi, was a critical and commercial success, garnering rave reviews and Oscars for Best Picture and Best Director. He followed his success with 2 more films in his “Oriental Trilogy”: The Sheltering Sky, an adaptation of the book of the same name, and Little Buddha, an epic spiritual film about Buddhism. His 1996 film, Stealing Beauty, brought him his second nomination for the Palme d’Or. He continued directing well into the 21st century, launching his last film, Io e te (Me and You), in 2012. Bertolucci’s films deal with themes of politics, sexuality, history, class struggle and social taboos and his style has influenced numerous directors. Some of his films are considered among the best films of all time. Claudio Caligari Born in Arona, Piedmont, Claudio Caligari began his profession as a documentary filmmaker, often collaborating with Franco Barbero; his first ever work was Why Drugs (1975). He launched his first feature film in 1983, with the drug-focused drama Toxic Love, which won the De Sica Award at the 40th Venice International Film Festival. Only fifteen years later he directed another work, the neo-noir The Scent of the Night. He finished editing his latest and third film, Don’t Be Bad, a couple of days before his death from cancer. Liliana Cavani Liliana Cavani is an Italian director and screenwriter. He comes from a generation of Italian filmmakers from Emilia-Romagna who entered the scene in the 1970s, made up of Bernardo Bertolucci, Pier Paolo Pasolini and Marco Bellocchio. Cavani ended up becoming known around the world after the success of her 1974 feature film The Night Porter. His films deal with historical issues. In addition to making documentaries and films, he has also directed operas. Sergio Citti Sergio Citti was an Italian director and screenwriter, born in Rome in 1933. He usually worked with Pier Paolo Pasolini, but also for other directors such as Ettore Scola. His films include We Free Kings, for which he won a Silver Ribbon for Best Original Story. His 1981 film Il minestrone participated in the 31st Berlin International Film Festival. His 1977 film Beach House was part of a retrospective on Italian comedy at the 67th Venice International Film Festival. He was the brother of the actor Franco Citti. Among his masterpieces are Ostia (1970), Storie scellerate (1973), Mortacci (1989). Luigi Comencini Luigi Comencini was an Italian director. Together with Dino Risi, Ettore Scola and Mario Monicelli, was considered among the masters of Italian comedy. His first successful film was The Emperor of Capri, with Totò. Comencini’s 1953 Bread, Love and Fantasy, with Vittorio De Sica and Gina Lollobrigida, is considered an example of pink neorealism. Followed by Bread, Love and Jealousy. After having directed Alberto Sordi for the first time in La belle di Roma (1955), Comencini once again confronted Sordi in what is considered his masterpiece, Tutti a casa, a bitter comedy about Italy after the armistice of 1943. The film won the Special Prize at the 2nd Moscow International Film Festival. Set in the Second World War, but dedicated to the Italian partisans, is Bube’s Girl (1963). Followed by Incompreso (1966, based on the English book by Florence Montgomery). One of his must-see films is a TV serial, The Adventures of Pinocchio from 1972, an extraordinarily poetic 6-episode TV miniseries. Vittorio De Sica Vittorio De Sica was an Italian director and actor, a prominent figure in neorealist movement. 4 of the films he directed won the Oscar: Sciuscià and Bicycle Thieves, while Yesterday, Today, Tomorrow and The Garden of the Finzi-Continis won the Oscar for best foreign language film. Sciuscià was the first foreign film to be awarded by the Academy of Motion Picture Arts and Sciences together with Bicycle Thieves. These 2 films are considered masterpieces of cinema history. Bicycle Thieves has been considered the best film of all time by many directors and critics. De Sica was also shortlisted for the 1957 Academy Award for Best Supporting Actor for playing Major Rinaldi in American director Charles Vidor’s 1957 adaptation of Ernest Hemingway’s A Farewell to Arms, a film that was panned by critics and it was a box office flop. Fernando Di Leo Fernando Di Leo was an Italian director and screenwriter. He made 17 films as director and around 50 screenplays from 1964 to 1985. Fernando Di Leo was born on 11 January 1932 in San Ferdinando di Puglia. After working for a short period at the Centro Sperimentale di Cinematografia of a film school in Rome, he made his debut as a director in the comedy The Heroes of Yesterday, Today, Tomorrow with his episode entitled A Place in Paradise. Di Leo later wrote numerous screenplays for westerns, often uncredited, such as A Fistful of Dollars and For a Few Dollars More. Some of his westerns had uncredited literary sources, such as Days of Vengeance which was loosely based on Alexandre Dumas’ The Count of Monte Cristo. Di Leo was a fan of noir movie and wanted to make an Italian variation of these films. Among his very first works was the screenplay for Mino Guerrini’s Appointment for a Murder based on the novel Tempo di massacro by Franco Enna written in 1955. Di Leo began directing some of his own films at the time, including the war film Red roses for the Fuhrer and a couple of sexual films: Lady on Fire, The Wrong Way to Love and Seduction. From 1969 to 1976, di Leo was able to produce much of his own work with his production company Duania cineproduzioni 70. He returned to the noir genre with Naked Violence, a film adapting a short story by Giorgio Scerbanenco, an author that Di Leo will adapt for numerous future film productions. Federico Fellini Federico Fellini was an Italian director and screenwriter known for his unique style that mixes dreamlike and baroque imagery. He is recognized as one of the most important directors of all time. Most of his films are cinema masterpieces: The Road (1954), The Nights of Cabiria (1957), La Dolce Vita (1960), 8 1/2 (1963), Juliet of the Spirits (1965), Toby Dammit (1968), Fellini’s Satyricon (1969), Roma (1972), Amarcord (1973) and Fellini’s Casanova (1976). Fellini was nominated for 16 Academy Awards over the course of his career, winning 4 for Best Foreign Language Film, the most for any director in the award’s history. He received an Honorary Lifetime Achievement Award at the 65th Academy Awards in Los Angeles. Fellini also won the Palme d’Or for La Dolce Vita in 1960, the Moscow International Film Festival twice in 1963 and 1987 and the Golden Lion for Lifetime Achievement at the 42nd Venice International Film Festival in 1985. Among the best directors who ever existed, Fellini ranked 2nd in the directors’ poll and 7th in the critics’ poll. Marco Ferreri Marco Ferreri was born in Milan and was an Italian film director and screenwriter, who began his profession in the 1950s by directing 3 films in Spain, followed by 24 Italian films before his death in 1997. He is considered one of Europe’s cinematic provocateurs of its time and has had a consistent presence on the prominent festival circuit, with 8 films competing at the Cannes Film Festival and a Golden Bear win at the 1991 Berlin Film Festival. 3 of his films are among the 100 films selected for preservation for their notable contribution to Italian cinema. His best-known film is La Grande Bouffe from 1973, with Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognazzi. He was a socialist and atheist. Upon his death, Gilles Jacob, creative director of the Cannes International Film Festival, declared: “Italian cinema has lost among its most important artists, among its most original authors. No one was more demanding nor more allegorical than him in reveal the state of crisis of modern man”. Riccardo Freda Riccardo Freda, born in 1909 in Alexandria, Egypt, was an Italian director who worked in a number of film genres, including cloak and dagger, crime, horror and spy films. Freda began directing The Vampires in 1956. After school he worked as a carver and art critic. Freda began working in the film market in 1937 and directed her first film Don Cesare di Bazan in 1942. The Vampires was the first Italian horror film of the sound period, after the only silent scary film Frankenstein’s Monster (1920) . The wave of Italian horror productions didn’t catch on until Mario Bava’s Black Sunday was released globally. Lucio Fulci Lucio Fulci was an Italian writer, actor and film director. He has worked in a wide selection of categories such as Giallo movie and spaghetti westerns and has garnered a worldwide cult following. His most significant films are in the “Gates of Hell” trilogy – City of the Living Dead (1980), The Beyond (1981) and The House by the Cemetery (1981) – along with Massacre Time (1966), One Above the other (1969), Beatrice Cenci (1969), A lizard with the skin of a woman (1971), Don’t torture a Donald Duck (1972), White Fang (1973), The Four of the Apocalypse (1975), Seven Notes in Black ( 1977), Zombies 2 (1979), Contraband (1980), The New York Ripper (1982), Murder Rock (1984) and A Cat in the Brain (1990). For his telling imagery and nontraditional storytelling, Lucio Fulci has been called “The Poet of the Macabre” by critics and scholars, in reference to Edgar Allan Poe, whom he adapted into The Black Cat (1981). The high level of graphic violence present in many of his films, particularly Zombies 2, The Beyond, Contraband and The New York Ripper, has made him “The Godfather of Blood”. Matteo Garrone Matteo Garrone is an Italian director born in Rome. In 1996 Garrone won the Sacher d’Oro, a prize promoted by Nanni Moretti, with the short film Silhouette, which became one of the 3 episodes that make up his first feature film, Terra di mezzo in 1997. He reached the general public with the noir The embalmer in 2002. He won best director at the European Film Awards and the David di Donatello for Gomorrah (2008), as well as numerous other awards. His film Reality (2012) was shown in competition at the 2012 Cannes Film Festival and won the Grand Prix. His films Tale of Tales (2015) and Dogman (2018) were chosen for the Palme d’Or at the 2015 Cannes Film Festival and the 2018 Cannes Film Festival. Emidio Greco Emidio Greco was an Italian director and screenwriter, best known for the 1974 film Morel’s Invention. Born in Leporano, in the province of Taranto, Greco moved to Turin as a boy. In 1964 he finished at the Centro Sperimentale di Cinematografia, then, 2 years later, he began working as a documentary maker for RAI. In 1971 he collaborated with Roberto Rossellini, accompanying him to Chile for an interview with Salvador Allende. In 1974 Greco made his directorial debut in a feature film with The Invention of Morel which, appreciated by critics, marked him as a true promise of Italian art cinema. His second film, Ehrengard, recorded in 1982, would not be released until 2002 due to the bankruptcy of the producers. Since then he has directed 6 more films, generally adaptations of literary works. In 1991 he was awarded a Nastro d’Argento for best screenplay for the film A simple story. In 2004 Greco, together with Francesco Maselli, conceived and set up the “Giornate degli Autori” space at the Venice Film Festival. Ugo Gregoretti Ugo Gregoretti was an Italian film, television and theater director, actor, screenwriter, author and television host. He directed 20 films during his career. Born in Rome, Gregoretti joined RAI in 1953, working as a director and documentary maker. In 1960 he won the Italy Award for the television documentary La Sicilia del Gattopardo. In 1962 he made his film debut with the comedy drama The New Angels. In 1978 he began his activity in theater and opera. His work as a director has been primarily defined by a level of sensitivity to social and political problems integrated with a strange use of paradox and satire. In 2010 he was awarded a Silver Ribbon for lifetime achievement. Luca Guadagnino Luca Guadagnino was born on August 10, 1971 in Palermo and spent his early youth in Ethiopia, where his father taught Italian history and literature at a technical school in Addis Ababa. The family left Ethiopia for Italy in 1977 to avoid the Ethiopian civil war, settling in Palermo. Guadagnino is a writer, director and film producer. He worked together several times with actress Tilda Swinton in the films The Protagonists (1999), I Am Love (2009), A Bigger Splash (2015) and Suspiria (2018). For the production and direction of Call Me by Your Name (2017), Guadagnino received crucial recognition and numerous awards, including elections for the Oscar for Best Film, the Nastro d’Argento for Best Director, the BAFTA Award for Best Director and Best Film, and the Golden Globe for Best Motion Picture – Drama. Umberto Lenzi Umberto Lenzi was an Italian writer, screenwriter and director. Passionate from a young age, Lenzi studied at the Centro Sperimentale di Cinematografia and made his first film in 1958 which remained unpublished, while his main launch came in 1961 with The Adventures of Mary Read (Queen of the Seas). Lenzi’s films of the 1960s followed the popular patterns of the period, which led him to direct numerous spy films and sensual thrillers. In the 1970s he made crime films, crime films and the first film about an Italian cannibal with Man from the Deep River. He continued making films until the 1990s and later worked as a writer creating a series of thrillers. Sergio Leone Born on 3 January 1929 in Rome, Leone was the son of the director Vincenzo Leone and the silent film actress Edvige Valcarenghi. During his school years, Leone was for a time a classmate of his future musical collaborator Ennio Morricone. After watching his father work on film sets, Leone began his profession in cinema at the age of 18 after leaving his law studies at university. He is the leader of the Spaghetti Western category and commonly considered among the outstanding directors in the history of cinema. Leone’s filmmaking style consists of mixing dramatic close-ups with long, drawn-out shots. His films are the Dollars trilogy with Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966); and the films Once Upon a Time: Once Upon a Time in the West (1968), Once Upon a Time in America (1984), and Once Upon a Time in America (1984). Antonio Margheriti Antonio Margheriti was born in Rome on 19 September 1930. The son of a railway engineer, he began his film career in 1950 with Mario Serandrei. He then began making short documentaries starting with Vecchia Roma in 1953. In 1955 he was credited in film scripts such as The Iron Class. He also worked under the pseudonyms Anthony M. Dawson and Antony Daisies. Margheriti has worked in various genres in the Italian film market: science fiction, cloak and dagger, horror, crime fiction, espionage, Spaghetti Westerns, war films and action films which have been distributed to a wide audience worldwide. Mario Martone Mario Martone is an Italian director and screenwriter. He has directed more than 30 films since 1985. His film L’amore molesto participated in the 1995 Cannes Film Festival. His 2010 film We believed competed for the Golden Lion at the 67th Venice International Film Festival . He was also the director of Lorenzo Ferrero’s opera Charlotte Corday, which premiered at the Teatro dell’Opera di Roma on 21 February 1989. His 2014 film about Leopardi was in competition for the Golden Lion at 71st International Venice Exhibition. Francesco Maselli Francesco Maselli finished the National Film School in 1949 and began his profession as assistant director to Luigi Chiarini, Michelangelo Antonioni and Luchino Visconti. Thanks to Visconti, Maselli managed to direct his first feature film, Abandoned, presented in competition at the 16th Venice Film Festival. In the 1980s Maselli dedicated himself to more intimate films, typically centered on female images, such as A Tale of Love, with which Maselli won the Grand Jury Prize at the 43rd Venice Film Festival, with Valeria Golino awarded as best actress. His 1990 film The Secret participated in the 40th Berlin International Film Festival. He directed 38 films starting his career in 1949. Aristide Massaccesi Aristide Massaccesi, known as Joe D’Amato, was an Italian director, producer, screenwriter and cinematographer who worked in many film genres (western, erotic, peplum, war film, sword, comedy, dream, post-apocalyptic film and thrillers. However he is best known for his adult horror and erotic films. D’Amato worked in the 1950s as a photographer, in the 1960s as a camera operator and from 1969 onwards as a director of photography. Since 1972, he has directed and co-directed approximately 200 films under many pseudonyms as a cinematographer. Since the early 1980s, D’Amato has produced many director’s genre films through his production company. From 1979 to 1982 and 1993 to 1999, D’Amato also produced and directed approximately 120 films for adults. Mario Monicelli Mario Monicelli he was an Italian director and screenwriter and among the masters of Italian comedy. He was chosen 6 times for an Oscar and was awarded the Golden Lion for Lifetime Achievement. Monicelli was born in Rome to a wealthy family from Ostiglia, a municipality in the province of Mantua, Lombardy, the second of 5 children of Tomaso Monicelli, a journalist, and Maria Carreri, a housewife. Raised between Rome, Viareggio and Milan, Monicelli lived a carefree youth, and much of the cinematic jokes he later inserted into Amici Miei were influenced by his own experiences during his youth in Tuscany. Nanni Moretti Nanni Moretti is an Italian director, producer, actor and screenwriter. His films have won awards including a Palme d’Or at the 2001 Cannes Film Festival for The Son’s Room, a Silver Bear at the 1986 Berlin Film Festival for The Mass is Over and a Silver Lion at the 1986 Film Festival Venice cinema in 1981 for Sogni d’oro, as well as the David di Donatello for best film for Dear Diary in 1994, The Son’s Room in 2001 and The Caiman in 2006. Ermanno Olmi Ermanno Olmi was an Italian director and screenwriter. Olmi was born into a Catholic family in Bergamo, Lombardy, northern Italy. When Olmi was 3 years old, his family moved to Milan, where he attended high school and took acting lessons at the Academy of Dramatic Arts. He ended up thinking about cinema while working at the Milanese electricity company Edison Volta, where he began producing 16mm documentaries about power plants. In 1963 he married Loredana Detto, who had played Antonietta Masetti in his film Il Posto (1961). Another early film was The Engaged (1963). His best-known film is The Tree of Clogs, which was awarded the Palme d’Or at the 1978 Cannes Film Festival. The film drew heavily on Olmi’s grandmother’s stories about peasant life in the agricultural areas of Italy. In 1988 his The Legend of the Holy Drinker, based on the novel by Joseph Roth and starring Rutger Hauer, won the Golden Lion at the Venice Film Festival together with Donatello’s David. Pier Paolo Pasolini Pier Paolo Pasolini was an Italian poet, author, intellectual and director as well as a journalist, writer, translator and playwright. He is considered among the intellectuals of reference in 20th century Italy, eminent both as an artist and as a political figure. Gay and avowed Marxist, he expressed strong criticism of the bourgeois class and the nascent consumerism in Italy, with socio-political controversies and sexual taboos. A popular protagonist of the Roman cultural scene after the Second World War, he was a recognized figure of importance in European literature and cinematographic arts. Pasolini’s unsolved murder in Ostia in November 1975 sparked a scandal in Italy, and his work continues to spark heated discussion. Among his masterpieces Accattone, The Gospel according to Matthew, La ricotta, Teorema. Giovanni Pastrone Giovanni Pastrone, also known by his stage name Piero Fosco, was an Italian actor, director, screenwriter and film actor. Pastrone was born in Montechiaro d’Asti. He worked throughout the silent film era and influenced numerous crucial directors in global cinema with Cabiria, such as David Wark Griffith, for his The Birth of a Nation (1915) and Intolerance (1916). Martin Scorsese thinks that Pastrone’s work in Cabiria can be considered as the birth of epic movie and is worthy of credit for a number of developments typically attributed to D. W. Griffith and Cecil B. DeMille. Among these was the full use of a moving camera, which freed the narrative feature from the fixed frame. Elio Petri Elio Petri was born in Rome on 29 January 1929. He was expelled for political reasons from San Giuseppe di Merode, a school run by a priest in Piazza di Spagna, and enrolled in the youth company of the Italian Communist Party (PCI). He wrote for L’Unità and Gioventù nuova as well as Città Aperta. Petri was a film director, screenwriter, theater director and critic associated with political cinema in the 1970s and 1960s. His film Investigation of a Citizen Above Suspicion won the 1971 Oscar for best foreign language film, and his film The Working Class Goes to Heaven won the Palme d’Or at the Cannes Film Festival in 1972. Petri’s other significant films include The Tenth Victim (1965), To Each His Own (1967), A Quiet Country Place (1968), Property Is No Longer theft (1973) and Every Way (1976). Franco Piavoli Degree in law, Franco Piavoli he practiced as a lawyer for several years. He made the short film Stagioni in 1961; he later abandoned the legal profession to teach in a technical institute and dedicate himself to cinema. After making a couple of short films (Domenica sera, Emigranti, Evasi), he came to prominence in 1982 when he made Il Pianeta blu (The Blue Planet), his launch feature film, in competition at the Venice Film Festival, UNESCO award. The knowledge of this work was made possible thanks to the interest of his friend Silvano Agosti who one day in 1979 showed up at Piavoli in Pozzolengo with an Arriflex video camera and a pack of reels, informing him that it was the time to make his first feature film . For an entire year Piavoli was responsible for filming the film which Andrej Tarkovsky would define as a total work of art. In the following years he made 3 more feature films (Nostos – The Return, 1989; Voci nel tempo, 1996; Al primo soffio di vento, 2002). In his cinema Piavoli does not give much meaning to words, focusing above all on images and sounds which in turn end up being protagonists and representing life. A cinema defined as “symphonic video”. Antonio Pietrangeli Antonio Pietrangeli was an Italian director and screenwriter, significant for his Italian Comedies, born in Rome. He started in cinema by writing film reviews for Italian film publications in the magazines Bianco e Nero and Cinema. As a film screenwriter, his works are Ossessione and La terra trema by Luchino Visconti, Fabiola by Alessandro Blasetti and Europa ’51 by Roberto Rossellini. Pietrangeli’s directorial launch was Il sole nelle occhi, a 1953 film starring Gabriele Ferzetti. The comedies with Alberto Sordi followed Lo scapolo (1956) and Souvenir d’Italie (1957). I Knew Her Well (1965), a portrait of a naive young actress played by Stefania Sandrelli, is his masterpiece. Dino Risi Dino Risi was an Italian director. With Mario Monicelli, Luigi Comencini, Nanni Loy and Ettore Scola he was among the masters of Italian comedy. Risi was born in Milan. He had an older brother, Fernando, a cinematographer, and a younger brother, Nelo, a director and author. At the age of twelve, Risi became an orphan and was cared for by family and friends of his family. He studied medicine but refused to become a psychiatrist, as his parents wanted. Risi began his career in cinema as assistant director of characters such as Mario Soldati and Alberto Lattuada. He later began directing his own films and was credited with giving early chances to future stars such as Sophia Loren and Vittorio Gassman. His 1966 film The Treasure of San Gennaro participated in the 5th Moscow International Film Festival where it won an award. In his career he made many films: the most important are Una vita difficile of 1961, Il sorpasso of 196e I monsters of 1963 and Una vita difficile of 1973, all masterpieces of Italian comedy. Francesco Rosi Francesco Rosi was an Italian director. His film The Mattei Case won the Palme d’Or at the 1972 Cannes Film Festival. Rosi’s films, particularly those of the 1970s and 1960s, often contained political messages. While the subjects of his later films ended up being less politically oriented and more literary oriented, he continued directing until 1997, his last film being the adaptation of Primo Levi’s book, The Truce. He received the Golden Bear for Lifetime Achievement. In 2012 the Venice Biennale awarded Rosi the Golden Lion for Lifetime Achievement. The 1963 film Hands on the City is considered his masterpiece. Roberto Rossellini Roberto Rossellini was an Italian director, screenwriter and film producer. He was the pioneer of Italian neorealist cinema, with films such as Rome, Open City (1945), Paisà (1946) and Germany Year Zero (1948). Rossellini was born in Rome. His mother, Elettra, was a housewife born in Rovigo, and his father, Angiolo Rossellini, owner of a construction company. His mother was of partial French descent, from immigrants who had arrived in Italy during the Napoleonic Wars. Rossellini’s films after his early neorealist films, especially his films with Ingrid Bergman, were not commercially successful. He was a master recognized by the critics of the Cahiers du Cinéma. Truffaut wrote in his 1963 essay that Roberto Rossellini preferred real life to films. Rossellini’s impact in France, especially among the directors who entered the New wave, was so formidable that he was called “the father of the French New Wave”. Unlike directors who usually become more restrained and stylistically more conservative as their careers progress, Rossellini became increasingly innovative and continually experimented with new techniques. Corso Salani Corso Salani was an Italian director, screenwriter and actor. Graduated from the Institute of Cinematographic Sciences of Florence in 1984, he made his directorial debut the same year with the short film Zelda, set on the island of Capraia. In 1985, he wrote the story and directed the video for the song Guerra dei Litfiba. Having moved to Rome, he was assistant director to Carlo Mazzacurati on the set of Notte italiana (1987), and in 1989 he made his first feature film, Voci d’Europa, which won an award at the RiminiCinema. He also began his profession as an actor, kept in the background compared to his career as a director. The role of reporter Rocco Ferrante in Marco Risi’s Muro di rubber (1991), about the Ustica massacre, became popular. Gabriele Salvatores Gabriele Salvatores is an Oscar-winning Italian director and screenwriter. Neapolitan by birth, Salvatores made his debut as a theater director in 1972, founding the Teatro dell’Elfo in Milan, for which he directed numerous shows until 1989. In that year he directed his third feature film, Marrakech Express, for which he Turnè’s 1990 sequel. Both films include a group of actor-friends, composed of Diego Abatantuono and Fabrizio Bentivoglio, who will be present in many of his subsequent films. Turné was selected in the Un Certain Regard section at the 1990 Cannes Film Festival. In 1991, Salvatores received worldwide recognition for Mediterraneo, which won an Oscar for best foreign film. He also won 3 David di Donatello and a Nastro d’Argento. Romano Scavolini Romano Scavolini is an Italian director and the younger brother of screenwriter Sauro Scavolini. He has been directing films since the 1960s. Most of his works are independent film individually shot on a low budget and with an original style. His best-known horror films are Nightmare (1981), a gruesome scary film that was banned in the United Kingdom, and 1972’s A White Dress for Marialé. Ettore Scola Ettore Scola was an Italian screenwriter and director. He won a Golden Globe for Best Foreign Language Film in 1978 for his film One Special Day and during his film career he was shortlisted for five Academy Awards for Best Foreign Language Film. Scola was born in Trevico, Avellino, Campania. From the age of 15, he became a ghostwriter. He entered cinema as a screenwriter in 1953 and collaborated with director Dino Risi and fellow writer Ruggero Maccari on the screenplay for Risi’s film, Il Sorpasso (1962). He directed his first film, Let’s Talk About Women, in 1964. In 1974 Scola enjoyed worldwide success with C’erariamo tanto amati, a great fresco of post-World War II Italian life and politics, dedicated to his fellow director Vittorio De Sica. The film won the Gold Prize at the 9th Moscow International Film Festival. In 1976 he won the Prix de la mise en scène at the 1976 Cannes Film Festival for Ugly, Dirty and Bad. Paolo Sorrentino Paolo Sorrentino is an Italian writer and film director. His 2013 film The Great Beauty won the Oscar, Golden Globe and Bafta Award for Best Foreign Language Film. In Italy he was awarded 8 David di Donatello and 6 Nastri d’Argento. Sorrentino’s direction and screenplays such as Il divo, The consequences of love, The family friend, This Must Be the Place and the 2016 television series The Young Pope, have received 3 Cannes Lions, 4 Venice Film Awards and 4 European Film Awards. He often collaborates with the actor Toni Servillo and with the director of photography Luca Bigazzi. He has also written three novels. Perhaps his best films are the 2 initial ones: The Extra Man and The Consequences of Love. Giuseppe Tornatore Born in Bagheria, in the province of Palermo, Tornatore has been interested in acting and theater since the age of 16 and dedicated himself to the works of Luigi Pirandello and Eduardo De Filippo. He initially worked as a freelance photographer. Moving on to cinema, he made his debut with Ethnic Minorities in Sicily, a collective documentary awarded at the Salerno Festival. He then worked for RAI before launching his first feature film, Il camorrista, in 1985. This sparked a favorable reaction from critics and audiences and Tornatore received the Nastro d’argento for best debut director. He is considered among the directors who have brought important recognition to Italian cinema. In a profession that has spanned over 30 years, he is known for writing and directing dramatic films such as Everybody’s Fine, The Legend of the Pianist on the Ocean, Malèna, Baarìa and The Best Offer. His best remembered film is Nuovo Cinema Paradiso, for which Tornatore won the Oscar for best foreign language film. He also directed several commercials for Dolce & Gabbana. His most personal film, from a linguistic point of view, is A Pure Formality. Then his style became more and more mainstream and “Hollywood”. Roberta Torre Roberta Torre is an Italian director and screenwriter. In 1997 he won the Nastro d’Argento as best debut director with his first film, Tano to Die, a truly original kaleidoscopic “mafia” musical. The film was presented at the 54th Venice International Film Festival, winning the FEDIC Award, the Kodak Award and the Luigi De Laurentiis Award for best debut director. The film also won 2 David di Donatello and 2 Nastri d’argento. Florestano Vancini Florestano Vancini was an Italian director and screenwriter. He has directed over 20 films since 1960. His 1966 film The Seasons of Our Love, starring Enrico Maria Salerno, participated in the 16th Berlin International Film Festival. His 1973 film The Assassination of Matteotti participated in the 8th Moscow International Film Festival where it won a Special Prize. In 1999 he was part of the jury of the 21st Moscow International Film Festival. Luchino Visconti Luchino Visconti was an Italian film director, director and screenwriter. A significant figure in Italian art and culture in the mid-20th century, Visconti was among the fathers of cinematic neorealism, but later moved towards melodrama and themes such as decadence, death and European history, particularly the decay of bourgeoisie and nobility. He received numerous awards, including the Palme d’Or and the Golden Lion, and many of his works are considered influential to subsequent generations of directors. Born into a noble Milanese family, Visconti worked as an assistant director to Jean Renoir. His 1943 directorial debut, Ossessione, was condemned by the fascist party for its depictions of working-class characters turning into criminals, but today it is known as a pioneering work of Italian cinema. His best-known films are Senso (1954) and Il Gattopardo (1963), both historical melodramas based on classics of Italian literature, the gritty drama Rocco and His Brothers (1960), and his “German Trilogy” – The Fall of the Gods (1969), Death in Venice (1971) and Ludwig (1973). He was also a skilled theater director of theatrical and lyrical works, both in Italy and abroad. Lina Wertmüller Lina Wertmüller was born in Rome in 1928. During her youth she was expelled from 15 different Catholic high schools. Throughout this time, she remained fascinated by comic books and defined them as particularly important to her in her youth, especially Alex Raymond’s Flash Gordon. Wertmüller characterized Raymond’s comic framing as “quite cinematic, more cinematic than most films”, an early sign of his predisposition towards cinema. Wertmüller’s desire to work in cinema and theater took hold at a young age, and from a young age she was fascinated by the works of Russian playwrights Pietro Sharoff, Vladimir Nemirovich-Danchenko and Konstantin Stanislavsky. She is known for her films of the 1970s Pasqualino Settebellezze, for which she was the first female director to be chosen for the Oscar as best director in 1977, Mimì metallurgico, Film of love and anarchy and Overwhelmed by an unusual destiny in the blue sea of August. In 2019, Lina Wertmüller was one of 4 recipients of the Academy Honorary Award for Lifetime Achievement, the second female director to receive the award. Cesare Zavattini Cesare Zavattini was an Italian film writer and among the very first theorists and supporters of the neorealist movement. Born in Luzzara, near Reggio Emilia, on 20 September 1902, Zavattini studied law at the University of Parma, but dedicated himself to writing. He began his profession at the Gazzetta di Parma. In 1930 he moved to Milan and worked for the book publisher Angelo Rizzoli. After Rizzoli began producing films in 1934, Zavattini obtained his first film script in 1936. Valerio Zurlini While studying law in Rome, he began working in the theater. In 1943 he joined the Italian Resistance. Zurlini was a member of the Italian Communist Party. He shot short documentaries in the immediate post-war period and in 1954 he directed his first feature film, The Girls of San Frediano, his only comedy film. In 1958, together with Leonardo Benvenuti, Piero De Bernardi and Alberto Lattuada, Zurlini won the Nastro d’argento for best screenplay for Lattuada’s Guendalina. Zurlini made his name as a director with his second feature film, Estate Violenta (1959), starring Eleonora Rossi Drago and Jean Louis Trintignant. In 1976 he created the greatest adaptation of the famous novel The Desert of the Tartars by Dino Buzzati.
5438	dbpedia	2	57	https://www.firenzemadeintuscany.com/en/category/art-and-culture/	en	Art & Culture in Florence	https://www.firenzemadei…te_Culture_1.png	https://www.firenzemadei…te_Culture_1.png	[ "https://www.firenzemadeintuscany.com/images/issue.svg", "https://www.firenzemadeintuscany.com/images/logo-w.svg", "https://www.firenzemadeintuscany.com/images/search.svg", "https://www.firenzemadeintuscany.com/images/search.svg", "https://www.firenzemadeintuscany.com/images/issue.svg", "https://www.firenzemadeintuscany.com/images/logo.svg", "https://www.firenzemadeintuscany.com/images/fb.svg", "https://www.firenzemadeintuscany.com/images/inst-o.svg", "https://www.firenzemadeintuscany.com/images/yt.svg", "https://www.firenzemadeintuscany.com/assets/w=1500&h=740&fit=fill&f=center___images.ctfassets.net_7dc7gq8ix1ml_7hy4ONytj5QtR5AXqBy0Ki_e934315a5bd7e6dc7651f77189fa3b64_C_Arte_Culture_1.png", "https://www.firenzemadeintuscany.com/images/fb-o.svg", "https://www.firenzemadeintuscany.com/images/tw-o.svg", "https://www.firenzemadeintuscany.com/images/email-o.svg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5TCdEEcsMrvXXvgr3T8Pot_225cf59975070d1c3f3804743c92085c_coversito.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3prHPxt5an4M1uBUhHzvmN_26b6d5663ef8ef3af9a50328becf5eac_Uffizi__ph._Pasquale_Paradiso_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5XnRezsrLlxGMV3fT954Qx_be6e8c82d9f88170259a948fe1f59453_concerti", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3E0wsovKd0ebzL8wr3Gxce_47d251f8085b63643540442c9d268d28_lllll.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5yNCASnBSHIEuB917gUcHP_bdbad4a94fde706416d3a472a77e9781_Parigi-2024-5-cerchi-olimpiadi_copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_7cm47Nl8BkAO8L7jtD3Xg3_a3c55d05b342a54b93a37c60bd87258b_saracino", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3X34EyoUjRERpXqDtF5rNj_10581c880e746dc05bfd27dee864c06d_mostra.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_qPCW3SkBBusISNDY6rw19_72f6f72ab0b033865f525f54f59f6330_biennale", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3sGPbqH20XlyNkwqado8Zk_a966abf039023eca992b7425b264c8a8_yyy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5kKqvkyStAnZeyzjALbxkV_5b9b28cb40b69471b606a42c1c187eef_lll.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_FhNG5BVioY6VFNTlPFyD5_aa1912c484f743f25e16eab81009a010_stef.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_ucgtr7NKfnhwgIayFoX48_a197aee001646208cdeeb208910dae61_festival-del-mare", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_9gSr3MREh4yRRsBrOskRi_5d1b1488631751aff8a1ae6847790180_025-fcrf-villa-bardini-cinema-photo-stefano-casati-6931.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5XMZsHjnO8ss8E8NU0lIUr_20771adc714dd8e8f975a2c0c0e9f042_maria-novella.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_75UyW5lFAKa7Qcxu02l2e8_5d84951da5c970c3654d80911b0d7a6e_vasariano", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7vFZP1hm6o0MyCvA8WiR8h_18a9aff604c236378db13940b37b78d9_ggg.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Zwac3aSrHhy3D2zpZZcfV_b62dabbad1253378ea21a594b750b407_botero.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5QHCH1SBAvNbUYsZutuyJR_f0c73fd78b5015e34cd4f77653daea3c_Duomo_a_Siena.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_LXoEPaGKw9nDLnTarbACX_cd31338f9aa0fd9913e122fc2a12ad28_bici.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_vcDxUpPyG5WQxSYZjDLUQ_710f889b1e91913083699196bb2b5d23_pitti.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6TLcXUqkdwwYaB2fFwYUR5_7b828d0daa9fe314f45e42b6c057f3c6_cinema.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3CaTG1bencIMqOBU3WiAza_3c34ea5b662f2754ec4eedd99e3aa1ba_san-giovanni", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_45qobWMsht1fj6gtXqDepM_0cffde46982ad6bec41d60663f4fb253_frtel.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3X34EyoUjRERpXqDtF5rNj_10581c880e746dc05bfd27dee864c06d_mostra.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_TU1J1hVPq9BmrF4HHdRPS_2f3c1dd600cc988fc221ec50470892e6_maggio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7lu4qpzlqIzfAHuYh2voex_13338306d9a1bc5b1a1fd2509a78889a_pietrasanta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7qiGjophIdrd8KcTI3gjV8_9ebf1028d7e36f589d7f19eedfc53f88_viesca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1WzwdeWUW62QRPagJflGI7_fe4d3edc7d3b1e1c6b8db8ca91bafa0d_cover_firenze.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6ewk7mBBqdNLkgxB2VvgGQ_9e7dd33d7c770cc0b81b20b53f0dd9c8_Cavea-del-Maggio-_-Michele-Monasta-Maggio-Musicale-Fiorentino-scaled.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom_left__images.ctfassets.net_7dc7gq8ix1ml_2fzTwdae6G81ZH4DAQvPKD_0480941b3eea7505678fe49100257b9a_1000_milgia_toscana.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_16zetyjtvzbN1w8ahXwjjs_bd2e1fe2619eece86f1e34c85b750c08_polo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom__images.ctfassets.net_7dc7gq8ix1ml_4pUFnkSQ9tUkWWkTpa3LpP_98872daedafb609300f8457ee73ab5e6_tosca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_46WFZkyugOIX7uYR2rmRgO_99331ed3f26440132a8cebf6dd33ee81_Antinori.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_ciuPEvdRz90kPPwbs4gEt_b1fd7ea426fad47f2bf1f84c0ba1c197_orfeo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3ls0XwJarLMiuYbdxzLsLy_07174afcfbd84a86078dab34ef7cc8ec_estate.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4XaRHStgLu0dEb1ur3FoRy_634f32a2eed46d1de2b1ac068b922d1c_consoli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5VQUTAFoA8Cyi8Lg9yVclB_31c6c984178c0992ee5fffc2a0af5a87_conti.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Mfd35MsS7O5yDa8ccH98H_80a99dd45b9c89e30a304fca44073640_tatti", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3oelzJvLDWcmSyTtGB4W4j_bfdc4b11ad95ded201c1d05b57aad378_Palazzo-Gondi-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3dt7fIvYWsYlqYxg2U240G_d0fdc753903e7e269d1f8f5e2872328a_planetaria.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_46sbCmGsJYjOaFjc937oBp_12c44422c2d6820bfc590b0eacb4f308_wewei.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_7oN9cOaNluYReHwjejLBDy_5479cbb4f9dd26b0ebf1a731851c83a4_Schermata_2022-10-10_alle_13.32.58.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_7GBAhZVp6BjLhOwTNk8cXz_5adc2f388c1ae4e4c6a32048a75c47e6_pessoa1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_39THVK3WVhXCvhkbX91Rtg_3769be9b456f54fcf229ddcef90f4873_CM.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_723kmitoWQD9lihQz506j7_64a432c32c9939506f459df24747b7dc_uffiz.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1W1MWjv3Ujw5Xrl9X69tQN_90494391f7ddaf24dfe477e6efef492a_Jodice.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1HfBhb76GfRrFlfVqpllse_8e5782eb330892d607820d3f26030cb0_kiefer.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7s7O9WglJ42YtRWs18QtYQ_688dde280aac5ad9b6aa125e8156509d_modigliani.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_H1Rux27imTu1Pvf4PHbeg_1bb6e97b8d571910e359bae03067787c_cover_firenze70.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6rzJnM0VxyIathXxIsacxe_42094495511ec2933ca4f605544910eb_Lorenzo-Quinn.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2PjF3mlK6lMDZvGuFbRmXA_b7bd6e17f03b56f0649ff43bf5962905_MT", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2PjF3mlK6lMDZvGuFbRmXA_b7bd6e17f03b56f0649ff43bf5962905_MT", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_66iedH7hksJZQsXrKYwPMy_312e751627f60e29c25901d2f67cccfd_druid2", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Qudj57eDnDPGubedQ6MOL_e16b183763a8ba02a139abea4e560666_corteo-storico-fiorentino-scaled.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1qRIblET2ksMdlVNygdn2H_cb9d1fb918c9d86f61904e7edb2d37c3_palazzo-vecchio", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7GL7xhvOeYCGJxQjMjNjEk_ca1db9763018f3142983788dbede8519_Pedro-Sandoval._Il_nuovo_Rinascimento", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1rIPSmNRDdwgMAq1hmrfbz_035c28a52b2a83e4823945f54622c419_bitoss.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Z4JoOkh6HtzLxLPmKYjfm_0303678f93c821c57a75dfe93aa6b5b6_Brevissime", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_5kwBzQD5RwZiTIxIofndNG_5dce24b1a97cf3a5e89619df7bdccdb6_IL_VOLO_ph_Leandro_Manuel_Emede.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5NX5xa0QOfgpGL2K0PzRp8_f330a1dbc5d62528ab2c29903decfb5f_gucci.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_7ecU13qzL17A6RIOt3ADOl_d3f32d9871939ca022c67c58fa979b4a_Galleria_degli_Uffizi.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5wzode03HhhWh55fmMF9V7_8ecd074f97cff6fd8e3587585d238ee3_donna", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_nf4uhBdaAsd5vGX7uxcAw_e877f3431626cffb05300c2f3fa04b72_Carlo-Zoli", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4zRof50Vkk3OGD3b94cwr_bdf83d9316fcdf98b62dc43020de1587_Savoy", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_KczUeCIbJ3pSE0iG5P2aT_58093ed912695bbb340f34304d9fd0d4_Testo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1LJMRXGXyTWGYyBlop8Okt_bcc61bcb1b127f6328081d3962ac0ca1_Museo-della-Specola", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7ecU13qzL17A6RIOt3ADOl_d3f32d9871939ca022c67c58fa979b4a_Galleria_degli_Uffizi.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6rkX8FwcOhUTXA8CmxoL53_0ace2b438e41270c96ff3747c5fc808c_danzainfiera.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4R2zDPU31mKgswjeR3XMvZ_e9f06d156b2077e069511dd4d1b3360a_MassimoListri1.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_vh15xTfYFCKDv013TQ4At_3a2459a1771904d138455e1b14112580_Paolucci.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5FMrBIyHgsNtWpFZDRSkSx_d0f914250fc3c667788f3d53d316351d_sanremo", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2ptC3H85snDqyVrzJq5Su0_d0997ec2cde9c49a2220d3fb7e5eedb4_carnevale_di_firenze_2020.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5vbrGmUPyMzXoY3qdrIV5e_4c016f553efe9ef9ed0dd74c13e3653a_Memoriale.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Mg9kLMEfVOrElj69wVM1D_9be7ce322058347cbf15b4ec7855254f_santa-croce", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3eIYf0wstOcFNzunrYMEGN_5035c113042247c4f3f30c8e6e88f331_stanza", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_31OaGfTsYBhaaxodkDscgK_bdb79b35949004e820b11786c4fc8e44_The-Palazzo-Pitti-windows", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1un1PCTwOj8p74Rs4r4nOf_3cf881a715436a6b150a17a49bd2ce69_Fondazione_Romano_20.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_679wnKxD7FP4P83k471Y7B_18c8c31ab10b2cf576ee416c5140ab6d_orsan", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_LKNVZwJ9BA2sveViiJJXR_cfd60344f6d13e7dda26549d180e20d2_horne", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7LupZWOVqZcLfItkDEijZV_d82f279b0341585233c2142a21493e90_bardini", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_UjdJoMgjz77NLx8skHVDX_898ff25fd77d2ae7be273e121ee0f97a_marzocco", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_57fGHTTMMnyGTG4XWaEOFn_dfacb08b4fce16e8bcaced659551742e_isabelle_huppert.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5y7Cj5ZEUhSydssHpf1rTY_7d41b1f8211905f5dd978415aef6e835_presepe", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_vJjalZQVFSXM3PinYKfs5_02ed09d30077a75984a2dbf95a9e7bc3_image.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3DbigEf8SgnyJ7o68v0vgN_4aaa6f37610ea5548056a44befd8d713_cinema", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5hLcVta9u3gdZMAMpjW5F9_bd88c2b82462bd8987856631c5d7ac8a_harry-robinson-BRfM9Jm6Y0I-unsplash.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_11OoLZGq3xFJwEkLnKEajU_0f960a89d74587b3adf01302c21e4f3c_Fondazione_Teatro_della_Toscana.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_79KiVA3guTBL9hZprpIhkO_d34f888406200b59d3cd7fb06b791ca7_ruota", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_15H1ObPoDsTbVaZftTmn5m_41994db7c1b5d5cb33351560108e3c1b_uffizi", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7tvMBJtsQ4rwvkfqOnqkfk_5701793925b171cb982cb0efe870787d_airc", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7AzgOyuOLyXqWcgAoJgI5l_18fa222bcb0fe4d2d39e54c72fa690df_scarpette-rosse", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom_right__images.ctfassets.net_7dc7gq8ix1ml_6c2pch4YRTMPSnJ5L3GisU_dbd09e19d98fd7ca273d21ba3c4657a2_bto", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4Ftk53VAQIrjDsDnSrlyod_98157c421836900f6fc637879a91e8b5_statue", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7eVEqtU3bsNG2JYwmHRyKd_1dca70988d61589816add84ab39e8893_fi-mar", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4s8wK6pywJeppSesTVCQRN_6e854be2d765ac7e6cfe7e4b38662367_banner_toscana_donne.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3Pn8i402yc5mgtUTy5cNOf_14de8d5ebe6ac83d141550f029891f95__F_1_Nummer_Achttien_Guido_van_der_Werve_STILL_15_copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_74V3KtNo5QjkSD0hNI7pai_96da3029a9b7ba27f3402d5fcdaf1e22_DSC01948-Migliorato-NR.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_71bdWOPbomfpDLKDNDUDel_0adbdee60532750259fbfbd3a207dcfa_9_16_COVER.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3d33JXj50ogn1vm9jKwV7Y_c16141d2371782252a725db128711ceb_lucca-comics", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7mlctsG92IP1B4UJMbKsm9_33fa7e09b4d061b77b2819ec2fd26e32_Coup_de_chance_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5WDDR2qrea4GgQ4YvvmbAG_ba5ac3a5db31a9c5a0a0bffdfb7a4cc1_torri", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5LEBrWbxh8S2NfykRvf3oT_ecb2c0d919cb5b72f17578fece856eb0_benve", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_19Sjb66yPWOUU1F0PwGuqP_209ae97387475e166465f6a5e016b977_viola-park", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3MXy2e72hqQeUxgAXUaRVo_93689af8547c41140793bfd68a50704e_torrita", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2O0WGULJWVcOwjKR9fgk43_6a65177540ae9cc801f5ed96dd76a3a5_ANT", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Dhvkr5OgWnI24CCuQV1Hw_7fcedae090936cfd998f9960721be400_pergola_sipario_storicogiacomocosta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1lpR0YrRCl1z5J8uQrpp3p_bd054532a2f10ff6a39ae9b42e1e8bf2_limosani", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4W5hKieBXgOmYKd3AoG9x5_51815b1eb56800ff3e3fb62c25fb44e0_kapoooor", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1gXLZKKwZAsDqlkQ3j484g_f7172594334e05b623d39e1a5e811446_arteeee", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1OWGcQzxlDQz0JAE6IKVOr_bfdc511026617ed012750adc5f5946a5_cec", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3MH69NYJyw514VDyGrhPVz_e9ca07cf6df35a35a55123c75bfbefa1_MIDDLE_EAST_NOW.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_54O4Ganek4MwoyRadBZ6A7_35256dc79507538a09970816e70b2681_gallery", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1eKpXS87oO5lQJEQ5UoaSz_e61cff2479a5e0e49149b417bf6e14ff_art", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4iBPUXcIEIhzLZX3MJEG5X_0822030d1f163c819694280e6a015ec8_florence-biennale", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5cLT37Zw7PngqNA1uPTKvt_da2760987235f4022e90cb3099a54cd1_CorriLaVita.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3jIoCFhJyncfXhxfdhNJHX_d1716b6cc8df5d4bb2506d74f23ce09d_lucca_film_festival_Isabelle-Huppert-_-Guy-Ferrandis-Le-Bureau-Films_copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4XU4z1QVKOKjgHEDpZIu2E_a0069811785642ac6ce3375a32d01599_fragranze2023", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_vbWAKK5U5ul84VzFmdrBJ_4630fe68862c57ced80f05d6e968e3a2_accademia", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_22wLdoRHJkQY69N9EX9OrB_be99c53b55511b979d786cd2d67e1254_Genius_Loci-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4W0tK0oMnu20VimZk8mWqZ_8af057bf567d53c31ed7b8d0e93b2437_PalazzoVecchio-phOttaviaPoli_-_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7thpIn8rSguGgDRmrswvJT_2fe2b54a0dbdb04ae028925cb71bda64_giardino", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5Dzid5j46LZlibmqoUrGyr_93f2e511f244f65d8208ecaa9323e0e1_venere", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_3iR2jdfts7aBItkAqPKgYq_2a9319a0058d64a40047ccb642f0ee55_volterra.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4nKGG85C73xwQbFjqGFdNW_1f605ef27d8aca6f085d60e29e253ed0_statue-duomo", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5Q0VBH5FLeZ7JsC8iIx74L_d2e92a3aa71cc101cbaa6d6147561ae7_capannina", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3RBljIMMyrowd4B7UkJ7Re_39c610f4190f9bedc75bf9f1f255ab9e_GUSTAVO_VELEZ_FORTE_DEI_MARMI_1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5uFCEhwK15WkegKcW8hYqm_44968a248ab4ca9f2d732438a958f873_Capalbio_-____Leif_Carlsson_for_Monteverro.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2FkMp3iUthqwljPMWZshCV_f70bf712f0efaaaf5c7894d1d5564117_mostra", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_53tWfeoCwO9BVb9D20Oy4B_52446f32d86d7302f3738bd034c51de3_panariello", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4SKj4PWtcMyqy8lUUCtaGf_172bced0e85fb72ba13d8451ae1a83fa_petr.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5GO6CeBLoUB28rHXlqmSzi_cb0906b02c03c388d2006f752b9aec55_Dante_Alighieri.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3PBJGXF0yOK3oW5W2sYm2W_c0a1177f298d49fdbb100efbcf427e53_cover_Bronzino.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_6IEkd7YqJHJtCa7oog0adL_51ba6f15cdc1c2417dda426e8e864678__PAR8289.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3aziyYCf8vQcF0yNG4NqEU_7829dd241b6282f720a0c24367efda3b_bargello", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_4gsEd2aAjvB3M0SaDtRMZk_24c0e1e8073847fe92f3b7753b16ef0d_cover_Massini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_78oqH055mVJQmPeqvQudrh_142ac72022dc99311c38f71231df935b__MG_3123.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_mNI526gtdYe90spqJAffX_cad2b4778ef32176954f7b0bee955c1d_13_DS_09794___photoElaBialkowskaOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5R2Tdr1OdmqxqYJpGHHjGl_447d5eb46670bc33e4242661dc6aab7e_Simonetta-Sancristoforo-Cattaneo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2M4hnkvKvFqvZVdu48f28l_86475e2aec8622c27dae9b13c47ab1b9_Francesco_Zorzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3iW9YkSX062m5xLFQjXiMP_02847e5109bf4d31d9089c9fff541ec1_vittoria_colonna.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3cNfSffsb6lU5HPmVsgMRe_ee25a0c6d148c09f3e76195b92766f77_museo_del_treno.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2bnly57DpX2IdaE0al7b4R_4dc5d1349aa4b47a69519d7274baf075_Elio_Germano.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3oelzJvLDWcmSyTtGB4W4j_bfdc4b11ad95ded201c1d05b57aad378_Palazzo-Gondi-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7cWzri3L9ALbPVi97fxz9M_64d88d97d4a00fe7cc37adcde29abd45_le_dive_di_zeffirelly_savoy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_mktsFOO9jbuwkUFBHDopS_2d32364b730665155e981bd33efa8b66_La_bottega_dei_mascareri_ph-Dario-Garofalo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_7fqHxiO5yL9BJmGiuinyOy_37da0848c6cc54133f245425568483a9_cover-Seville.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_WCX5okBGrNaZidPTp3K31_16568ee424efac81ed2709e04b9f7db6_Jeff-Koons-a-Firenze-11.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2lvdzHYQtcZA428slfJEQI_6bae576a08c2f1058e659de501077f2c_dante-alighieri-1272594_1920_1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1D7hJrBBSuACmQCJCGn3lA_f45413a21ae2b06fe98aa7ae7c4c5e53_unnamed.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_4xc7hfqg7lbQc2oqSlxPMz_98394bfe9a770ed0271db4089c6e0ec7_Dante.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6HI5JHHb38y4BhMUMKK9KN_56786ab0cce5ecf1023da4cc1581150c_Dante_Gabriel_Rossetti_-_Salutation_of_Beatrice_-_3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_350HYCBcu3qtFr7mfFH8Sv_4d6369f6139379490b36afe4d6f8f4c1_San_Miniato_al_Monte_ph._Pierpaolo_Pagano.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6eAM1qg6oJ0VqtOHQhcs29_38748b81ebf36b5eb70c20879d8cf07d_Cos___fan_tutte____Michele_Monasta-Teatro_del_Maggio__14_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_2CrSDyd1ZWsYSb2arsWVFS_98ee38043066fb2ee76c289d11792a00_BeatriceVenezi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__downloads.ctfassets.net_7dc7gq8ix1ml_3HNsGev9bsm5isaVM2jkfm_3b76918d05f20210735b936cac6b7b0a_DSC_3146.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_FwfajBZCRDfkHqfwEM7gp_b343504774506ca26615362b39906161_SM_Cover-Style-Favino-0884.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1RsoK0aDob1Fw3ArGRu66r_81bc0bee19d516479a55ff4256599026_3cb899d0f43e8291c3abdfb8d310d2d2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_2JliPgyZs6aiiW75pX6B6C_55175771f2972cb74721f2607c69b14e_Dante_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4pgGFsUpyBni7euINwxyx9_a6d252d18d75cb6f88bfb62cb29aedb1_Agnolo_Bronzino_Ritratto_allegorico_di_Dante.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7b1SFx0toIwKWmPWKU3cID_86a8d9766995601edae6f4804faa801c_Il-busto-di-Dante-1068x710.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_5OFd0gwrNKY3vKjt7zvO1t_426321bc78c160da247de2077bb93e67_CoverDrusilla.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5GO6CeBLoUB28rHXlqmSzi_cb0906b02c03c388d2006f752b9aec55_Dante_Alighieri.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4wBG86D8r81GGzNuO0RxTG_3c94a27d2f312f3bc70b36e695528014_Pierluigi-Nervi_Ph.-courtesy-Pier-Luigi-Nervi-Project-Association-Bruxelles.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4rJMcpEPCdyUrAOpxGszRu_4535055c9d5d7e5736a2c9b357d41c53_hm_images_biog_1972_0009576.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1GN9fZtEJyS9UFPPCk0vDr_70722a2012b33ef7a073c317a48df030_cover_lombardi2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_YK2oTMVgsEzgfjEQjt7b9_1753feba8891647a45a09adc0cd80c03_Dante-ph-Massimo-Sestini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2xP4Vljjh2xnIRFyOYTyw7_1fe2a0ebf158d0cc03d7ef359747a41d_cover_cecilie_hollberg.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5AywcrBwI8D1nXmMDhTsfR_c9c56dc130afffa8866a7581afc3aaa8_Correggio-l-Adorazione-del-bambino.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6yPaMS1KjCMoxt3TrHllAl_6f2f02e25ad168bf1aed7fcc1d7653b4_3-DSC07394__photoOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2NVFUoRrCWhSaNNT4VqsC3_044bc443dcf17acb574005f640d3d77e_13.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5ipOxYm29PxHafhDdrvAUH_4ed13522d80770196bac17d3199e2040_Spagnola.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4wR5KgOxKczjlXWskcYEKA_374d51c053e8302f89f3f23f460e1cc5_259459_0020_4776914.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4l15pUBWIWr8j277TjZ18i_d62caa548f63f4ba510218d23ffdbf10_484A6A71-7738-4B6A-AFF3-F3D783020F92.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5AtdydV5JgXNidlEr6NbKK_4913e12ea90e8326b1060137f63fc70f_cover-Venere.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2NBkGFd5suHepEsxpKaGkN_295240bf659f0edf7cf1d2e47abe6ba9_cover-Virgilio-Sieni-ph-Riccardo-Caselli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7jbGExNRauwOw4QFOGaAhN_ae1c971480d3f8bfe4b67b53da97caf2_Daniele_Cavalli_ritratto.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1TH44QZDkZ3QSxYK4GPjup_03e1497779c4f1a19150356dc40e915e_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_7gx0ZkqQ5xM98d46awi1pA_86ea61b8134f687627c92c0ade097158_La-mia-battaglia-enrico-de-luigi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1NgBSf1Ne8alFioqKRqRrp_83e4687e95169ade0ce2a5517056935d_cover-Galleria-Continua.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2l682ji1rrsuy6k2F7xFXT_6ea0a6e1354017f043c685ad81fc2cb5_1582729487673-HD_COLOR_luciocorsi_025.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3r4LHOqlXa6Yr2GuN0vWoj_abcca4e4f3504a98b0aa442015bc2aed_200062-f1-charles-leclerc-mugello.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3YBT0hzhhioysOsRcgcm9b_4946104b2d846a3aae94f3203623a7e3_resort-maremma-toscana_copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6j74HWLIp6MpkmaHLz182g_60af19604719a3ed7a0548ab08918048_Duomo_Firenze_1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_5IHeU6wITCuGoNNqNFjo0T_cee17baa87c6411f585241a63060d624_melania_branca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5F2Zvej79p2xO2tz2MyBB3_227238f9768e7c7104d7b889f1cac153_Sandro_Veronesi.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1ZfcVLEpDqjEc1Bfyeu26j_d8f78314b43070d082ec38ae3cf81c3e_IMG_5950.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5QQ7pI71a5SogL0MOl6YQz_8ff51e062126c8a67e3bda78ad95030a_DSC_6522.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_5DKwgnbqTy3KkEGHKPHnJD_1fd2cd926ebcdebd55b4b866bcbc22f8_stazione_santa_maria_novella.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4omRNld3x3lLB7qe77TnUY_da2d2751ca7ca8239c68145fb44c788f_Andrea_De_Luca_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4ksmC8sLKo0LLbTy55RtCJ_b91af7d95e7e10eaa336543480ba7295_GOLF_2020032810222934-1152x768.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2pkE40HEeCze9JgRiEW1W6_c3bdeb684dc6983b207918ea943a5062_giulia_del_mastio_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_73azxa1MbkFksapOWp67CF_50ba5f480317b1546e14845ce3bf51c1_Libro__Olio_e_Pomodoro_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_3N6ucHMiQXZGm4TXGWiBkp_a44bd6d2816787649d95d4b7acb016e0_Didattica_a_Distanza_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_1rIFGXBlUIAFSyyt9BpOJg_62b8f9f98c152a93e1285b62db76c7fa_Arianna_Papini_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_5iBw20YeaC3HpaEi4liRf7_b7f800dd7b0f01165e74a6d9f01bb233_luca_ricci_4.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3UKUjw80zzn3wiYQOPCTep_cd31225c4ab21d2939c26199082ba366_Niccol___Storai_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_2FJMFnygNkyvFrDSchJw6D_e9d47972c99e326172a6ad4d541cb4c7_Teresa_Ciabatti_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_4JACe2ZtHsXTS6enFqfKEE_b9199008e4ae852983748a08349a88d9_andrea_bocelli_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_2FVzvh3rH6ThbBRbCan6gd_38ce8559d229731606584fd5d1660f2a_Marco_Milanei_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3K6a8FmU7rOw6VHlB4qsSW_0c360f8f5ff6d5ada53784d5c4276d1b_2B.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_lMMhLZiOxlh1m4c4dAegZ_474063f05b77a4d2c2cac5472f9a6bd3_image.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5F2Zvej79p2xO2tz2MyBB3_227238f9768e7c7104d7b889f1cac153_Sandro_Veronesi.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3YbMnHfCdKg8IshsVVc9BK_c3127b62f2c85b63eedd67cdcac8db5f_iv-teatro-della-pergola-firenze-ii-2008-091209032726-2S3XN76Q-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_rfyg4XryowIK2wUMKFaN3_cea02ca012cb8e979ba40f9401c69f48_Leone-X.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_7gVEZBBWb4xJJihIXGISTG_727c1a111b97e0cbba8ebb3f688b52f2_Stefano_Accorsi_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4SvgpXkOuLmmudPWM5ZmhG_0df80c211447e37788901fad20939d14_casa_di_carta_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_148ox5JmaASzvkQ12be6tI_9c64f2fca2e9cdae589924783112aabe_letture_autori_toscani.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2LUuE8pKVb6pb9UoWitvmL_e0ddf628b920975ee4c7a6d9edf12a11_coverlg_home1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2MckOJJ9dmTopcN5CtrR7s_dedce875e2e7542597ebad4f2afb6b32_T36OGNZWGJDELAUHLARXICYOV4.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5sYxUHFHHRRYLJekrd9Zzm_ceea009c836eae44175762289b95ba0a_Cover_Tom_Hanks_151722559.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5VkTIykHwOGssDPNL0DOQi_103cbfd8f38d8ee0a46d2ccbe43aa070_D01_7750.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5b7yk6C6m2cxjnf3D5lJiA_110de686729dcad16d5c1de79a9f6381_Sting_MT1543819.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Iqhxki6E57FokOvDLrDX0_04fc098173ab47473558f876ac75fe4a_Thermodynamic-Contellation.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2C5s9ScQl1VwaSBwTL0X7C_77a14b42489b45fa94d4a8b6c45e6f44_HAG01005_003.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4CbnpbHVZpoTB4KfbYIEnQ_1f5cb3f66f57971495b91cfe11ae675b_joker-movie-1554298531-1024x513.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7lK2cirInGibrJnrKwFtU5_415bf73a0202b6461004c9624126cd3c_MAR_9198_webOK.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3A4uuUN7gLJ3y56wJThwlk_7446d6c1ee3e78627a208ca1992a7455_daniel-day-lewis-6.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_75GBUIAkm780Wu2mYB45ey_ccf4a90aed7c4aa08f72e60bcab1e007_CS_FRANCESCO_GABBANI_2-1200x800.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3hvPrikntglwkmlk1Hlj5T_88da998cdd1269522227998db67930cc_Cover-web-Kobe.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3J3npKLuKg8DUZW9tNgrRY_03e06c546e0324edd54b9944b7083720__LNZ6127.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5lLe6mkXAM1e63w3nhIQTf_0d59d052b82e5fff83b3ddde8aca340d_palazzo_torrigiani_firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_FbC1zLKiitFDYydRWjzWC_8331f2ef32c449d19dc9ede8f8d0a149_108886.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_77XAsLPzjR9BjmdtKfxWXB_c31f867d970e4ee7daac28903228b5d5_filippo-timi1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_47XbtCd23RzEwPBZaP9eK_ba7e4c5eab603578c41d1f44c6036886__PAS2035-HDR.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3zZphTcD0FVk6WRPg1C3d3_aa4a91bd0b355ada1bcce75d19ea10c0_Gallerie_degli_Uffizi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5FSwve335QBV7RPIZJHhlK_71475cc27e19e0c36ccfe3916cf357c0_Bronzino-Ritratto-di-giovane-con-liuto.-Firenze-Uffizi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_75LfO6RB8eFqD5cq7ynC7J_b49b00fa85bf6514d6d4cf790f7af79b_453014209__mod_cuaron.jpg", "https://www.firenzemadeintuscany.com/media/venere-di-tiziano-TDE171R5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_TWNVhjvDqRmJR4CPOAK7t_58f6e749c7bddeba316ae5f380c3d897_GettyImages-451792330_ph._robert_wilson.jpg", "https://www.firenzemadeintuscany.com/media/teatro-firenze-5U1DUJPY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_20dNaHa8WRqCiGVAms9QvP_49592678ac49f2ee1c9f52d12251ddea_duomo", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2ZQEai5oZNMNzTKiX6tPTP_84e8d8ec6a80d80f4a062e1f5d9b755f_pattinson.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_33uFgHWSUDPS7tbVINyG6z_a542d8309099e317ddfce3c1ebfac398_caterina_de_medici-3-e1418202517363.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_60q09Bsih5UKm1NYKSFd7j_e7bbba572fa47c2260cbc3378027af49_PIERO-CHIAMBRETTI-1-1030x615.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3A4uuUN7gLJ3y56wJThwlk_7446d6c1ee3e78627a208ca1992a7455_daniel-day-lewis-6.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1L8lyxXUdhL7V3iytVe8qw_8913d04284a4b26ce06aca3b76c00dc5_La_Versiliana.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4DDp4iKUPRYCkkQiIBfFhR_bef4738304aa429c8738511bb094aa0c_vascellari", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7uspRrdZMiJ2K2nAhHtdYO_6852cca7e351fa1db66fc862009dbf47_fuochi", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2zkVwYUFwCYMD892g0pGpN_bfaf0f22abf01896db8b65c355e5bbc5_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7jU3OeAPy9DEsocXCYUJLf_58f5fd3297d113d8dff9dd0225be2265_novecento", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2bBCosEmnED6inp6Mhnus_803cfccc6c97b99718b09414b9e9801c_mostra", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_19UzoFSeDBg7WdqGZTnDeX_b69476608088ae9ea8a68d2c9e61a0dc_salone-500", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7GRlnkT71LkAoVjvcCeySX_38772f3afa1fb192ccc5061c363b54aa_Le-Case-di-Lucy", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6f8yjwDpoLGqHW3tax5fCB_706a48431cdf2b282ba280fb65d889ef_bob_dylan_lucca_summer_fest_2023.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1TkAhEP2IXIihbxaHD6kQb_75299afb57c24f820ab3931f13b84e1d_Chiostro_Santa_croce__ph._Ottavia_Poli_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7cTBt4ilyoNgcKv8xvMUzb_38c01504e34c727bb84a6929518a3b8f_rami", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4GkCDVI95rzbB63tOD8R0x_a1f98550fc35861a34f021da7cc79486_alice", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_20HqA46D0f2HLOplmd0gzR_becc0bc433268daf2fb01ab8ced44e58_amici-pronto-soccorso", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5LGuS5QcLin0J2ftbSQQA_38ff91d0f128052c4b1b577edb6efde4_thumb_93262_cover_header.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1vPMFEX3FvY7AJsvIHw1Zb_890440df1096bc796c554208e22961a3_cere-anatomiche", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_4xc7hfqg7lbQc2oqSlxPMz_98394bfe9a770ed0271db4089c6e0ec7_Dante.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6FRKOEfz5wsa4uTkglUf2E_33e1b05c27e2459bba70f364585407a1_giardini", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3SRIR14vO5ampPFM03jzlr_a40a64ee6379591ea96cf28a17643e6e_mostra", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5ZRtrZ8gqDz98GAbWxMc1j_d4422671294e772fb5999c8e3ad28269_mostra", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_5jfYyVmaaOsbDOKxmFsumo_90d0da5e6a0310319e4c1e6beb352ec1_Sala_Immersiva.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2xiT3ASteUf4lnnxT0USLR_0c0b2a1644561c06c0c19f5715769bbe_La_vita_e___bella_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4bbj5h27E8XiSThQDUodZ_e7b3e8c5a597fa7c3beaf1f6429df3b1_cover_italian_maestro.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_9rLNAA9WpUkDGDACNXdMD_90e9a6ba739d6b0fa450ee5a401f849a_Le_proprieta___dei_metalli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6PCDlIXcFPoTedRIOBpZiV_6d85b64d8399010b6b4718366783a7b6_libro-borro", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1OcBxG0KKisxyOtUd9pEMf_bd041dac64c7b29607eab18c0ecac995_Festival_di_Sanremo.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_6Kgl3Y5uFAOBi4EcNOVwP5_1f0ef1e4467a96ceff1f6a00c3821258_Schermata_2023-01-25_alle_10.08..png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_3zEO26lJtEuNF7CUENsAk0_c896a8a7e5d98fa2c44dce0a3662c814_Schermata_2023-01-20_alle_12.01.12.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6YzcWDvIKgvNqxflwDxLpX_a4f982b041cca7df73d930f3e4448898_Helvetia___Bristol.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2mrXD1xHQtb9G1eTmiRNg6_71d629a3bd31b68adad6ae168ca87ec2_Modello_dell-antica_facciata_del_Duomo_di_Firenze_di_Arnolfo_di_Cambio__Museo_dell-Opera_del_duomo__foto_Antonio_QuattroneAQ.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_31Qp1fbxbUr0O6KByAJQNo_4dde5afa259cdc476906a5100e99a442_Liquid_Art-St_Regis_-_62.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_6HwXAiMYMFkY1FKuq3gGyK_385b8666392adfe19a598672be281178_cover_puccini.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2Agey5D1AKNjAJntQ086uN_f259e4abf36c42253987a64aac378b31_Schermata_2022-12-01_alle_17.11.48.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7oZTfHQLp3pOGeaduybzbf_ff9041a07f588af5f1548dd87f389ef6_Umberto_Boccioni__Impressioni_di_paesaggio__1908__olio_su_tavola__cm_24_5x34_5.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3hCfvikvYoaID1OqQQqcMe_909f8274abc70463cf27b322e2ca7f1c_Milano_-_Palazzo_Marino.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3eNa5p6AsAaO91SnTAnJIy_155bb73e1413fe0b5a73c42e46f4f7c5_Schermata_2022-11-25_alle_15.47.29.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3mxJXMt0kEBytO8MmAYqg1_91fbde8009638cf7a2678cd2f030822d_Schermata_2022-11-23_alle_16.07.36.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5rBWEES1ezJzt4Fw4xaPPL_147ed10895529f6c211678f33fe6a864_Schermata_2022-11-18_alle_15.45.14.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4BqXFaziTJ9TpptCTT1Twj_4bbb3f492717843649a56556b00f24fa_palazzo-strozzi", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_DkmHjpZlOyrfQXTxqbGI5_162c348cb365a181d516f1d1fa260ea5_Checco-Zalone-Amore-Iva.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_18I3DIM9878RquPxtO5HTR_f20e50dd103fe5645f9a7c87cc66e69c___-archivio-foto-locchi-igf-all-132-piazza-dei-ciompi-BBRM5ERJ.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2fTifSVVGZLnuvGx0jLEwP_2d11dc956978c95d09f611223d29ae90_Schermata_2022-10-28_alle_12.38.31.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_qF6w1KkAvUJYLDyS2BCQA_8a96f51bdff019aae1ee87f0266aa4d8_Schermata_2022-10-19_alle_15.41.25.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_5esymppgO2KgAunjp6to41_751f0ed56a44eb883cbd1833be70decd_Macchiaioli_4374.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4EkXZceuJyYtFPxwEbTTx4_0f3a5b53b3235b3882be1344e37529ad_7A4A8704.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7uMHPE7Yq1I135lyLDboRV_cf218ec06535e7dab1830a53c2b4207d_reali", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4LwuCIzsSNKwXGSZ0JZn7g_43e5989abb1752cfd21d41e3bbac6373_battistero", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3T2fxMliQGaYGXACViGIPS_86732540c8c138b16a6650183e4ff77f_a-tavola-sulla-spiaggia", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_VbQiRC6Ol3nMMXcNmFn04_5097e201af1ad48a1097d5144f844009_C_2_foto_228494_image.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top_right__images.ctfassets.net_7dc7gq8ix1ml_4tE0l85ClHDMjMxfIPZbP2_3f275ace00ffcba9e89f932d9cc0f415_QuattroStagioni---phLorenzoCotrozzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5cbu23Vwg4xiNeiHOE8zKH_8141b4ae2c335b892d2b0eddb7ad1393_coverdavid_michelangelo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7yA3b5gR8oK00a4SjHOwCp_12f871988228eea41ee9c824fdeb3256_badia_Fiorentina_-_2.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_B3yvfrFHs7SLuXtWOmTse_95ed61b412017cecd5c1e28ae40e775c_Fra-Angelico-Annunciation.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4bin5OWuVznmRZJA9PvocT_712ccc103e2790c3e7af82c260f7a396_Album_Stefano_Accorsi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4ajEP9V1ccMttXY5t8ZzM8_5dd58392d515665f67d944e1386081d6_david-michelangelo-big.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3tMqTebdTjXtqark9nQQ85_646d8470284b09320e9c239699b9e49c_DSC_3186_mod.jpg", "https://www.firenzemadeintuscany.com/media/chiara-francini-XBCXPTVI.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1HOaL0cU1ucFHR595VDa3V_d01c0b8c64e890189d08b97dc0aa0c20_teatro-sfondo.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_1Ofm2CniSVFkhTCckqGwJc_316c2731a3583ca7cfba013f29dbc3e8_CAR_7913.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_xQzT7cwwcDEfE9JvsVE7f_cdf02edce8c6da9c50449e33b7f81ea3_Schermata_2022-10-21_alle_10.15.11.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_7eU1if0iT2mOMdcjwK5VlW_59b6a09f32702426bd95ffd6260580fb_Schermata_2022-10-17_alle_16.21.54.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1HrmyG9SkgGrxgc67eDo33_47ee3c7c33c57f6f08ac9676c0b8a563_LaGrandeBellezza_RosaGrand_MI_copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3UAxtNhnnbCWaDz9LnOWgq_fc54424143b503ff344ac2b51b7e0267_Pienza__Val_d_Orcia_5__ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_5IQg2l04Fjkk0BK5XryQrs_8c8a2a8d6e3a3d5ea1d36e8ba87bc808_1_LOW_-_La_dodicesima_notte__ph._Filippo_Manzini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_45iFrXwTyF7KV8tmF0dOAd_3218cae954d4bf343e5954435beeb007_Teatro-del-Sale_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_5YuIJZFervOnt6myED9QSC_bb5065547efa368347aef2b7bb354927_BORIS_CHARMATZ___Somnole___ph._marc_domage_-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_7bSGu0BWBFsCYXLdGElD8t_edbbbf9eb9027ac51732165d62291c7b_Schermata_2022-10-10_alle_13.02.53.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1emyVmRB9N0u7SCLFFbNcU_0e69d667e3124b5e4db1172aa7ca4589_firenze", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1jZIQc1E2ct3OgdDj9cghX_2c322d35b420a25637095eb80475e8eb_NGF_19_Fri_GBPhotos_055.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6txMKdaccGNFmMOzplCv6r_2824ccc3fe6e6c58b0d067575cd811c5_docugame", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3W6HmYz37NL0BpxctoYp1_26fa924e34aae3db44a6adfb2aa26be3_firenze2", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5MSklp8TMR03DLKgdq1w77_683a8ccf72d876c6e2be6861c79285c1_metaverso", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2FknEdSkODMejRKwFsNKAR_6456ec19f6d3ebd6bf059681a47c04ac_strozzi", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_H0fpX8dMnok7si3S4LdH7_4ddcae32fd9cc1b73d947023e6cbf630_sky-arte", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3iComuRUx7zDcqC4gmKFO6_3203678c6a0688eef73246e165312c47_biennale", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5SnLHQyyJbh9KGUsRIDwod_154089b6ef397469754f3c8dab9f3689_regina", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2OMMvOpb0gxCrUs6Nz9QmY_644a9813a189bf5d77347bc1938efacf_plessi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3SpE5mptSYZTZDOnlDh1ON_1fa12cfe1b4445cfcc5ab3cb23d70390_amici-miei1", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2ojs2DveYJmb1Ggl1WEQ6h_0a2a1ff3cd5c5bcf6a73540463d08662_Schermata_2022-09-16_alle_17.00.34.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2LMCxqLqRPsyaO6uLLovfu_eb414a54135ac8e14d58edf77ae7f657_SanMiniato.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2u0tZ3iHqwEiggQGVAqo7O_30af3adeefe7d460c4fb9aa2d3511c3c_pieta__-bandini", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5tXEILwrTX9n0qjLYJ3eks_ec632971724a83e4d2fd5322e22b4479_maggio-musicale", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6OtXFgRWiq8KYb6eEUgP8Y_8519377cd0417c07fb1d5c176069ad48_gigante", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4T5xeW4M9qTUDBEpCf7lhE_7f4eae0f6db357baa8f25fb98ffcc37d_La_Fonte_Musica_foto_Alberto_Molina.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1emyVmRB9N0u7SCLFFbNcU_0e69d667e3124b5e4db1172aa7ca4589_firenze", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4Pb9jZFSTaTgFYTsz0coCz_e1c5e1cf0ff06a0d27fb9b0080cc72aa_a-tavola-sulla-spiaggia", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3W6HmYz37NL0BpxctoYp1_26fa924e34aae3db44a6adfb2aa26be3_firenze2", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2LNYShjUQLPJpHyf2A2vM8_08ba6686538d2150ace310d64c608118_mostra-", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_49OBIAgsAb1NwKeGAl9HVR_dbd89708968c78dbef5a112ddf61be5f_villa-bardini", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_27S2gkHWyOa3kyO235PyP9_3b9954b7654aa7c15abf13eee31abcc3_1_DSC04613-HDR___photoElaBialkowskaOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_CiiKRUk1KgZOTN5bla6js_47ffae11b886b5cc3c6e1d609f5900ce_cover_firenze_segreta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5kR9pkQYOFtx24EkUJoWU8_9255b4730fa533341cc2eb32459f375e_Oliviero_Toscani.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3ETYPfWMs9utgkdVc9ib4W_bc882d70da2166706c6c847c080556e1_drusilla", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_40l4UF0HvZ3GrL4X4KnbCr_b02e7844eb71df302678e3c0207a4eeb_Schermata_2022-05-24_alle_10.25.18.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2nMLR7QonCCnhyhupRBHXB_e395f6c8fcb09a17d1264695f13e307e_I-due-Foscari_PROVE-__-Michele-Monasta-Maggio-Musicale-Fiorentino-14.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3PTDFUvZEROQY4Bv09jwAQ_4d7a96c7389568748fd8682b899b8a19_02_Refik_Anadol___DSC3275____photoElaBialkowskaOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__downloads.ctfassets.net_7dc7gq8ix1ml_5IOknbHkOeVgJqteshFxn8_fdc5e1bbc62581fd92c4a2d5d36ebd81_La_collina_di_Firenze_sulla_riva_sinistra_dell-Arno_ph_Lorenzo_Cotrozzi.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_72VAXEnZs40hdNo70cyEta_3be8da0f5da804a55183d107086061e8_Bill_Viola_con_Muriel_Olesen_e_Gerald_Minkoff_art-tapes-22____Copyright_Gianni_Melotti.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6XcQ72JqYKiiWo5I9yvYWi_33995ad304f32eb03731289ade8a8dda_David-donatello.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2ZcG8pwlKo6gSvX49AWwP8_9544953df6baaa63c5e9468ecb75ee8a_Schermata_2022-05-02_alle_12.50.35.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5dLO2QBMIrjIkr5wB7Ze5b_8158a41bef672ab043c42e103cf57046_ANGO2022_BSas.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3sN41XTK2ZM0p8vfGkRe70_04086c19ca4a2c4dbf460f0f6593bb47_PalazzoCorsini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5Awr4F2mEa9uQsbrCA5gs5_7b71a1a174ac5f9371de6298b070a9f5_setup-mostra-alan-gelati-gallery6.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_77bMbNWSw88RuCjpX4eqiv_88bac2b147a1420f2d1c821f0d13bb4f_Prodigio._Mestieri_d___Arte_e_Performance.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1ztjfgKyLX88axHJ7YxUfp_922342507c978da7921dbaaac2936e19_FOTO_BARSOTTI_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2C1K7dP9dttM3DiZimghs3_ea0105e04b2f7611fa66e55881615846_FI52_Opera_House_01.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7u2sir6HP73xxkpNo2sOdK_d3e56ea0e7ec325ab5a024c64605e8bf_Orph__e_et_Euridice_Prove____Michele_Monasta-Maggio_Musicale_Fiorentino__7_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3O7OTvWGWmI1tz1dZzMoY2_7bfdb0a439ba15f97be075a06df6d04d_POPPI_2.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_79OXTsYKtKfONhrNusqEUV_c8a58491b90da55ecaadd523f5477acb_CAPPELLA_BRANCACCI_3.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2d5jyh7j1ZECYKIxcoHWQ_b3448149443969a68b1f8e9453354fb3_Benedetta_Di_Paolo-2022-03_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_VhcAsmQ8HWn4CpwktgyWX_814096736118d2a5f94ea0044a4d9e81_AZUL__ph._Viviana_Cangialosi_Compagnia_Finzi_Pasca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7I002Dc762j22WXZq1wZ8v_f632e361a472588facd37384b98eaab7_Schermata_2022-03-28_alle_12.10.06.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6IlRu4wFl6Q49nKeJAOXy9_5f44e262d0b27f3cc36bcf32738a7bbe_sorrentino.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_2hrAjZEDzPRfaWD8uMJkZb_92db13e65482550c3ee4d0b1d6306db9_1393838228-sorrentino-bacia-statuetta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_JU31SEbwhR3naMtySZqtr_2266ff2f60c114717e04b9cef3cc9e4b_cover_david.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6Kvv7B6eogDx5QKYRfrUp1_93ac7768bf82f115cda67117ab53c798_1069543.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5hfT1jDyl5MyG7rm57Yv2J_176a0f8f6b382009a0ed384b516d14b7_AZUL_Stefano-Accorsi-Luciano-Scarpa-Sasa-Piedepalumbo-Luigi-Sigillo-regia-Daniele-Finzi-Pasca-ph-VIVIANA-CANGIALOSI-COMPAGN.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6ogoyEcA0QJefjiBTE7uAQ_a267ebfa4df47cd2341a210ff8e8518f_TA_ANTICO_3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3GkWtkkQbtrRWBZdvLdxir_c9f588f712ae2f3143b828b8899bdde6_24_Mine-vaganti_da-sx-Erasmo-Genzini_Simona-Marchini_Francesco-Pannofino_Iaia-Forte_Carmine-Recano_ph.-Romolo-Eucalitto-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5jPywtTzqHHyel9qTviF0K_8d1882ef6ecad04bf8adc2a5fe20c771_Schermata_2022-03-16_alle_16.19.54.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_samqnK4HVaFlNlBs0d3ml_8a7b48da6ea43a29ae83a117d681f39c_23_DSC08402___photoElaBialkowskaOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7fOkPjuTG7hKrl1jBj8e6W_9f4d0c5891718eee30ed73c0dbfdce84_DSC_6592_2477.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_2rAQlMMLx5IWH7SsJ24bkj_d8924f52ca18ba9c20662249e554e0db_Drappo_nero_David_Piazza_della_Signoria.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_6UZPcmH8kfQdguIkL2cFSA_2a6c11313d4a3583fb8fe9688caf88d0_pier_paolo_pasolini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5ulgcwIywzrihjo9hOKqrq_b3b2f608ecd88d629b36ff157a00f5a6_ELENIT__ph._Julian_Mommert.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6yZ7uLaFbwcZoPmKeX9XCv_704759c6de9f742c42cba457f1380ca6_L-amico_Fritz____Michele_Monasta-Maggio_Musicale_Fiorentino__47_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2ULWGloxIusLmkz9NLW1J0_7b0ed885c591e593815140fb43f7dad6_papa-francesco-a-firenze-940x628.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4PZZgRNteJvvVoNd1i0pZw_247fa71c4c8b84303936bad3fd029aec_Galleria_dell-Accademia_di_Firenze_-_allestimento_mostra-_foto_Guido_Cozzi_034.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_75udwTQp2e1dcwToOwLU37_a9f452c4e59b83d57fae669372c506c2_Fatiche_di_ercole.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5Y4feq830yGF4k2l8gp3V5_39cd955e8f163ad83707ff9113e29aca_anno_tigre.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_60x36axuSM2NwctjTzgja3_5ce65c30f25279dda27b717ebffcf488_Schermata_2022-03-17_alle_15.09.21.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1roWIdG9ygsDJ86qpa017p_240b2410576f0c4352840844c8b80ba4_Lo_sposo_di_tre__e_marito_di_nessuna_Prove____Michele_Monasta-Maggio_Musicale_Fiorentino__55_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7E2ceSBO604uoFDVjM9bYR_14c3a9e2f27dc77e99575ae45e8c9697_Domestic_violence_-_Sarcofagi_di_animale__Mechelse_Padovana_-_CCP23__Seduzione._Koen_Vanmechelen._Galleria_degli_Uffizi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_39oTrjZdRtTnnpYGQkwVGI_ee3fa71c520263ef9b349349bde8a886_cover_colin_firth.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1mSl30zZOwZZZrSnRvPkfY_1ec6ccb81e24527ec2aa98d999550ac8_Fabrizio_Gifuni_-_ph.__Musacchio__Ianniello___Pasqualini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5GQ6tElwBo9Nuiz9ou21Dd_a52e02f01a85a741528c2ee52da2820a_Zubin_Mehta_Maggio_Musicale.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_46oRt0QMhQF4zWBeqo3CXh_261f447dc8cf9d032db2d58fd231d172_luciana_boccardi_e_arrigo_cipriani__ph._Matteo_Bertolin_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4yu2JiuuefD83G3gAWZl3z_bacc524828a7632ada2dec20ef2e4a0e_coverViste.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1JMNb1WFjPtsB4RujAmUqr_e72ccbf21731339b16eca84185ac887b_n61_ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_oBrjAwymbvIKCTj2Yh3l3_29437f435134f6bc53b7fd8b2201a402_L1070871__1__copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4PgIYWnZ7S1nXCy4iT0heP_75a4d9c6c70462848a7a324933c7f4ce__MG_0973.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1UVDKx3Uh8RTjk7mpjisO8_9d340b680a4654cf48f811e760c2d431_DSC_6523.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7zz698KjbjMoWbnXHceGX4_b5cc89903223baa3fba7c498a0b0d05b_palazzo_Bianca_Cappello.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3YD3smNMZt63VFt73aBFsO_f7de96eac9e497d8bbbb0e898a33f96b_Carrozzeria_Orfeo_Miracoli_metropolitani___Laila_Pozzo-37.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4FqDVA3ZkG4zvw8YxruHP1_208c14e7334445bb5be4507453f1e3ef_castello_di_vincigliata.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_jbKmCRXnbMT0qTYXbPzU2_492b064b3fb9ec831394ebd26e849851_Schermata_2021-07-19_alle_11.20.47.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_7isCafNQVWyT3K0KZlPcXl_4967da879ee29a52c656479b9087e7be_tondo_doni_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Nzq3dJqDXRjVQSYhuFI4o_24103d0137c5ca93b0a5e55400cbdd50_PALAZZO_VECCHIO_-_3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_Fm4BcQ57t1ur9fM7htsip_d9aa21672bf00c2bf9051dadc5e67e9e_Stefano_Collicelli_Cagol_Foto_Alessandro_Cantarini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2mXIacUQwjkgYfUI2Hh6FL_be502ccc42d76a9193a7c9dc8811af94_7._F-light_2021.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3vIdNPdWT8eRVxdugScHZ8_c692c6badd408887a8bbd6d5371ab02c_1_LOW_-_Pinocchio__ph._Filippo_Manzini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5IdlxPSTYiJhTXx5vNvZh9_63f0175f4557cb02ac4928aedf47ba11_chiaramuti_foto_silvia_lelli_ufs.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_fL2kXaVGMV6gDwaIUpkVU_161abae20b8d9687103c40dc6817ee4d_Madama_butterfly_1_2500x1000.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Mp88yz7atuDE8EG2O2WtV_11bd8c708aa2d69e4c85074d176b09a8_Sala_Zubin_Mehta____Michele_Monasta-Maggio_Musicale_Fiorentino__2_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom__images.ctfassets.net_7dc7gq8ix1ml_13jBp2AJ3EG1Giu0hva5AO_851c35efb9588924633648cae2bcdf0b_Ferzaneide__ph._Romolo_Eucalitto__1_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4mpNDOUS7tz2zQHLqzlxpe_9c61a379f1cb287ff4557b421d0d1843_Falstaff_at_Maggio_Musicale_Fiorentino_.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5qNLbHi6aRaPIA7CC7DvQz_edf4f924f0122f97817ab4d0d3007517_Schermata_2021-11-12_alle_14.59.49.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_31jaBrUMQO8nR7lscLk8Cl_8a1c03f34729825e023a16b785079eac_Schermata_2021-11-11_alle_10.56.05.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2YgZdvuTeYFnrSdskstllm_a4000126949b7e4e6a0b2fc3a12b438c_Schermata_2021-11-05_alle_10.58.40.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_52sF3hB2b5I5yCT1qPCuef_3e612c2716ecbf80b1bbb490323e5252_13-margherita-moscardini_The_Decline_of_the_Nation_State_and_the_End_of_the_Rights_of_Man_20.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6uGULvIKB6l2Ga4QZuuwez_2b083a0e9dda0ffce6cd388a02c7aa1c_calcio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_15OjlpZ5xGeuRbOz3jlC0j_96a5f564fd4a1e15352f036d25a1f751_La_Grande_Bellezza_-_Una_fonte_di_luce_-_starhotels.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2pfO0Bceo7OG4lD0qCIp0m_3cbcb6447c69e246efe1a260586229a7_Michelangelo_Pistoletto_e_Angelo_Savarese__Bandiera_del_mondo_-_1_1_3-2.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_45SbEkGzfmY7JY8uVW5Qrp_2451cde4d0b9545cb6158c30983c763a_Portrait_Firenze_2.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4Q9sKU0lyd77KfGr5koVNS_546d501ed5f1004321a3048ed4e4279a_1_LOW_-_Paradiso_XXXIII__ph.___Zani-Casadio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_dWWPWAuwjeLS63F436lis_6ff1760cd274ed66e0771dffd87d6053_schermo_dell-arte_SHIRIN_NESHAT.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4p8cR6bmtQNbNyNP7SQSCQ_886b0e0fc0432674e84e6d93d4bc2130_FERRAGAMO_03.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7Kr4LgPeNAOd1UlWWzIgFQ_2a5b50becc8bf6972e28751d58dba4fd_ORT_OrchestradellaToscana_2__MarcoBorrelli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3kWpjJf26oVBxCb72wkxFe_c0d6bbdeaa602640cf62ef79d0bc5c15_Schermata_2021-10-07_alle_14.57.50.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2SvupGYiotd6128GzDHitt_cd0dd734fbadf28e911162860171351c_Vezzolicover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Hu0Eu1wX6TRKJOYFOMEFl_63591d582cc708fdf1a59fc92bc0a198_Prove_di_-La_traviata-____Michele_Monasta-Teatro_del_Maggio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_62CfhLA9nJi47eTmzJeySB_a195ff56b1ab1663787bf045577bed32_I_Nuovi_e_la_Compagnia_del_Teatro_La_Comunit___durante_le_prove_di_The_Dubliners__ph._Filippo_Manzini___4_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_52NtWfxjfjbOJtV6scsZVS_0029e52abe9e262283b87699527aa031_KoonsGalansino.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_7gVEZBBWb4xJJihIXGISTG_727c1a111b97e0cbba8ebb3f688b52f2_Stefano_Accorsi_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_67o6dhgGGACHu8EfpoxlF8_bfca922fe729ba91c1dc71a82bddc00d_Piazza_della_signoria_.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4F5itCEUQ4l902dSWxz7jH_e6e8dd40a0f413b89dc1da8a7f0c1813_Schermata_2021-09-21_alle_12.57.43.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6QOCBX7WkbHvE42XQaKrYK_c3e6a3af7e51bc213470174c5610c580_Koons_4.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1e791Jaj5V8she8WhSEGil_82d8b3c8bddfe3a934a14ce380b2622f_carnevale_viareggio.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom_right__images.ctfassets.net_7dc7gq8ix1ml_3qPI9Aingzy34pxJmNFGbl_168ae285e5f7c007253141b94ab30d93_IMG_4954.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_54ox3ILnEQXpkdS4NH3LST_173519efa4be991548d88f6d27c0a2b6_Loggia1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5MQHHy9Z8J0GqDrLYdsPd5_67cfce3b99279ec2ba8f8040487540b6_palazzo-dei-Re-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_59Z0ypE74fJ1xPGcSjrf9W_386be9b927b4096c8ec73d022b9d8dbe_Palatina-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_OWc2IrkPXPAw8fZPbxWh5_ad0a7c4aa238bbb0a4636d2b5d5352ce_Silvio_Orlando.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_31xiQzsD0bKcco7Iv0mJUU_ddaa5b0830744deb611a1abfd26fbb97_Chiusi_Fuori_-_Colin_Firth__Stefano_Accorsi__2_.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_vzQ5znkqKLDA7jnAprNUd_ec5d78083ab22b903e1b60814f9e6055_Portrait_of_Jenny_Saville_by_A._Saville_B___W.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4yGZVTWSTXonaVtOWpcu2j_bebea7af25c40c1c8882f96f6a3ac971_1._Firenze_Jazz_Festival_2020_Lanzoni_Trio_Villa_Bardini_-_foto_di_Alessandro_Cinque_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2wIY1F05FaQZTVZmSypPEv_a01fee787740bb2a2bc07af8c3e91ab4_BIG_PALADINOjpg.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4my9TNChR7Vss4Xxam5Yzt_2b767c6733699e6e50522089642a965c_Euro_2020.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6xBqjXqXt78Jj9M3Xy8J06_b7e349ce723cc2751148efef34c073ac_riccardo-muti.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7jZzJUsenwj2h5I55xM083_012375fc4a716d5a2a56cfa5ed6cb7c8_ILOTOPIE___De__RIVES_un_spectacle_fluvial_emporte___par_le_courant_-__EricBienvenu_--3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5LGuS5QcLin0J2ftbSQQA_38ff91d0f128052c4b1b577edb6efde4_thumb_93262_cover_header.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2EnRftytWjj7hIb6Pur35F_334eb40a97512a084e93e3d7fff799b8_Schermata_2021-08-26_alle_11.35.28.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1l7w2p16Ahc45GYY4frxvt_c82f0e75ad53947abb9dee8f9e111678_Yuri_Bashmet-Solisti_di_Mosca-Villa_romana.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3lIktiEsQOEMuXCkQAeVLO_109c4494fe976d7af4a21ce6fea56d39_panorama-Firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6zt8hfrxtP263fuxdEt8BO_ab7ff9422ca136e45880eefa81fc26d0_10_The_Blue_Banana.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_JvjPPxbwbkqju36c9DBPy_b6c69228956fb72b71065ed520094eca_eventi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4bJBCSAiXS9tj0TFK6dTSf_5155432256a8c0d5e9cc73bc55368b2b_Lexus.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_62W9SyZVVsDGWlQ4qAfbDx_15956800a1f9b2264067bdaa11cd55b9_Barga_Jazz_street_band.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3EDpSqgvHdQZSN8OTVfjJ4_a778ca82609c326410344319376b1857_Stefania_Rocca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2iSDZLJyouvPg5GK62I8Ba_c6a19ebcc5c56dfeae37e4bb6958324d_1_Un-immagine_della_scorsa_edizione.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_46BLxjmZ1taxMe5iTIvTlU_094b9eaeca3acf43636247b8ebe62219_Schermata_2021-07-15_alle_15.37.18.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_71yZP6XJpL6aVsPWSdXQHj_288c66c88ce79586a176e534faedea7f_Gianna_Nannini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_642uWUXAbLFJoP4PLsrzwN_f1ba1e334941ee3c8ae94bf551231429_Schermata_2021-07-16_alle_16.06.26.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6XTvSM2djfv1kWuZJs54dL_b20e34b05971d60d3a2ad52652bce46d_Schermata_2021-07-12_alle_11.42.48.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3PGEiyuDzlnNZsgglK6QbW_b000ec8f4c85a9d4df8aa68729a5e181_andrea_bocelli_con_la_moglie_veronica__durante_la_Celebrity_Fight_Night_in_Italy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6pubmi3YYZgE3ims78Aa6C_daf874645a72dbddd13076d0fca46e3e_Respirare_l-ombra2.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_658EMCuvXMugeQGGjLkbkZ_aa9c81620fa6a8cf935141982e3823c9_Vittoria_Puccini.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6NimirovdmOIZKE3MobORs_fac2e08b0150817c27274d5435b16fa4_Giardino-Orticultura.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_3T9mkG8kV9QGJOdVv7N5Sr_21f255ea9b496b4f654653bd0e96df05_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_lmHwAdbBIULKXEuvPY4JR_9d4ee80ab42df733d6a8db413e1843a8_Galleria_dell-Accademia_di_Firenze____Guido_Cozzi_359525.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7u6Lio9CPOHYBjDcnRlkPH_90a9d13c38db4d443526222f7048b29b_festival_di_cannes_2021.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Y9W0GShrtofTPhKUDRonk_44d34b32baf721cadb6322272702ce27_Salone500.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_36WJpWWlNbkdJ0h7p0h4UW_d7aec88160c4b2514f65a243c3141d2c_Corsini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6UFoXw93Ysi6W9EFY9xngh_43a2debcbfec7ec89fb328717cedff02_ROBERTO_BOLLE.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_18KtKtEOsNtwjzg70laZKg_fbe9d49a014fe224c6e8bf7bf66003ff_OWE_AMG__1_di_26_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_sSHZbuVfAmhhB9kCGB5OJ_ddd4c4570887c5876eaca780975c8383_Forte_Belvedere.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2rVbyMV3Y8WUPC0GLQ3y9j_963a359e208cff905b4f0f439880b937_EQ5A2195.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_32aKVvG3HrYLJCaoZOyEAy_e386dc082f9d563d6d90f103acddb33d_Mostra_Medici_al_Met.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1tbVKhzLs58X4r0E5Vy0FJ_a73d02041af49910c3d920e280473270_AD_09392.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1zGhPxdlWJa4hR2kJJHhf2_70ec2692b828ad5dc10f979db0133349_A7306619.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_aC3CpEwWK0JOWN8yRY9Db_e0218ef837da1d1d23c3a48852fb8a2b_sunset-piazzale-michelangelo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3IJvF4FoqlYKcJwpq25Xhe_6a82b3c2ff923f2b8f2108b1b88674f9_Security.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5N7zdeBDr3YiAB7VEDL6sS_a0c844acde3975e7f74ee7406c391bdb_Schermata_2021-06-07_alle_10.53.12.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5qgxQkfbGant3kIKmMOi8o_74626d25338ee8f49327288fc60027b2_Roberto_Bolle___Friends.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1WmCjziVlAeqRz37bpgf1F_752a03ff3ad6abe099f495323f5ee1c1_cover-AMEDEO-DI-SAVOIA-", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3SfevvVnxCQRKJVEjH9o6s_b0a256977d37c85706e59cdca6c00f13___MarcoBorrelli_270618_9984.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7nmjKz4LJLjj1QOdNjlA3r_b994cf253de297f301e3218de538f8e8_La_forza_del_destino_Prove____Michele_Monasta-Maggio_Musicale_Fiorentino__4_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6sKnrNbQarLpnCdWUYfjhQ_ceec3bbf6b137817635e5a5da2cdb4b7_2_LOW_-_Cos_______o_mi_pare__-_Elio_Germano.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2SEGAQ2ofkkt8Tm92G6pY8_ec9d2135a897c8008202854fe55599d0_3_il_Palazzo_e_il_Giardino_Corsini_durante_Artigianato_e_Palazzo_ph_Alessandro_Moggi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_wwqvq12CVIgUaonOosteQ_1e9c9deba42e44cbc4541f71e2ac1ba3_Giovanni_Ozola.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2DLa44xkUaT1DuMV8Hacp5_1eb2bf904850afed8c0b8f9fa7e6e235_DiaryArticleDouble_Gucci-Garden-room01_001_Default.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7aQnSafoWq9gdZK299w1eb_6515c60a60804e38e8f0c37809c97e56_5_DSC06652__photoElaBialkowskaOKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_58LuWe3G507254NI4OSGWZ_a7fd7c26ad49d7c10f2a44839c8c2382_figura-3-abitanti-isola-delba.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6j69Ofv0e6RX8EXz01UVa4_d2ca3815117ed28595a6c2a17d3183d9_Chiesa_di_Orsanmichele._Tabernacolo_dell-Orcagna.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4H2bX38nDx1RQj3z9lp1jU_73e32989852206abc65acf38f907148e_259459_0002_4776896.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_68SfoLPpWrqHeg3GOt0Hqh_27573347bc85fadd9ab2a214b05a5a89_Sesto_on_Arno.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2TOKsa6elaz4RfhhBPpBuO_ec5ccfa40daa6cc7df4176b7e74328f2_Zubin_Mehta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1pixjbbFXbQogy0jSp0C4B_8c97e5e7c229725737ffad4717be7bf2_2_LOW_-_La_donna_volubile__ph._Filippo_Manzini.jpg.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2UvY86xPTEHHaUIgmhiyK3_c011b5e08cabdbec025bd6604ebb9a6f_Stefano_Accorsi__Tommaso_Sacchi__Marco_Giorgetti_con_i_giovani_del_Teatro_della_Toscana__ph._Filippo_Manzini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4yKkg6JLKqqpiFB21ZjaNA_361003fc9e25e166a55251eeeb42cd44_cover-Dante.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3gjeFnmWL3Fy3qm94C7KPW_8e96762068c2c11ecd63f926c9f57309_muti_2500x1000.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1IwkvZThLoCnHgdP0fBZPq_c39dd7f8e6f079e1126acae53b903fa8_ursula-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3tMqTebdTjXtqark9nQQ85_646d8470284b09320e9c239699b9e49c_DSC_3186_mod.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4E1iuubOVzgxg6m4xG69gq_2568b45355ca5be74211dd78504a16f5_Castello_di_Sammezzano_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7JpOKh6TWWxNKWAsVKhtFR_be615e63ca0ce334d3ca7b108f1d64d4_Stefano_Accorsi_-_ph._Sebastiano_Pessina_-_Courtesy_Saverio_Ferragina.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3lRUPKBl5miCPmngcWPWHY_b4aaa08653dd3b3b37d20827f43e2c5f_Piazza_della_Signoria_ph._Lorenzo_Cotrozzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_SScIYIRqpHXqotZ9ClwX8_ad50f086f27aedc0eae8ce7b48750e0e_9.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2EJL9KmJeN89tApL1BVN4m_2dc67abbab6c363ed1d3dcdd428dcdf8_Eike_Schmidt_e_la_Madonna_del_Pozzo.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_7gUSWGEPdJmTEuHo17n3Dr_64cb41c2841e579a8c02bf639b0dfeee_sandro-veronesi_open-1280x720.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5gzkiKhOdPbvOYBEXsOHoP_efa0a4be64d1ab20c257772a2470eb22_260701_0023_4801972.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4HEtBu5KFTljgDiScMuAP5_0fb166c89db537739f36997faaad6c2b_Adriana_Lecouvreur_Prove____Michele_Monasta-Teatro_del_Maggio__12_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6gLTLhIsHPj8kFyqjJ9IUE_fb5b2d99a1af03cfd5f2abeefb746184_Aurora_Giovanni_Caccamo_nella_Sala_degli_Elementi_Photo_A.Treves.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1i4kA9SzZ9JfkFOCzSN2z1_d77fe2c82fe6d554aa95a3db239422e5_809_Loren02.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5nQzVu7GrOZrAgxId2fYrX_57248fb211850f5fc5023b494e7dbcac_Florence.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3ybHgVXsFoNeKUitfbyjZA_3b881f13f591298c663da6203c60f748_polimoda-postcardsfromflorence-janie-pontevecchio-web.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_72a6cVilR7WYeAnnpfwT7p_5d9673a31dd492cd4f031dcaf0ee2579_0-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1eGiyNFXMsL7dXmFPZESsI_71200c9717e42e95d1557fd2a502ad7e_david-3D.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5TMCXvEqVB82i4p0RNAzSl_c9be8958287695ad10e706882a8e0930_image-asset.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_5K5gu64IX2qj9n2Rq05FuE_209ca2dfbe6a9dac86427d894042f7ff_Pupi_Avati.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_1Pzb2E95WRFxp8sWKs9cbz_6224e3dc3c6cd7e5370e6551d5f713d2_Roberto_benigni.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_y7tNptiEqNFEji4PqjmZ8_411ff9c8d431e3faf853a5789ac7d483_SanMiniatoaMonte.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3C1TzFCTuTlI9O8YUZ3uou_6f266d6d158a358e2840c288fef458d6_VSM-REST-31.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2tean01KMBr4lvoQMwBLVg_aa6d7d96179ae512dd3e1fce263635eb_cropped-concerti-di-vasco-rossi-nel-2020.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_q1vPsFu2wOyl3jxQq8SqP_dd8d5a8a244141dd6f0680f5a0013aba_Caterina.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4lMeKChoo6Dso0XKwXs3BU_b535dd0551dc8cb11acf76c868a79eda_img81212.1426x713.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7oCP5WFSNhDUtajMGI3dor_3f4292b57a2cca6f408c6bb0e8f177d1_agendaAPRILE.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1gTjlklM2JqiJmFu8gZLRj_3527a7b6672832c71bcb3d73b31eb70e_antonio-meucci.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5qCcv5o7BNRoBpb055RXFD_5ed985c4b4cc89e426b06cd2a3544447_AD_09773-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3WNQyQhtt0L9hVxd4BkqOM_bb8a683730a65c50d1fb7962dd517317_Monna_Lisa-_Firenze_-_Sala_della_Malachite_-_Museo_Stibbert.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4wRhc49Opx5lBE064q4QiB_6d97b5d5126214110c07903811be1495_AMICI-MIEI-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_33HGaG1bNYMvPm5OcPystt_b9158ba636b09049f8fa34ef8c2b956d_art-beautiful-bright-1040161.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6b37372htSiT87iJUOtLEa_673415768b71620447774fb75530a1a3_Museo_Ferragamo_room_7_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2JN9CxOAbGJ6TwRZ6XkMbf_934fcbf96cc00da0e330c125979d2e46_penone.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_46a9a1snc7z2ltyyg0Z7aF_18baf74325d79576da8317b55e22c7e2_firenze_zona_rossa.webp", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2mzuIt7xjVFT1EemS07RcH_f8cdc2819e726fdd8ca4d7207960ea90_Cavea_del_Maggio_Musicale_Fiorentino.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7Fy4QFCI9iuNLeZHtLE6GY_b67356e48f1887c52aa2b97d6a758c73_Festival_Puccini.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2InXdSM9DtnLNjPNQOWtNo_6d89968df620a5aa0ac4d89cd238b736_Nuda_Voce__Francesca_Mazzotta__Ingresso_C.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1VJJfswzTNWDcTeIGQJhpD_60a8bfcbc1517f79604738230d23068e_DSC_6523.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1BRxYHtkxuL6C8WuYYavPm_c4f7a60e1b6f278151954cfaeb6bb96e_JR_La_Ferita_installazione_Pallazzo_Strozzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_61YPlXkJAaRz1Vu5kEpLPd_8497f137018f1e3d045cc67a07d13277_vivaio-fiori.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6l9D72ekrWKpIZeDiWPfIY_0ad88e597ac18f87e92a76e616eb8019_scoppio-carro.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1VV2Ra7H6CpH2tdtelTh1O_c7cf7d33e6e638a626947ca49ccb6335_giro-Giovanni-Gastel-by-Stefano-Guindani-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5diIxMzzd6V59jfa4JM1qm_cd0eb1049e604b4c3e252d4a22e4754e_travel-city-europe-italy-panorama-view-italiia-gorod-flore-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3MUhhkLlXTnTUGXMPWFBq6_21d66a1f6822141be32a1f47004a61cc_Pista_aeroporto_firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_420F8BzhkWk8TQsPNP8rPH_fde6db8e97a6111aa63372cc000782ad_the_house_of_gucci.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1Agi0EWdAJZeU2pg00u7DI_d7b3f60b258ef967eac9ccd8676c4803_Gabriel-s_Inferno.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3p0XZPViFsfoK0jv84SD3e_88dd549a9224eea880850866cf02bde2_cover-penone.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7KP0UsdN6dUL8hMlqZjU9k_ef1474e374d20387519dabe39a0219c7_AD_09715-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4cFCJ5Uy90fSOXlfgZPcdd_fd0a74c6e689656833bb4281e6f2bbaa_0-Museo-Novecento-Firenze.-Courtesy-Mus.e.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_41Qf8dyA3wVcbI9uWArufr_d86dea515b6303e73e834ecfe6d1dfe0_pieta-bandini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_47OgTxR9ayZIk6v8qDBfBx_2750e8f97cd5345a2d898a34f230e636_Mir__._Mir___Sculpteur_Italy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_60e9vECy3Cdh0A2Dhvh9dj_46ebaff55113e201de148f7f793f0c0b_Zubin_Mehta____Alfredo_Falvo_-_Contrasto.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2zUz3FkpE1jIayrYWIFSte_4a5ff60cfac75be4779c755aa1dd4db7_1_1.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4YPWuaMdWV6qycX7oTBUji_789590d53717cc5c196bff6129f76239_leonardo__serie_tv_2021.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7Ef1kaSJC5WETPNRac8UFI_aab5e5581ea3115dca766f81b3ba2cbe_JR_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4uFzmFxC7Oj1CuDfCPGo4k_e5aff392ac843aad4a0bbd06eecbda1c_agendaMARZO.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5mW9gaAmchAHVnUyUyT2Qt_5ae4cb010a940add793912dc039115a8_Firenze-vista-alto-duomo-centro.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6Uwydm9q4EqZ4pQ0L40fX2_45f0933c54aabe15ab6dd33c0cb3c431_wedding-photographer-tuscany-1_pp_w2000_h1125_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4TSbU9A7v0xnVIp1VBHZrk_8ec7b575ccaa0d4e7a2ab322b6f9e8e1_nuovo_decreto_draghi_seconde_case-2-2-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7FpYrNbmxwbRxqKRpa1Zrm_2494740f6382bcda496e4f14cb986be2_TOTALE_DOPO.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1s5YhVjiIgvf63ofk3XZc4_6363cdc70e59895981f8773a510ed14d_XXXI-BIAF3_-_2019.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2SU71e1hWq9ac22LoZxa6P_4d9348630662cbe9224da4f4046cdedc_SantaMariaNovella-phLorenzoCotrozzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3c4FmFQvE9tpZe21RTwrCT_b927a7d4e40aa5ae0527e25d9e1f4ef9_Luna_Rossa_Prada_2007_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1zkpaTNBMPtIXyGeHc8sHm_513b5c40fc82381dc71fcfc5b4fd1122_1600x900_1613295889080.GettyImages_1231152915.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4leqMZOhWE8TKK8pfkI4Ej_e4dd102290f482229fc70185232c1ceb_04_Francesco_Vezzoli__SKETCH_FOR_-DOMUS_AUREA-__2020__Collage_on_paper.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1I68NUAjsxrkltYnO2wpFJ_41d6e19ebbde738af20f398b985b6f90_andy_warhol__New_York_1986_ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3hBHEu6Q2hD7w7pWxMpTNo_6fb308497dea1f04cfc80ee8fa370898_Mille_miglia_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1vsQkbT1yX9F2BUGd95y6Y_fdb43a212973ce8569f4837646a7edb1_tuscany03.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1ySkEfLbDYq1cPyyrJ2OXl_fa0825b6999f17a8b2dbf33c7a41e41b_Autoritrattook_.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6ERzXg5qU8m8pZ8aHbC2OW_fb5e2daef0f16fb249d055968d8b33a7_Firenze-ph.-Bianca-Ackermann.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_22lGWn3A7tc34rgAG6VTo7_8c9c89ba1ab32e99e2d3cf8b62bd029c_Maurizio_Gucci_e_Patrizia_Reggiani_ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_4CuFVSA5IdyWxPt6GtenEG_aef3881b4e3166067ba361ef1e3e9e42_L-amica_geniale.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_QBOrT0RwgVsN1V2SxkEbi_0d674d2f7f1d496a5c93be825ffebcff_tuscany-road-trip-01.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4upMLQLBIvLmbSC9JHYvk4_94731d9aa517d7c62f9e383ed3056be3_Uffizi-e1591691635907.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom__images.ctfassets.net_7dc7gq8ix1ml_47OgTxR9ayZIk6v8qDBfBx_2750e8f97cd5345a2d898a34f230e636_Mir__._Mir___Sculpteur_Italy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5IKDwsyiGOSQyI98AIyO23_58df03a0d90eb67b2eb0b9559d88c6e1_andrea_bocelli_foundation_luca_rossetti_1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4T3JeB9LvvZRpobshB9v5V_d458e2164aa57b2c9c695db9b5c5262e_Crete-senesi-alba-nebbie-autunnali.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_XWQF17fddQzTthXsohzxK_d668479fc963395fc8251b527feccf42_cipollini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3CermbUeDufLydNbEgMaDG_ab1d89d0beb8000966eeda501eccb94c_stadio-franchi-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4CGVXtPpX5EIaGtsAHBxUU_1ccecd4f74aa3bfb62f15827fefab210_Volterra.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2GFEkO35RWZoPrxDFtgxRA_3837d85ecdbbfdf2cfd99d2d82fcbd12_e1435862-0628-4c36-a6cc-4e29deae8f7b_ur882o.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5CkUA4L22nFK2lr7aDRHIa_b1ccd76d83028eb3e620c1630079fb43_20170923-XT2A6148-Pano-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1EWF1LTTpRXzdi3o48I8hC_134ca4901b878bb2cda2a686913d7894_Patrizio_Cipollini_GM_FS_Florence.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_54XMKDjDc6lgF0whf61Dpi_1f0a69cb0af1bea174ea48b542935490_stanley-tucci-italy-show-cnn-FT-BLOG0220.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5sZks9Nd9DGC7IEXIbsdUM_1902a3fcfcad61001a72cf07fb15119d_00-Hero-180904_05_096_V4.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top__images.ctfassets.net_7dc7gq8ix1ml_7u9k0Lzu7UskySH6LqliH1_66a8326b4d6c5fc4bfc06fce55eec0bd_Senza_titolo-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_638wYNNz0a4hFfZn0R28pe_ed79c12c2b352eee044de55103f23238_Elio-Germano.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1q747gAqVbYUduDmynkLJV_4098a5839d65440f5412f4e085b8e98c_image.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5yiQ3cBJ2A2X1kmo6Hgyow_9922bfab0371e33512c6f5f01b5dfcb0_Toscana_in_zona_gialla_dal_7_gennaio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_437WQ06oMJRV2Y8HYcyOxs_651c57e3c153f4b084cbc9287c1492c5_Divina_Commedia_Uffizi_Inferno_selva_oscura.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4P4USaPoFCPMwWUEQuwFCx_2fb874bf9b085258b242ce4934a7db37_unnamed.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3Odonjg0lg1jZ68rzE7REy_89dbcbaa72135c9ba1db4c49d36a8ad1_image.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2JhjjhQGJCYKOLWdCsrhQQ_32a737481920017e7c1862ca8b20432b_christmas-decorations-photo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3AKgQb6BJGToNWHtoI2z7J_898e52daf44ce5b7527ee0174ccd05fd_spettacoli-cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7kbQOUv9JO12PAZqKVACAi_18395d49111a9f745a8fc6578d7b7dca_sestini_firenze_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3uevtbg4XyD5fsqSi9vzXW_891bd6b1615d26d102a0c62bb3e4be61_cover3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_2iqOmEUKjtr6HdpbkPiNt5_c539420bad0f18bc20993e85e2660deb_David-laser.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2wfDETalD7doWl5wTH4ejg_54f2c92e599b312373c702852dbb4229_Beato-Angelico-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6vT1kSmnxXgWuvm0EvxSre_06619f0802c12cab564ab65fb8c0e92f_Presepe_Lodola_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2xOnLwx4207Ngk31181EvO_43797c52539a1c0a38d24c7b8d029aaf_Xmas2016-3-of-29.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1KfwKuQJLSVyPTJQh2k9UZ_d6b39688078d405219751f19292258ea_Romanelli-9019.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3T2PEtX79wM6hXoCxsVxgy_82e75fe83cd60403c2faa18558b52273_Tchaikovsky_a_Firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2fRaeeIzdrbf9IIth7DS1R_6f710ac3d4c347d4fee5915ae4054686_tuscany-from-balloon-in-winter.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7xqF5kGbiGmYyJU8WTB4y4_a280cff0ea369a661103fb13f38f1aee_0002_258854_4763103.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4OEllN9tYszDy1kzGMKBzn_1f7982dc812ddf5d06c953f7b34b95fa_PaoloRossi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_776CkMv1rxT1aMoKPYLdnU_4edf37c99f3495746848f0d62bb66227_vintage-wooden-bookshelf-backdrops-photography.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3PGEiyuDzlnNZsgglK6QbW_b000ec8f4c85a9d4df8aa68729a5e181_andrea_bocelli_con_la_moglie_veronica__durante_la_Celebrity_Fight_Night_in_Italy.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4ROjhutHHeTcCeJqi6SkMI_a7b11f62652a95d93c909eae037dbce1___NicolaNeri-_Ponte_Vecchio_12_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_3qIqKGQy225vjMwxXwgj3G_5250757b7803b5e1afe51bb6c0e01c56_cover-zonaarancione2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6dXE9EmfI9E1CemHd919mo_63c430c0b5b62616bf17b2cbf93eb5e2_Otello_Prove____Michele_Monasta__4_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_7knopQzeW7VvvbZ2DmZ7g3_a4b697f3b3a2b2805b6264b5c434dfdf_Cover-Nettuno.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3nAOvdGoQwOeOuIEZcGYb7_d9ffe8d051b05524f71c9611cca286b2_CappellaBrancacci.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6SgO7BfG3eYdun3CmDavT8_92ceecc02c653652976304ff62e251a6_10_Biblioteca_Laurenziana__1_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3jt74b1i73cqoUgipEiGHt_e94d1e7bbd0ab43bec62696163c44eed_Todo-Modo-Book-Shop-Firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6XbIhBbLR0dY720BvVfjT4_22eb7d86da88ae45f641cdd0aeeea793_Sammezzano_-_ph_Massimo_Listri.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4q1F4qhIVqiWhWpM4V25Bt_94975308a2ce913481ac4671efea297e_Marinella-Senatore", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2tYLvSai4M9vcnvinruGkO_e79e494468b3b437048053f9ee1326dd_schermo-dell-arte-2020.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5lLugw4dL2Rv8f1MJ4FUW0_0ff10f10566e12c39bdda0debb3c21f4_zona_arancione_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3ZkosrljNquht9OKQDNjBU_d9f2766ec4f896b58cd3b919b3fae780_443-originale-tours-29.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7xl0xp3wqCLHnVK7YJfxsU_b517e6e417d65d04d095289a0dd3a35e_Repertorio_Tls_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2u6mIDpdTSpNgM0VnDfpE3_42b1a5be3abc45884bc4ec373e056abb_Tuscany_autumn_landscape.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2w3J4RJgictCdBuagzEDYB_758034dd65ab2ea8d9ed181fd10c0a00_conte-ha-firmato-nuovo-dpcm-campania-in-bilico-tr-283849.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7JdXrI3PruI4WPq0RhZI4i_f659f4f357453649830814cbe01948a5_Conte_al_Senato.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7I92kLN7ttBvEphA4RQxn8_8e4e15eeff21e70e24fc3cb680c05dc4_cover_dottore_w.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_42pm7s9J8sgkOdvwHaRzL_5d43188b22324d040caf8bdf2f6bba6d_Uffizi__Imperatrici__matrone__liberte._Volti_e_segreti_delle_donne_romane.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3QllJnRvdMqX3emu8tyDA0_ef2fc932ab753d6aefa24d79bb49ae77_Dechirico.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_4jD3Vy9Po0bXhA7eYb4LM5_ed0d32936a0f639e232c4629c539aea9_eike-schmidt-cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7Keplyhu3LfhwLMHuaDHQx_e38cdc063517ea310568a33ad5d83a06_ABBONDARE_cartolina_Fernando_Cobelo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6yzalbUJwJ159239U0cW5a_a0e6e7de5b456f9ca3f60a7c22b21fa6_lucca-comics-2020-fara-ufficiale-date-regolamenti-v3-456728.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=top_right__images.ctfassets.net_7dc7gq8ix1ml_6Rlhpn8VXBPuJNb5Jl2TiT_f5b2ebb4bfe7f4e7eb5019c6c860319c_Accorsi-cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7kY6opPVMgvFwE8ilfgtZ2_4cdd6971b75a55c9af82ed870f2ae329_cover-David.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3SOvlHSsfq2F6f33qxArC9_7480ae17f935516196e2cdaa3b4bf75d_Coronavirus-Frontline-Doctor-in-Mask-Illustration-1215638262_1175x896.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_JatygHqWIVZNv3RlTSQCb_dcba02c9786bf366ab11e0ef356c5c86_Chiara-Ferragni-Vogue-Hong-Kong-Gallerie-degli-Uffizi-shooting-foto-immagini-anteprima-bloginternettuale-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5k0qeDFOZ0ENh6MWKtEr2G_b1605ed37f1a68aefb9f599e3f9cdb03_GettyImages-1202707966-scaled.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Dhvkr5OgWnI24CCuQV1Hw_7fcedae090936cfd998f9960721be400_pergola_sipario_storicogiacomocosta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_4BguimoIMqgKTNtbBRtOgX_9fd1ee4cffc3cfb5d6bbba15f64d0f75_modigliani.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1K9PoMfaAQIhk4tgJGCHE6_7107a4adde600816c60bfc0f14fd0df0_maxresdefault.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_777PT0g87kd2aM7ybiOZz7_282e9d2f9611279bbaa31583f51563a5_1__ALESSANDRO_SCIARRONI___Save_the_last_dance_for_me____Claudia_Borgia__Chiara_Bruschini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3fyHd4K7FXWM3uMbPzVHqQ_631d747c6ea739fa03dbce45813322c9_MOD_Nabucco_Generale____Michele_Monasta__7_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2KIRYLs2U231g8gh9KfnTF_46101c5425cad3248885acd33edf01e3_14.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7d4lk7w101SHRia26zZ3tL_77dd8bb7f4d483223cb15b32f4699755_photo-22_original-37-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_52PrJZuIapiAHq95ZBatgo_d4e75a87d7d3db294b4f48ca633af96c_Bartoli____Kristian_Schuller_-_Decca.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5RzSw5kikjg2v3F3lMZCVw_bd7545a25e656567df628789a830207a_132352285-d1cddd97-d55d-46ff-800a-6d184abd1614.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6qzU2XW0Y6OJA44fVj9XEN_3e650f05600a9663c8abae396f9ccc3e_immagini.quotidiano.net.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5GWL5ff4Hbeqxj9erhePp6_dc2c740d61cfec0217e40695d47acb6e_Zubin_Mehta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6FkgmoKsdGo9JdeXsuuQgK_597191e700419405d3465060cd8d2cdf_foto_Don_Carlo_-_Bilbao__38_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3hGYYttJodvANcmslMhSVF_537048854d6b4f856d2e743ceb295a73_31444274.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_AY01TNIMtJdaIFhiRxbCZ_2fe32f989ae54351fba5793dd6ecd302_JR2020_01.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7xqF5kGbiGmYyJU8WTB4y4_a280cff0ea369a661103fb13f38f1aee_0002_258854_4763103.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_536Qv142tkF8KuGEmM40Qr_15065ecc5e9048486f0748c312d259f6_seo1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5gQycirGtmOGJlvECBFHUn_0d27a6bf3867d4a61ed171291a9d7665_intreccio-borse.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_kdrtyGxgBXYP3srE6SHvm_375e160962fac9a043f908ba08cc8fb3_1506173276260941-_MGL0199.JPG", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_6kDyx1L1Fi0lA1JuuKdiUY_c0291f22607fd4675df135d3870208af_cover-achille-lauro.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_29PyoJK63gIW6twU2qqkex_d3360372aed60a7f7b4530350a1d1293_cover_Ferrari-1951.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_71qrIfiLpdn0uEkbwdgJYl_447e8c092b649330e37f6e576fd37ab7_cover-Mugello-ph._courtesy_Ferrari.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3PUZpTb32moNNgAaHJOmmV_3ac691786ca92fa81d2fbc9ac42b2d05_Teatro_Del_Maggio_2500x1000.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6x76Qxxc7gtqJp2AiB1OhY_6a59d93abd23d12a224b573d3aff7adf_5__ALESSANDRO_SCIARRONI__Save_the_last_dance_for_me____Claudia_Borgia__Chiara_Bruschini__2_.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_MIOixsKDQLf7Mki6g8EGS_6ea00b9f30099ed28119690485501fd9_13iht-ammannati13-inline2-jumbo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5qGIyG9YYX3r7VdgvkzZd_f849f18442628ff49fe6fb8a94556f78_3_Giardino_di_Boboli_ph_Gallerie_degli_Uffizi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5ktUoY18dEdjDvd68lZ13W_7698623ecc4b1b7d75cbf9459c35e4ba_livorno_-_toscana_contemporanea_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_ERsqzNJu3kFzgCS4L3rcm_9a193676529775311d61bfa1cf572756_Jean-Michel_Folon__Partir__2002._Giardino_delle_Rose__Ph_GiuliaVezzosi__copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4RBSc30j71LSbww5H2apAm_aa8d8e6e818cd0c786f803e3069d5a09_immagini.quotidiano.net.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3ia4XARDK0dJHXFEeHCpVT_ebb9f723b243694fcd819e0dea2156e7_Anfiteatro-Teatro-Era_-ph.-Franco-Silvi-e1595174780576.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_PUBOXBqtO82VzYsql7Xu1_4a462a7782c1c849470c2c3e745861c8_liu-ruowang-1200x900.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3nyvTMKSYZHYWhW6QMWW7P_dbb714bd526238aff885948f1e4db973_forte_belvedere_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7w1ONidNZqnTXu4P3kcWoO_46421103350eff34b89cf8b4b3929b52_87-cavea-maggio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7eroF80bQ7YYTQ2mhTMvid_935094b37a943589124808b88f63255d_cover_morricone.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_7gUSWGEPdJmTEuHo17n3Dr_64cb41c2841e579a8c02bf639b0dfeee_sandro-veronesi_open-1280x720.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4ESGFDLIDlIVNImCMohdsP_9cb40c1cd58863ca8e8ed9a958d4c6b0_festa-della-musica-2020-teatro-romano-pic.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7es1es46MnXc8r5BZNnbid_a9958bcf94bb3ca4cf9266ded4f27125_PHOTO-2020-06-22-14-12-41.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_45NIluO8HX05siTksN38vK_5e687859b6cc5e0b86a3655023357be0_Visarno_Market_2019_40_ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_7j6bC83RuAQWksGSwescXz_ee98f768b4aa546e182762b77648515a_Orchestra-del-Maggio-Musicale-Fiorentino-__-Simone-Donati-TerraProject-Contrasto-1440x960.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2GFEkO35RWZoPrxDFtgxRA_3837d85ecdbbfdf2cfd99d2d82fcbd12_e1435862-0628-4c36-a6cc-4e29deae8f7b_ur882o.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3JaO4A3DK8RVKkbZ1JByGd_4785d4cd75bf8a7eb17bda3cb6bd4ffa_Estate-fiorentina-piazzale-Michelangelo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5k0qeDFOZ0ENh6MWKtEr2G_b1605ed37f1a68aefb9f599e3f9cdb03_GettyImages-1202707966-scaled.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3cdQWhRZwhlY1AAxziOCGF_0add0dc3d4fddbd9165531a186429fc0_DSCF9215.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Tuks0egk4srqDzytcC9Mq_5d84fe9ae15c363479c2a8645d4a8ffc_teatro.it-maggio-musicale-fiorentino.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_19RyAqoUre1uOD7rH151Sz_2a1a189393dd80f333abba5fc4e82f77_AG-OKNOstudio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_35wOpEysKbVFWJg2XSal43_a595135225839265753d09cf4d263637_galleria_dell_accademia_firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_77qF1L38GykkzPB11nasOo_ea59098e621352958c4ce3b6c90e6a54_palazzo_vecchio3-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4ECfuRmLrz45YAWUY9oAPk_74184e995ad7ffc519c65697f0081d46_frecce-tricolori-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4NazEOhupkDJZixWjU12FU_b9220999d102aa44e0ed8f241d22b15a_AD_09675-3.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_30F2pYZdR6HorjrYi2JoqU_503c294fdfae9284508518eae0a9e703_Florence_Nightingale.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3E8VfihS9cvM1NhNw7xAvy_750b7067332abc6202159fa428c0a881_Firenze-Rocks-Visarno-Arena.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_XFi3jhug9NQMUZrOCd8vo_b70eb1c1ca3ce2b35191f87174355e40_mascherine-2-1200x801.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2QxotVfq4d5L9Mv9zVRJ6S_8e88bbbd8f45cea1dbd4f4f8c5c0d905_via_tornabuoni.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5gGGVSFWHGRpcAB3j2YedY_084b2f8e48b5251dd64de8d68367ab7a_palio_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_40S4UtatMIZTa4jKaJUUIm_4649607e208ee5d289d99fc8eab22e18_Roberto_Benigni_interpreta_Geppetto.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6xUcfhtouYQ7pMfXUFoQZk_0e4c25ce5e3b2a4ad6747f2db1cae408_primavera_botticelli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1ErUYNBo7VetcFA5eDgFDt_f2dd4600c55a90d3ebca1185f7e06772_9a6d37b018b2f998d629777f964688db.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2kU9lkyyULJYoaCwKUG5mL_188ba9033c94dedcc7972b2d28f0cbd7_Antonio_Liveran_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_4dbpNNiQhyJxvJfsTseoBC_f1e893629a2806f62e87cd6a65ce8169_Gustave_Courbet_-_Le_Sommeil_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5BKsMnTvFZfVerscewb2gI_c41615a75ff1482905e19c652ff98dd9_venezia_1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1chDJnq6qLqTKqvW9928xT_74acce63650af3a0552565e3faeb4beb_uffizi-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_53kyQEymE5HwWq4klBgb5u_c8af36023fd04937c03adea513acaf8d_ponte_vecchio_b-n.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2PTcgxELjazXw52K6Hg4l2_5ad843b36db831c4574424076aca6d13_italian-flag.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4SmGA6ZUlkOLsYiRco2X9_aa5a8db1793046fe30e94a99d0a1fe10_libri.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1iR8XfhF82K8VAY6BmtDh1_350e1a12e370eb3f6f791f745b91aee2_foto_header_libri.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_5QbTfyMYGjQ5eBZfYUf9o1_f5f0a0a0bc15fb25a9f1c581153534e1_SCOPPIO_DEL_CARRO_COVER_ANDRE_PAOLETTI.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_43QpBI3bALB9IGznivtKkw_ad8ddf160829488db490418fc4b78009_uffizi_cotrozzi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1YYWRNdinUrd8WG3lONVk_a11d7dcf3a863d8c4efb4a0a7b490347_132311669-a7bbde6b-baab-4986-879d-c5ae0142715a.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_1B1tqwhZ5TnNnL5Af0ze9k_960a589e7227eb110ea341275dfd9997_la_visitazione_pontormo_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_29m0q1ofkYm15YSUU3Rd2s_cda901a2f566c97d50b6de3da0d15434_Resilienza_-_Noumeda_Carbone_dettaglio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_23Z1zkMicgbIKsi6i9BSya_0ed913fb8372f2bc6638ecae775f5bec_Fortezza-da-basso.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_3VFnCfL0UXT6AsiSs7yjMB_25d9fd6e5289b6b22ab1efb233f65cc7_Madonna_della_Seggiola_Raffello.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2tean01KMBr4lvoQMwBLVg_aa6d7d96179ae512dd3e1fce263635eb_cropped-concerti-di-vasco-rossi-nel-2020.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_wG3uGancr4A0x4qheN4RI_e445529195ae3dd00ceda72d8380fbee_Jeff-Koons-GazingBall_BarberiniFaun-620x388.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_1Ry4tdYa7KypduvT20QiYv_0c525bce28c6eedcdef332eba3835965_Mina-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_755wT6YTz4sLWe0VXeESLI_6763bd16b5974fe9c987e401acd742d8_dante_cover.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6elG6YjgutsSaEOVHLaiew_b72f1dfd7d36f0790f3c3b1eeb1d1cf5_30219328389_2-1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_4lj7zgHH2oUNfCOnLPQBTv_28ba851f524bad5e51a39308821df3f0_manifattura_tabacchi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2ql7JZwKOUbWUYFNp7HY1t_eed83de14e54563f1cac69f128ddb946_d_a07fbcd49d.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_7phxCDB5jZU2DyBqG0teeM_42fb74da64e972bb3a700f5c988b6bdf_oroscopo_cappella_Pazzi_Santa_Croce_particolare_ok.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2zS0NnMX9oBK0MxulzjVrk_b31fdcd16584bc4c57020611ba5e4956_Grande-muraglia-cinese.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2J8Z96LNzxj7iKoclm8qwr_7c2b347c979fb395333df5e2f0fc6a0a_46088350_1583925799305360_r-1.jpeg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_ymtVQfRIXXmYK3sKG7olf_8427aec2be4e95ec386ce066ecd9b110__PAR8240.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6mDzQzn1J2C1qGmJX47bQa_72adc01de07fd0ff860fef635ece1e36_POST_WEB.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_5dVkACDxjSEWeN6Lf3jrfC_3a56c9e41dffd76410404df6b61e10fc_teatro_della_pergola.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4C3FLJBIkCv0rE9MORNAbL_ef3d3d38a666ec302e901e1443c73cf7_coversito.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_110SjgXPp4d5V34zFu6U9V_037199d319336b355991bf79662825d9_12_particolare_Caminetto_in_marmo_bianco_di_Carrara__bronzi_dorati_e_placchette_di_pietre_dure__Opificio_delle_Pietre_dure_p.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_2g8YyPoyxtrvdIM9UlbEpK_a911172aa06aaf1c1d252ffbadcb939a_gran_ballo_carnevale_firenze_2020.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6JxlleUgpZyNlXPbCEZQD8_09c40f3cdcaebf138a06d8545ce80347_Salone-dei-Cinquecento.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_50B9mO9dSczBMecKvMvGno_25db65c00bd0181274b0d1f7a6b64e85_Coniugi-Doni.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_5BLUTHrdG0KSoxG9XnDpru_0493895e40236ca0559b64f75ca4fe82_carlo_verdone_-_ph_dario_garofalo.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=bottom__images.ctfassets.net_7dc7gq8ix1ml_5Eb8eVA3rWVNjTSwpZlVaS_75b96c5ea48b375e8965e048bedb8dd7_cover-Accorsi.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5KT9xYaKeoj4ejtxmDuaev_6d0ec23cdd577d0f26461476ee20681c_MAR_9124.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2TUwEwNoI7OjavFyeNXu6E_4d0d561c1091c3db0812cd439cfd0796_2012-02-04-uri-caine-trio.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3JRvCkCSFqTx7xSPDUqMyq_0d0b78b9ea231270682065c8695fe70a_maggio-musicale.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1cDGEEWm7piT17Qcyvrb7a_a1a5866adaed621ae04399e1386cda63_IMG_6839_st.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_Dhvkr5OgWnI24CCuQV1Hw_7fcedae090936cfd998f9960721be400_pergola_sipario_storicogiacomocosta.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=right__images.ctfassets.net_7dc7gq8ix1ml_7bQsswcDBhM8FrpQcg6dfc_3978e8fcb430b62da67770b7359fe801_carnevalevenezia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_aYAFMFC8MArdN2mcJHbIr_104b59ed931b57309a06b347ad196941_keynote-drums604_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6Kon5DtqUjCQDzhtex6nDK_0b0aba51492d768d812e822dd4553bfb_stenterello_carnevale_firenze__ph._ottavia_poli.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5QwXibbycE4ncGbc5XbdCk_2ae77b208e42783405eb316532acf1fb_Fabio-Mauri-Milano-opere.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_70XSWiKV5RNW9xYMl9rC3B_a4954d485391c40ba68eb535ea95a6b7_sanremo-1.png", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6xAtxWd65abZKxCfuqTjT4_f5f51dda92a9d624a9f147a414e5440a_mauri1.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_170sX0ip49TfL9jEvOCMXP_ea4c6bd478c151e7f93c52f859d753ca_muti_2500x1000.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2l1H6MRSJdpIUJbeYSmgwU_d356ef696cb0466b497af0725bf9e033_LME_7947-copia.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_5ZX4J0aUaKUmnUlAkNN2Cw_e85baa04020c1870cf7d647a3f7d1d31_Uffizi_Galleries.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1RAmXj342sH9iMFA2VMMNP_69f24ff6f474beb900ed68100ec61175_foto_3-2.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=face__images.ctfassets.net_7dc7gq8ix1ml_2zbMfyvpnRv8Z42gXVZwFI_4c5458a3154496cab0ee1b3f46e21031_Federico_Fellini.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5jT6tTtXUmI995VQzCNlv4_7caca94d11cc8f2d96ca935b94daec00_11.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6ttJjygl8dEC0qtg1xQnk7_eca652820e865794242c02a2bf2674ab_irene-grandi.jpg", "https://www.firenzemadeintuscany.com/media/boboli2-NVXF91T3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_OOCatk48MJoLTCfCkj596_0af2421c967a0322fe8eff881055c479__MG_4063.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_fSUmGBSClLBQsgUamwh7l_20016b334b4b370fcb89045135c7bb9f_Museo_Stibbert_11.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1fCBT2iI0fhI00UunthmJO_b2f8819e34cd13a62e1c84c718e6f407_La_Grande_Bellezza.jpg", "https://www.firenzemadeintuscany.com/media/e-sempre-bello-coez-cover-ts1553823640-1-4MRN73JB.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/oscars-placeholder-GZ7DFD66.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/web-lcg-1-V9BYNUWT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/ferragamo-parfums-2019-signorina-france-odeon-JAX9QC43.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/7549-z-07-museo-zeffirelli-Q8PBWIS2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mostra-pinocchio-firenze-ZXSKE8QQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/3-leonardo-ca-1062r-1-WIUQSU8H.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/galleria-degli-uffizi-1-1546874722-68T2INQH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/0dab4f73f8e74db8e0ccfc58e81bacd1-xl-REWACT63.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/isabelle-huppert-mary-said-what-she-said-9UNMRDY1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/genius-loci-2-78UC8VVH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/corridoio-uffizi-1AWIH1F2.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/45-signorini-t-villa-toscana-F6QHTEU8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/biaf-LG4Y1YD3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/biaf-LG4Y1YD3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/m7q70byg-C2CLSGBC.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jtzmgesa-ZUEMSXP1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/5cc213902400003600231847-FS27Y7I5.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2-ad-astra-brad-pitt-official-still-5VV4C7KN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/unknown-3Z32HIPB.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/5-ngf-teatro-all-aperto-al-giardino-corsini-GQ7K7TZY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/zubin-mehta-simone-donati-terraproject-contrasto-696x464-DAD7BT3T.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-jar8637-T3RS7Y1A.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/copertina-ny-fdm-1000x400-1-Q7R8KXN9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-rb-0027-LKQ2T6DT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/marni-lvr-terrace-16-B6MJG7SZ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/room-aguas-profundas-sandra-vasquez-de-la-horra-2-AYDTYCDN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/alessandro-busci-betulle-neve-2018-michele-de-lucchi-catasta-412-2017-courtesy-antonia-jannone-T5Y6A6EG.JPEG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sotto-il-sole-olio-su-tela-150x230cm-2015-E8P1TICT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/forte-belvedere-ZSKZYELH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-antinori-KI9MWQPZ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/10-pergola-4-ZHWB83Y3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/strozzi-CW9YLM37.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-d9ddbexxuaaxsex-665KINE3.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/168-K79K7BKH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/panzano-XMCK9ARA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/soniabergamasco-3T2YHB87.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jova-beach-party-YTZTJYW1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/art-kane-harlem-1958-esquire-NS62AMXQ.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/giorgio-vasari-cosimo-i-studia-la-presa-di-siena-palazzo-vecchio-446C4AFL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cosimo-ritratto-da-benvenuto-cellini-museo-nazionale-del-bargello-TGARDZNM.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-1-X2PRD4WX.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/adobestock-116794283-u41232108054och-835x437@viaggi24-web-EY7984H8.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-1-K569M22J.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-mau1762-mod-XNEAD9Y3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/img-8353-IIJ8IFQG.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/helvetia-bristol-fi-exterior-view-6-D7YFCWY4.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1544437196796013-fig-1-590x395-X486YAXD.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/amaca-SXCX75NN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2-michelemonasta-r3-7570-BZ4BZKR3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lucca-summer-festival-LAN872M4.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2-giardino-corsini-dall-alto-2KF1MRP4.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/ingresso-collezione-roberto-casamonti-foto-fabio-gambina-UST8C1BG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/164349021-a72bbe2e-75a3-4fad-a75a-40827d5469de-T9MZKI8H.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/pistoletto-tayou-sangimignano-Q4PEKV7I.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/firenze-su-misura-wunderkammer-RU4RN2F2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1-spooner-Z6FPWVXH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/000r-808-1XWNKMW1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jacopo-chimenti-detto-l-empoli-matrimonio-di-caterina-de-medici-con-enrico-ii-di-francia-BPKKATJ9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-mg-6844-BPFHNHM1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/6-V9ZMS6UD.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/flavours-of-iraq-feurat-alani-e-leonard-cohen1-JN7KHPL8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/giorgio-morandi-natura-morta-olio-su-tela-1923-1924-museo-novecento-firenze-raccolta-alberto-della-ragione-fototeca-musei-civici-fiorentini-SMPS1ZM2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lear-©-elisa-haberer-onp-4-PQULSJD1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/another-time-2-C587EB3M.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/matteobocelli3-AWNESPAC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sanremo-LIZAKQUF.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/luca-pignatelli-IHPJCRSP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/firenze-ZYHRWY9Y.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/la-clemenza-di-tito-9VALNKW1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/dio-fluviale-MMX521MG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/animalia-fashion-4-©photo-antonio-quattrone-TT363PTJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/woo-class-occhiali-4-P2S5YNGN.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/battistero-6XKMCGAF.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cortile-bargello-UDYPWCS7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/leonardo-da-vinci-copia-BX4B9H5D.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/marina-abramovic-TMDM4AQP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fuochi-firenze-2-1A4ELZVK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/volterra-PVU244ME.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maggio-musicale-1-4AVZ9ND5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/tree-of-life-firenze-P8GA1XPX.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/©marcoborrelli-stringscity2017-3581-EGCQ4MXX.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cai-guo-qiang-2-CPAJ26T9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fuochi-piazzale-michelangelo-H4GPNW3Q.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/marina-abramovic-1V762S6J.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lucca-comics-2018-copia-Y6INNFZS.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/leonardo-cover-4AR6LRB1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/leonardo-codice-leicester-IVNHU72G.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cenerentola-2500x1000-PI1TREKA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/leonardo-1-1FP2WB9M.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/the-legend-of-motown-web-F7QJHNY2.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/odeon-bistro-2FWFE23B.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gran-gala-ant-PPCNYKY8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/museo-della-misericordi-firenze-GKT2U9PN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/toto-ph-massimo-sestini-LXV8PVTI.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-UYTBASNR.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/palazzo-calzaiuoli-1-463RTEYB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/marina-abramovic-ZEG51ZXU.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/santa-croce-esterno-7VUMW6WK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/schermata-2017-09-08-alle-15-22-08-5TW84V56.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/23767-sassofono-sax-musica-jazz-JSEWUS58.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/leone-rosso-ve-970-JLZPBXFU.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/six-underground-FM1WIQ93.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-m2-7032-6GPP2473.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/3-orchestra-NNNEBHK9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/riccardo-muti-allopera-di-firenze-®-silvia-lelli-604x403-YDNCAMFD.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lucca-QA1MSZKT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/roberto-bolle-foto-di-luciano-romano1-J8XFQRYF.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-3-e1529502059244-79ZQ4PW6.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-mg-2908-GZJEEDE2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/teatro-it-uffizi-firenze-provini-J759C17D.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/static1-squarespace-18V9LIB1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/museo-salvatore-ferragamo-italy-in-hollywood-hall-3-rodolfo-valentino2-2N6PRGQC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/img-0281-I5B76I3Z.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/35026370-2213452508885878-2839965520101376000-o-MTTZGAE7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/the-warehouse-hotel-lobby-high-res-RTKIK61W.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/34822089-1954426504627938-6704487130657193984-n-WXWXPSIG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mattiacci-forte-belvedere-13-ZI3SH2SK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/galleria-degli-uffizi-firenze-UNVGPT4U.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/d01-6918-1DK4R2P6.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/75817-fig-11-8UH64R98.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fi52-opera-house-01-GBC7JUPL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/muse-900-anteprima-13-323P1GP3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/arte-SLBEHAAQ.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fb0ca457-4a39-4776-b0d8-ee773649dfd3-e1521320023232-WA5E7KDK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/bobdylan-600x340-GN3JBRRQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gallery-20-marzo18-1-2CT1L5U3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/alceste-1-©-michele-crosera-teatro-la-fenice-940x440-YZB9Y1Y1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/firenze-con-bambini-ASDE7HR2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/image16-QUK3XF48.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/liberati-ceramiche-d-arte-22-6KPLXRUF.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1-2-giulio-turcato-31HSACD3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/3150-FCWGLN2A.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/carsten-holler-stefano-mancuso-palazzo-strozzi-03-DNZWSSML.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/palazzo-pitti-florence-1500x850-XYK7498R.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/66281-unnamed-1200x874-696x385-ZLI1KVH3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2018-02-19-photo-00000012-85WPFGLL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2-IMS5T36W.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/preziosi2911-QWIZUYL2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/malikaayane-background-copy-0-VWCPK8ZJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/nicola-valentini-palazzo-pitti-10-©-pietro-paolini-terraproject-contrasto-VRDFTJZY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/photo-aspx-QNJIRIED.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/teatro-della-pergola-firenze-dydiw4w1-g15vczbe-JZF4CEI6.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/nws-ricceri-Z94VUA3D.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1189437-l-W85UULVT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/il-lago-dei-cigni-moscow-state-classical-ballet-MDGQF2QQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/florence-david-1500x850-1-53Y8FYNH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/11-giuliano-de-medici-michelangelo-cappelle-medicee-1992-K5LQW4JY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lei-34v-800-D2ZLHR19.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/keith-haring-ignorance-fear-726YXID6.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/19-cocci-2017-l-bassa-9HXYTNJ5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/orchestra-e-coro-del-maggio-musicale-fiorentino-©-simone-donati-terraproject-contrasto-6JVS8AUE.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-par5945-hdr-KLHSE88R.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/3-LI1WP9WU.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/3-1000-440-1BPGEITD.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/firenze-gala-1-PFF6ECMX.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/5-ESQNX54Z.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/tumblr-maysj63gby1rw4p1eo1-1280-8NNFYQ4X.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/alfa-romeo-6c-2300-1-IQXHGEIU.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/baustelle-foto-7E57QRRK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/benjamin-clementine-01-V61XMH1B.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/4c5e2854-b7c7-4fc5-a086-310a99c49cfd-E4UI2NJ5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/zeffirelli-2-VHBS32FR.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/drive-in-FY4LQAQA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/-pa27346-K8W5R4TE.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/the-rolling-stones-press-claude-gassian-crop-B8LHYTA5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/movida-versilia-49ZCTGPK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/teatro-della-pergola-immagine-@-walter-sardonini-7F6AQ1QH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/marina-abramovic-696x443-ZYRQ6NGC.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/florence-dance-www-eventiintoscana-it-ALFC86B7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/davinci-1-5QFJNIZM.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/abn-0909-68PBSZ23.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/2-dekeersmaeker-sanchis-alovesupreme©annevanaerschot-FHMD2DIS.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/banner-fb-pi-3R8KA8G3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mostra-ytalia-forte-belvedere-firenze-03-63WC5733.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/chimera-1-DNBHULER.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/saudi-tales-of-love-by-tasneem-alsultan-182-8nvgecsh-2-RR4XBH6Q.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-05-3N7RP96A.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/saudi-tales-of-love-by-tasneem-alsultan-182-8NVGECSH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/5-1-emergence-TLXTT927.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-7-S1RZ5TMZ.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mg-5955-IEAX3UIH.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/foto-dali-in-piazza-duomo-pietrasanta-1-PSYAL497.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/01-bill-viola-auckland-castle-1-1X1ED8NB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/t-fornasetti-set-design-from-don-giovanni-JQIZ8TC9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/foto-locchi-web-RT6WS1Y9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/capodanno-firenze-GKNHYX8B.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/antony-walker-dirige-coro-e-orchestra-del-maggio-in-semiramide-©-simone-donati-terraproject-contrasto-3-UQA4SHV5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/klimt-experience-firenze-made-in-tuscany-VMG3X6WQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/ponte-vecchio-firenze-T91I55HT.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/salvador-dali-5LAUP69S.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/353742-thumb-full-2016-1119-statua-pesce-26TYKY81.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lo-schermo-dell-arte-firenze-ANXKZW1T.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-01-e1467123465681-MLXKVJX5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/pandolfini-firenze-UHMBF6Q7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/lo-schermo-dell-arte-odeon-S9R4V29A.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sala-10-14-botticelli-3-GP8SET1D.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/centro-pecci-P29VGBJ3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/piazza-della-signoria-14-AIER49G8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/film-inferno-QGIGLM56.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/teatro-della-pergola-firenze-dydiw4w1-G15VCZBE.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/serretorrigiani-inpiazzetta5-VMPKP32N.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/toscani-uffizi-firenze-KVWCPHQE.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/wired-next-fest-firenze-KA3243LI.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cortona-on-the-movie-BCCSE31P.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/il-sogno-di-theimer-8GZ4SK9A.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/ai-weiwei-photo-credit-ai-weiwei-studio-I7HTJFPS.png?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/david-michelangelo-AET812SB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/beach-parties-I2Z7HVAV.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/skunk-anansie-EWVMMP5Y.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/309620-6Z8FHKXY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/air-TWMJ8XRR.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/il-concreto-creativo-X211Z9IB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/the-bridge-of-love-4VYB9Z6X.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/dialoghi-sull-uomo-2016-jpg-31SX6581.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/secret-florence-joseph-©-alessandro-sala-5XKEJBEU.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/medici-dynasty-JS5RRLG2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/buffoni-villani-e-giocatori-alla-corte-dei-medici-V5XPDVQR.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-gallery-firenze-KZS4M61L.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/duran-duran-2-GT6HDRK5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jan-fabre-firenze-EKZJRVCC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/stazione-leopolda-HVD2AACJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/iolanta-maggio-musicale-E1YYJTA1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/firenze-liu-xiaodong-A7BA5VFF.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/o-flos-colende-JEJDM54H.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/middle-east-now-2016-by-nour-flayhan-jpg-FKQCN3Q6.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/kandinsky-palazzo-strozzi-PSFPZ1AP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sassarori-carla-artour-o-SY3BKHYN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/andy-warhol-IY5D15U3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/top-hundred-marino-marini-firenze-XII4NP6C.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/piazza-signoria-RVW477JA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/big-qiu-galleriacontinua-I8424VT8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fabrizio-bosso-metastasio-jazz-LXYIWCXL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/4-low-teatro-niccolini-ph-filippo-manzini-16LCYQIG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/elio-firenze-M8S7RDAA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fabio-massimo-faggi-3-LKRZBVA2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/louise-bourgeois-8AFHG6H5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-fienze-XC94U1GL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/claudia-gerini-2�fabio-lovino-UTBUT5AF.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/casa-di-bambola-DQQS6MX7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/subsonica-JS6TTJ4L.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/pecci-XGGTKIFL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/museo-opera-duomo-firenze-sala-paradiso-N1I96J3Q.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1-low-the-pride-3IUFSKTJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/palazzo-blu-pisa-REBHNGB5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/matrimonio-indiano-firenze-PBS9FDRQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/provando-dobbiamo-parlare-ph-assunta-servello-2F1DA2MA.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/visio-next-generation-moving-images-IK1Z2ABY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/dante-750-santa-croce-DB43MCAB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/zubin-mehta-KTI7FCDV.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/paolo-conte-premio-galileo-2-Z91D2G8J.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/©-archivio-foto-locchi-igf-all-132-piazza-dei-ciompi-BBRM5ERJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/trittico-messina-uffizi-7L6JS8LP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-3d-DXZTDXZJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/vita-di-galileo-lavia-pergola-ZEAPVFYC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/50-giorni-firenze-6XL3FJK8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/florence-biennale-JEG71DDS.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/eros-ramazzotti-firenze-MJFA6SE2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/bellezza-divina-tra-van-gogh-chagall-e-fontana-palazzo-strozzi-1400x770-4CKU45C3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/biennale-antiquariato-firenze-HSE16939.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/terra-di-siena-film-festival-VTMF29CK.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jeff-koons-firenze-DMU7PEJI.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/giornate-europee-del-patrimonio-firenze-54LDXJ3G.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sala-signorelli-uffizi-2-DLPAKHIN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/principe-dei-sogni-MWFLF7AU.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/aperitivo-E6IN2ZY2.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jeff-koons-gazing-ball-ariadne-2013-monsoon-art-collection-©-jeff-koons-7TN9JSS3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/favino-LAPKCUQ1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/donatello-geremia-allestimento-del-nuovo-museo-dell-opera-del-duomo-firenze-foto-claudio-giovannini-MHYT9S4G.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/filippino-lippi-annunciazione-B2AUKSB4.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mostra-chadwick-YAM5URF8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/galleria-continua-anish-kapoor-217RDNEH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/valle-dei-templi-agrigento-3-BXJWNGKR.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gormley-forte-belvedere-5-6533FCKF.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/la-divina-bellezza-discovering-siena-X3SH9CSH.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mostra-galleria-accademia-firenzeo-3DNDG47F.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/bolgheri-melody-TSHSJJU1.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/piero-di-cosimo-7CTV9537.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/nascita-di-venere-F6VVGYKM.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gucci-copertina-XQZ4YWSD.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/1-KCTKBZZZ.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/pietrasanta-in-concerto-UTLCVCFG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/beach-club-RVIQ8S1Y.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/eleonora-abbagnato-W5MGSBK5.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/chianti-3GLVZUG8.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jovanotti-62FVAD6K.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-florence-WT1LR92Q.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maggio-musicale-fiorentino-KP68P4QZ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/a-canova-orfeo-HWY2339K.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/the-lobster-GFT9KKVJ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/jbrock-SMJNKENA.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/timi-rohrwacher-bassa-R3L69AZB.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/hiromi-smile-8U3RAKG7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/servillo-copertina-CQDAW4BP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/dolce-vita-4-IGDMA2IL.JPG?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mtv-awards-firenze-10-NRXH4B7W.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/estate-al-bargello-ZBGFBZ5J.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/sting-sings-K3YL45J9.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/david-cronenberg-tuscany-DJBBTVUX.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/il-racconto-dei-racconti-garrone-VUSYQVAM.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/museo-del-bargello-4J5G3PZC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/kapoor-UJEDJ68K.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/momenting-the-memento-02-credits-andrea-cammarosano-HPUGTSXZ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/polimoda-florence-9H75PKSC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maggio-musicale-fiorentino-2896NIJP.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gormley-firenze-4M7SYRGG.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/tuscany-exhibitions-QLVTB4RQ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/tramvia-notturna-67FPE7P3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maggio-musicale-firenze-WKEZY212.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-gallery-PFHZ4C1U.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/invito-fronte-Z9QJSTRN.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/polo-conte-copertina-SL8NK6MY.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/palazzo-strozzi-2015-W1Q3NKD7.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/mostra-dolci-trionfi-opera-castello-di-joan-sallas-da-mattia-giegher-trattato-delle-piegature-1629-IU299DI2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/vangoghalive2015-C4DNFEBE.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maraviglioso-boccaccio-7I6FXE93.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/big-dabu2012-08da-copia-BCLHXYIM.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/fig-4-D1A3AFYC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/la-corte-firenze-BVCNNKWX.jpeg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/maurizio-pollini-EE587DMU.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/paolo-virzi-1020-B4TFDE8M.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/le-amiche-0020935rpt-n-copia-2-XUMCCCUL.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/uffizi-RVB8RX4F.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/cronenberg-BZBS48LC.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/clemente-terni-santa-croce-EKHN9T9Y.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/museo-3W5P41D3.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/rohrwacher-4BBAPHT2.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/puccini-1VGQXVNZ.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/ilaria-rastrelli-RPQKLA81.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/gifuni-S6NVQEKW.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/media/11141474975419af15585dd-1024x582-3AX3KWPI.jpg?width=1040&height=800&croponresize=1&f=faces", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_3ZC6laB4f8YD8hdQKweq8D_919ab92496a724147fef18410f646376_corridoio-vasariano-firenze.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_4LQuSMExvMfnnpXIa65nHj_34b90515a9a8ada693c2938f665b6ac2_Porta-del-Paradiso-1024x675.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_6t2blU3T50QCSviQDwKtRX_61642e5c6a1877969da1a011c5f9753d_DSC_7710.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_2WFsSg3gcI9tITGuBZF3P4_14d816158cfadad18363b5807b60e6a0_vasari.jpg", "https://www.firenzemadeintuscany.com/assets/w=1040&h=800&fit=fill&f=faces__images.ctfassets.net_7dc7gq8ix1ml_1rhnOXwwH6IA8JTCYtL71A_7b5b94b4aa5621a19cf713c28262b6f9_42606.jpg", "https://www.firenzemadeintuscany.com/assets/w=400&h=480&fit=fill&f=left__images.ctfassets.net_7dc7gq8ix1ml_4zEYTdxPTuT0RghIdYUATl_762f13102bc10b189f8889a0070096b6_cover_palazzi_storici.jpg", "https://www.firenzemadeintuscany.com/assets/w=400&h=480&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_6qCZ7HvIvJsbWdypq4dhmt_23716e8b722779c419f1591189622b04_cover_cinema_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=400&h=480&fit=fill&f=center__images.ctfassets.net_7dc7gq8ix1ml_5MS1nskGHrJYBb7zhrW6B5_20b1baf2ec25ec5e887de1689a7fc0bd_cover_profumieri_2.jpg", "https://www.firenzemadeintuscany.com/assets/w=400&h=480&fit=fill&f=__images.ctfassets.net_7dc7gq8ix1ml_2WVMYkjZj4lzG5de7lRN6o_1d72e169cae0db7382a8df66c2a2bfbd_cover_home_decor.jpg", "https://www.firenzemadeintuscany.com/images/fb.svg", "https://www.firenzemadeintuscany.com/images/inst-o.svg", "https://www.firenzemadeintuscany.com/images/yt.svg", "https://www.firenzemadeintuscany.com/images/ge.png" ]	[]	[]	[ "" ]	null	[]	null	Museums, exhibitions, events that tell the universe of art in Florence	en	https://www.firenzemadeintuscany.com/images/favicon.ico		https://www.firenzemadeintuscany.com/en/category/art-and-culture/	Historic buildings in Florence They are the symbol of the splendor of the ancient Renaissance families of Florence. For you the top list of the most beautiful historic houses to visit in the city Cinemas in Florence Where you can find arthouse films and the latest releases.
5438	dbpedia	1	1	https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Actor	en	David di Donatello for Best Actor	https://upload.wikimedia…28cropped%29.jpg	https://upload.wikimedia…28cropped%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Fabrizio_Gifuni_%28cropped%29.jpg/220px-Fabrizio_Gifuni_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Vittorio_De_Sica_%281962%29.jpg/150px-Vittorio_De_Sica_%281962%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Doris_Dowling_e_Vittorio_Gassman.jpg/150px-Doris_Dowling_e_Vittorio_Gassman.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Alberto_Sordi_%281962%29.tif/lossy-page1-150px-Alberto_Sordi_%281962%29.tif.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/be/Marcello_Mastroianni_in_8%C2%BD_%28cropped%29.jpg/150px-Marcello_Mastroianni_in_8%C2%BD_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Ugo_Tognazzi_Il_Mantenuto.png/150px-Ugo_Tognazzi_Il_Mantenuto.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Nino_Manfredi_69.jpg/150px-Nino_Manfredi_69.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Gian_Maria_Volont%C3%A8_cropped_2.jpg/150px-Gian_Maria_Volont%C3%A8_cropped_2.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/15/Giancarlo_Giannini.jpg/150px-Giancarlo_Giannini.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Piginicelentano.jpg/150px-Piginicelentano.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Nuti.png/140px-Nuti.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Roberto_Benigni_%281998%29_cropped.jpg/145px-Roberto_Benigni_%281998%29_cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Nanni_Moretti_Cannes.jpg/145px-Nanni_Moretti_Cannes.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Sergio_Castellitto_66%C3%A8me_Festival_de_Venise_%28Mostra%29recorte.jpg/145px-Sergio_Castellitto_66%C3%A8me_Festival_de_Venise_%28Mostra%29recorte.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Fabrizio_Bentivoglio_2011-03_cropped.jpg/145px-Fabrizio_Bentivoglio_2011-03_cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Bruno_Ganz_DFF_Tokyo_2005_3.jpg/145px-Bruno_Ganz_DFF_Tokyo_2005_3.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Cast_La_Grande_Bellezza_Servillo.jpg/145px-Cast_La_Grande_Bellezza_Servillo.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Silvio_Orlando_FCI_Tokyo.jpg/145px-Silvio_Orlando_FCI_Tokyo.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Elio_Germano_%28cropped%29.jpg/145px-Elio_Germano_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/Valerio_Mastandrea_1_%28cropped%29.JPG/145px-Valerio_Mastandrea_1_%28cropped%29.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Grandeguerra3.jpg/200px-Grandeguerra3.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Toni_Servillo_%282008%29.jpg/140px-Toni_Servillo_%282008%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Antonio_Albanese.jpg/140px-Antonio_Albanese.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Kim_Rossi_Stuart_FCI_Tokyo.jpg/150px-Kim_Rossi_Stuart_FCI_Tokyo.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-09-17T17:39:08+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Actor	Award David di Donatello Award for Best ActorCountryItalyPresented byAccademia del Cinema ItalianoFirst awarded1956 (for lead acting in films released during the 1955/1956 film season)Currently held byFabrizio Gifuni — Exterior Night (2023)Websitedaviddidonatello .it The David di Donatello Award for Best Actor (Italian: David di Donatello per il miglior attore protagonista) is a film award presented annually by the Accademia del Cinema Italiano (ACI, Academy of Italian Cinema) to recognize the outstanding performance in a leading role of a male actor in an Italian film released during the year preceding the ceremony.[1] The award was first given in 1956, and became competitive in 1981.[2] Vittorio Gassman and Alberto Sordi are the record holders in this category with seven awards each, followed by Marcello Mastroianni with five.[2][3] Nominees and winners are selected via runoff voting by all the members of the Accademia.[4][5] Winners and nominees [edit] Below, winners are listed first in the colored row, followed by other nominees.[1] 1950s [edit] Year Actor Role(s) Film Ref. 1955/56 (1st) Vittorio De Sica Antonio Carotenuto Scandal in Sorrento 1956/57 (2nd) 1957/58 (3rd) 1958/59 (4th) 1960s [edit] Year Actor Role(s) Film Ref. 1959/60 (5th) Vittorio Gassman Private Giovanni Busacca The Great War Alberto Sordi Private Oreste Jacovacci The Great War 1960/61 (6th) Alberto Sordi Second lieutenant Alberto Innocenzi Everybody Go Home 1961/62 (7th) Raf Vallone Edoardo "Eddie" Carbone A View from the Bridge 1962/63 (8th) Vittorio Gassmann Bruno Cortona Il Sorpasso 1963/64 (9th) Marcello Mastroianni Carmine Sbaratti / Renzo / Augusto Rusconi Yesterday, Today and Tomorrow 1964/65 (10th) Vittorio Gassmann Giuliano Maria Hard Time for Princes Marcello Mastroianni Domenico Soriano Marriage Italian-Style 1965/66 (11th) Alberto Sordi Dante Fontana Fumo di Londra 1966/67 (12th) Vittorio Gassmann Francesco Vincenzini The Tiger and the Pussycat Ugo Tognazzi Sergio Masini L'immorale 1967/68 (13th) Franco Nero Captain Bellodi The Day of the Owl 1968/69 (14th) Nino Manfredi Cacopardo / Angelo Perfili / Ercole / Voyeur / Telephone operator / Maurizio / Nanni I See Naked Alberto Sordi Dr. Guido Tersilli Be Sick... It's Free 1970s [edit] Year Actor Role(s) Film Ref. 1969/70 (15th) Nino Manfredi Cornacchia / Pasquino The Conspirators Gian Maria Volonté Il Dottore, Former Head of Homicide Squad Investigation of a Citizen Above Suspicion 1970/71 (16th) Ugo Tognazzi Annibale Doberdò La califfa 1971/72 (17th) Giancarlo Giannini Carmelo 'Mimì' Mardocheo The Seduction of Mimi Alberto Sordi Giuseppe Di Noi In Prison Awaiting Trial 1972/73 (18th) Alberto Sordi Peppino The Scientific Cardplayer 1973/74 (19th) Nino Manfredi Giovanni 'Nino' Garofoli Bread and Chocolate 1974/75 (20th) Vittorio Gassmann Captain Fausto Consolo Scent of a Woman 1975/76 (21st) Adriano Celentano Felice 'Felix' Brianza The Con Artists Ugo Tognazzi Raffaello Mascetti My Friends 1976/77 (22nd) Alberto Sordi Giovanni Vivaldi An Average Little Man 1977/78 (23rd) Nino Manfredi Monsignor Colombo da Priverno In the Name of the Pope King 1978/79 (24th) Vittorio Gassman Albino Millozzi Dear Father 1980s [edit] Year Actor Role(s) Film Ref. 1979/80 (25th) Adriano Celentano Guido Quiller Velvet Hands 1980/81 (26th) Massimo Troisi Gaetano I'm Starting from Three Michele Placido Berardo Viola Fontamara Carlo Verdone Pasquale Amitrano / Furio Zoccano / Mimmo Bianco, rosso e Verdone 1981/82 (27th) Carlo Verdone Sergio Benvenuti Talcum Powder Beppe Grillo Giovanni Looking for Jesus Alberto Sordi Marquess Onofrio del Grillo / Gasperino Il marchese del Grillo 1982/83 (28th) Francesco Nuti Francesco 'Toscano' Piccioli The Pool Hustlers Johnny Dorelli Philip Neri State buoni se potete Marcello Mastroianni Giacomo Casanova That Night in Varennes 1983/84 (29th) Giancarlo Giannini Salvatore Cannavacciuolo Where's Picone? Francesco Nuti Francesco Son contento Nanni Moretti Michele Apicella Sweet Body of Bianca 1984/85 (30th) Francesco Nuti Francesco 'Toscano' Piccioli Casablanca, Casablanca Ben Gazzara The forgetful man A Proper Scandal Michele Placido Mario Vialone Pizza Connection 1985/86 (31st) Marcello Mastroianni Pippo Botticella / Fred Ginger and Fred Nanni Moretti Father Giulio The Mass Is Ended Francesco Nuti Romeo Casamonica All the Fault of Paradise 1986/87 (32nd) Vittorio Gassman Adult Carlo / Carlo's grandfather The Family Diego Abatantuono Franco Mattioli Christmas Present Gian Maria Volonté Aldo Moro The Moro Affair 1987/88 (33rd) Marcello Mastroianni† Romano Dark Eyes Philippe Noiret Dr. Athos Fadigati The Gold Rimmed Glasses Carlo Verdone Carlo Piergentili Io e mia sorella 1988/89 (34th) Roberto Benigni Giuditta The Little Devil Giancarlo Giannini Francis II of the Two Sicilies 'O Re Carlo Verdone Piero Ruffolo Compagni di scuola 1990s [edit] Year Actor Role(s) Film Ref. 1989/90 (35th) Paolo Villaggio Prefect Gonnella The Voice of the Moon Gian Maria Volonté Judge Vito Di Francesco Open Doors Sergio Castellitto Paolo Little Misunderstandings Giancarlo Giannini Giuseppe Marchi Dark Illness Nanni Moretti Michele Apicella Red Wood Pigeon Massimo Troisi Michele What Time Is It? 1990/91 (36th) Nanni Moretti Cesare Botero The Yes Man Diego Abatantuono Sergeant major Nicola Lorusso Mediterraneo Claudio Amendola Principe Ultrà Silvio Orlando Luciano Sandulli The Yes Man Sergio Rubini Domenico The Station 1991/92 (37th) Carlo Verdone Bernardo Arbusti Maledetto il giorno che t'ho incontrato Enrico Lo Verso Officer Antonio The Stolen Children Gian Maria Volonté Roberto Franzò Una storia semplice 1992/93 (38th) Sergio Castellitto Dr. Arturo The Great Pumpkin Carlo Cecchi Renato Caccioppoli Death of a Neapolitan Mathematician Silvio Orlando Saverio Un'altra vita 1993/94 (39th) Giulio Scarpati Judge Rosario Livatino Law of Courage Diego Abatantuono Saint Joseph For Love, Only for Love Nanni Moretti Nanni Caro diario Silvio Orlando Ciro Ascarone Sud 1994/95 (40th) Marcello Mastroianni Pereira Sostiene Pereira Fabrizio Bentivoglio Giorgio Ambrosoli Un eroe borghese Massimo Troisi† Mario Ruoppolo Il Postino: The Postman 1995/96 (41st) Giancarlo Giannini Sergio Amidei Celluloide Sergio Castellitto Giuseppe 'Joe Morelli' Romolo The Star Maker Ennio Fantastichini Ruggero Mazzalupi August Vacation Giancarlo Giannini Turi Arcangelo Leofonte Palermo - Milan One Way 1996/97 (42nd) Fabrizio Bentivoglio Pietro Nava An Eyewitness Account Claudio Amendola Claudio Braccio My Generation Leonardo Pieraccioni Levante Quarini The Cyclone Sergio Rubini Joystick Nirvana Carlo Verdone Romeo Spera I'm Crazy for Iris Blond 1997/98 (43rd) Roberto Benigni‡ Guido Orefice Life Is Beautiful Nanni Moretti Himself April Silvio Orlando Vincenzo Lipari Auguri professore 1998/99 (44th) Stefano Accorsi Freccia Radiofreccia Antonio Albanese Alex Drastico / Ivo Perego / Pacifico La fame e la sete Silvio Orlando Ernesto Fuori dal mondo 2000s [edit] Year Actor Role(s) Film Ref. 1999/00 (45th) Bruno Ganz Fernando Girasole Bread and Tulips Stefano Accorsi Horst Fantazzini Outlaw Fabrizio Gifuni Marco A Love Carlo Verdone Ercole Preziosi A Chinese in a Coma 2000/01 (46th) Luigi Lo Cascio Peppino Impastato One Hundred Steps Stefano Accorsi Carlo The Last Kiss Nanni Moretti Giovanni The Son's Room 2001/02 (47th) Giancarlo Giannini Eugenio I Love You Eugenio Luigi Lo Cascio Antonio Light of My Eyes Toni Servillo Antonio 'Tony' Pisapia L'uomo in più 2002/03 (48th) Massimo Girotti Davide Veroli Facing Windows Roberto Benigni Pinocchio Pinocchio Fabrizio Bentivoglio Carlo Ristuccia Remember Me, My Love Sergio Castellitto Ernesto Picciafuoco My Mother's Smile Neri Marcorè Nello Balocchi Incantato Fabio Volo Tommaso Casomai 2003/04 (49th) Sergio Castellitto Timoteo Don't Move Giuseppe Battiston Romeo D'Avanzo Agata and the Storm Luigi Lo Cascio Nicola Carati The Best of Youth Silvio Muccino Matteo What Will Happen to Us Carlo Verdone Gilberto Mercuri Love Is Eternal While It Lasts 2004/05 (50th) Toni Servillo Titta Di Girolamo The Consequences of Love Stefano Accorsi Marco Battaglia Smalltown, Italy Giorgio Pasotti Martino After Midnight Kim Rossi Stuart Gianni The Keys to the House Luca Zingaretti Father Pino Puglisi Alla luce del sole 2005/06 (51st) Silvio Orlando Bruno Bonomo The Caiman Antonio Albanese Giordano Ricci The Second Wedding Night Fabrizio Bentivoglio Luigi Di Santo Our Land Kim Rossi Stuart Freddo Romanzo Criminale Carlo Verdone Achille De Bellis My Best Enemy 2006/07 (52nd) Elio Germano Antonio 'Accio' Benassi My Brother is an Only Child Vincenzo Amato Salvatore Mancuso Nuovomondo Michele Placido Muffa The Unknown Woman Giacomo Rizzo Geremia de' Geremei The Family Friend Kim Rossi Stuart Renato Benetti Along the Ridge 2007/08 (53rd) Toni Servillo Commissioner Giovanni Sanzio The Girl by the Lake Antonio Albanese Michele Days and Clouds Lando Buzzanca Prince Giacomo Uzeda di Francalanza I Viceré Nanni Moretti Pietro Paladini Quiet Chaos Kim Rossi Stuart Luca Flores Piano, solo 2008/09 (54th) Toni Servillo Giulio Andreotti Il Divo Luca Argentero Piero Different from Whom? Claudio Bisio Nello We Can Do That Valerio Mastandrea Stefano Nardin Don't Think About It Silvio Orlando Michele Casali Giovanna's Father 2010s [edit] Year Actor Role(s) Film Ref. 2009/10 (55th) Valerio Mastandrea Bruno Michelucci The First Beautiful Thing Antonio Albanese Alberto A Question of the Heart Libero De Rienzo Giancarlo Siani Fort Apache Napoli Kim Rossi Stuart Angelo A Question of the Heart Filippo Timi Benito Mussolini / Benito Albino Dalser Vincere 2010/11 (56th) Elio Germano Claudio La nostra vita Antonio Albanese Cetto La Qualunque Qualunquemente Claudio Bisio Alberto Colombo Benvenuti al Sud Vinicio Marchioni Aureliano Amadei 20 Cigarettes Kim Rossi Stuart Renato Vallanzasca Angel of Evil 2011/12 (57th) Michel Piccoli Pope Melville We Have a Pope Fabrizio Bentivoglio Bruno Easy! Elio Germano Pietro Potenchiavelli Magnificent Presence Marco Giallini Domenico Segato A Flat for Three Valerio Mastandrea Commissioner Luigi Calabresi Piazza Fontana: The Italian Conspiracy 2012/13 (58th) Valerio Mastandrea Giulio Balancing Act Aniello Arena Luciano Reality Sergio Castellitto Leone A Perfect Family Roberto Herlitzka Professor Fiorito The Red and the Blue Luca Marinelli Guido Every Blessed Day Toni Servillo Enrico Oliveri / Giovanni Ernani Long Live Freedom 2013/14 (59th) Toni Servillo Jep Gambardella The Great Beauty Giuseppe Battiston Paolo Bressan Zoran, My Nephew the Idiot Fabrizio Bentivoglio Dino Ossola Human Capital Carlo Cecchi Carlo Grimaldi Miele Edoardo Leo Pietro Zinni I Can Quit Whenever I Want 2014/15 (60th) Elio Germano Giacomo Leopardi Leopardi Fabrizio Ferracane Luciano Black Souls Alessandro Gassmann Paolo Pontecorvo An Italian Name Marco Giallini Tommaso De Luca God Willing Riccardo Scamarcio Gaetano You Can't Save Yourself Alone 2015/16 (61st) Claudio Santamaria Enzo Ceccotti They Call Me Jeeg Alessandro Borghi Vittorio Don't Be Bad Marco Giallini Rocco Perfect Strangers Luca Marinelli Cesare Don't Be Bad Valerio Mastandrea Lele Perfect Strangers 2016/17 (62nd) Stefano Accorsi Loris De Martino Italian Race Valerio Mastandrea Massimo Sweet Dreams Michele Riondino Libero Worldly Girl Sergio Rubini Oreste Campese La stoffa dei sogni Toni Servillo Father Roberto Salus The Confessions 2017/18 (63rd) Renato Carpentieri Lorenzo Tenderness Antonio Albanese Giovanni Come un gatto in tangenziale Alessandro Borghi Andrea Galderisi / Luca Napoli velata Valerio Mastandrea The Man The Place Nicola Nocella Isidoro 'Easy' Easy 2018/19 (64th) Alessandro Borghi Stefano Cucchi On My Skin Marcello Fonte Marcello Dogman Luca Marinelli Fabrizio De André Fabrizio De André - Principe libero Riccardo Scamarcio Matteo Euphoria Toni Servillo Silvio Berlusconi Loro 2020s [edit] Year Actor Role(s) Film Ref. 2019/20 (65th) Pierfrancesco Favino Tommaso Buscetta The Traitor Toni Servillo Peppino Lo Cicero 5 Is the Perfect Number Alesandro Borghi Remo The First King: Birth of an Empire Francesco Di Leva Antonio Barracano The Mayor of Rione Sanità Luca Marinelli Martin Eden Martin Eden 2020/21 (66th) Elio Germano Antonio Ligabue Hidden Away Kim Rossi Stuart Bruno Salvati Cosa sarà Valerio Mastandrea Nicola Figli Pierfrancesco Favino Bettino Craxi Hammamet Renato Pozzetto Giuseppe "Nino" Sgarbi We Still Talk 2021/22 (67th) Silvio Orlando Carmine Lagioia The Inner Cage Elio Germano Massimo Sisti America Latina Filippo Scotti Fabietto Schisa The Hand of God Franz Rogowski Franz Freaks Out Toni Servillo Eduardo Scarpetta The King of Laughter 2022/23 (68th) Fabrizio Gifuni Aldo Moro Exterior Night Alessandro Borghi Bruno Guglielmina The Eight Mountains Ficarra e Picone Bastiano and Nofrio Strangeness Luigi Lo Cascio Aldo Braibanti Lord of the Ants Luca Marinelli Pietro Guasti The Eight Mountains Multiple wins and nominations [edit] See also [edit] Nastro d'Argento for Best Actor Cinema of Italy References [edit]
5438	dbpedia	1	55	https://italianreflections.wordpress.com/things-italian-home-page/posts/	en	Posts – Italian Reflections	https://italianreflectio…3762-2.jpg?w=200	https://italianreflectio…3762-2.jpg?w=200	[ "https://italianreflections.wordpress.com/wp-content/uploads/2020/08/dscn3762-2.jpg", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5266-3-1.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/800px-palazzo_vecchio_retro.jpeg?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-10.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/di-dimitris-kamaras-from-athens-greece-palazzo-vecchio-florence-cc-by-2.0-httpscommons.wikimedia.orgwindex.phpcurid118061844.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_082820059_ios-2.jpg?w=799", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5266-3.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5266-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-12.png?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-13.png?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_084449735_ios-2.jpg?w=798", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_080521689_ios-2.jpg?w=804", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_082315921_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_084448767_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_081111755_ios.jpg?w=531", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_081057176_ios.jpg?w=540", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_084504523_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_080646740_ios-2.jpg?w=782", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_085107451_ios-2.jpg?w=1023", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5263.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-15.png?w=772", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-14.png?w=750", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_080500771_ios.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_080243286_ios.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_084809168_ios.jpg?w=692", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_080500771_ios-1.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_082055403_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231015_122804213_ios-2.jpg?w=1136", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020163-3.jpg?w=608", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/1280px-pianta_del_buonsignori_1594_12.jpg?w=316", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/di-i-sailko-cc-by-2.5-httpscommons.wikimedia.orgwindex.phpcurid4959008-4.jpg?w=877", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/di-i-sailko-cc-by-2.5-httpscommons.wikimedia.orgwindex.phpcurid4959008-5.jpg?w=285", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/filippo_dolciati_1443_-_1519_execution_of_girolamo_savonarola._1498_florence_museo_di_san_marco.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/di-i-sailko-cc-by-2.5-httpscommons.wikimedia.orgwindex.phpcurid4959008-6.jpg?w=241", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/by-deror-avi-own-work-cc-by-sa-3.0-httpscommons.wikimedia.orgwindex.phpcurid6936306-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/800px-palazzo_vecchio_retro.jpeg?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5298.jpg?w=1000", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5306.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/map.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_124205679_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/piazza_signoria_-_firenze-1.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5282.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-9.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020168-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5277.jpg?w=656", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_100342134_ios-1.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5067.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020168-3.jpg?w=536", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-8.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/dscn5066-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020168-3-1.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020175.jpg?w=450", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_111912508_ios-1.jpg?w=600", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020174.jpg?w=450", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_111211679_ios-2.jpg?w=600", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_111120623_ios-2.jpg?w=600", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/by-rabe-own-work-cc-by-sa-4.0-httpscommons.wikimedia.orgwindex.phpcurid98474926.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020173.jpg?w=864", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_111449844_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/20231012_100433567_ios-2.png?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5249-2.jpg?w=1250", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5045.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020188.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020197-3.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/agnolo_bronzino_-_cosimo_i_de_medici_in_armour_-_google_art_project.jpg?w=789", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/p1020163-2.jpg?w=486", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image-6.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/by-yair-haklai-own-work-cc-by-sa-4.0-httpscommons.wikimedia.orgwindex.phpcurid80596049.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5077.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_083805175_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/view_from_giotto_img_4586.jpeg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image-7.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231015_113244873_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-1.png?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/p1020197-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231014_072722064_ios.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/p1020226-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-3.png?w=683", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5288-3.jpg?w=908", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/p1020193-3.jpg?w=996", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5244.jpg?w=891", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/p1020226-3.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-2.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-6.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-4.png?w=799", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/p1020202.jpg?w=608", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-5.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/image-7.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/grotta_del_buontalenti_aka_grotta_grande_boboli_gardens_florence_26681373895.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/firenze-boboligrotta2.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/firenze-boboligrotta2-2.jpg?w=123", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/firenze-boboligrotta2-3.jpg?w=123", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/grotta_del_buontalenti.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/07/1280px-boboli_corridoio_vasariano.jpeg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/1280px-medicibib.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image-4.png?w=330", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image-5.png?w=761", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image.png?w=881", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/image-1.png?w=783", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5293.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/1024px-san_lorenzo_firenze_plan-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/0165-dsc01489.jpg?w=647", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135035035_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135009743_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_140057396_ios-3.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_140057396_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135155157_ios-2.jpg?w=523", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5118-2.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5119-2.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135125705_ios-2.jpg?w=503", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5118-3.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135048877_ios-2.jpg?w=650", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/a20231012_140156507_ios.jpg?w=745", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/a20231012_140208834_ios.jpg?w=658", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/adscn5122.jpg?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/adscn5120.jpg?w=708", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/adscn5121.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/dscn5124-2.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135117700_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135125705_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/20231012_135059510_ios.jpg?w=584", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5102-2.jpg?w=1000", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/1280px-medicibib.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/20231012_143723847_ios-2.jpg?w=783", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/medici-kapelle_tafel.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-8.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/crypt_medici_chapels_san_lorenzo_florence.jpg?w=768", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5108-2.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5103-2.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/800px-raffaello_giuliano_de_medici.jpg?w=784", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/portrait_of_lorenzo_di_medici.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5093-2.jpg?w=851", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5101-2.jpg?w=587", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5088-2.jpg?w=906", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5094-2.jpg?w=783", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/20240308_110106217_ios-2.jpg?w=410", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/sagrestia_nuova_tomba_di_giuliano.jpg?w=779", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5094-3.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5092-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5097-2.jpg?w=790", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5105-2.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/sagrestia_nuova_tomba_di_lorenzo.jpg?w=733", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5104-2.jpg?w=547", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5107-2-1.jpg?w=921", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5110-2.jpg?w=843", "https://italianreflections.wordpress.com/wp-content/uploads/2024/02/dscn5087.jpg?w=881", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/untitled-2.jpg?w=168", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/1024px-san_lorenzo_firenze_plan.jpeg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image.png?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-6.png?w=996", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-7.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-3.png?w=472", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/800px-donatello_santi_stefano_e_lorenzo_1434-43.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/800px-donatello_santi_cosma_e_damiano_1434-43.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-5.png?w=683", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/image-2.png?w=650", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/20231012_111120623_ios-2.jpg?w=571", "https://italianreflections.wordpress.com/wp-content/uploads/2024/05/dscn5119-2.jpg?w=691", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/bellagio_-_dsc02706.jpg?w=1000", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240424_175847178_ios.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240423_151435170_ios.jpg?w=971", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/skipton_high_street-1.jpeg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240424_131549282_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240425_194501911_ios-2-1.jpg?w=628", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240425_194501911_ios-3.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/image-2.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240424_175344511_ios-2.jpg?w=1016", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/vintage_broaches_or_badges_manufactured_by_the_thomas_fattorini_ltd_from_personal_collection_photographed_by_yogabrata_chakraborty_on_april_3_2023-1.jpg?w=640", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/the_lonsdale_belt.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/royal_warrant_-_jenners_in_edinburgh_-_2004-10-22.jpg?w=800", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240425_194501911_ios-3.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20240424_132239952_ios-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/image-3.png?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_102945751_ios-2-1.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_094426800_ios-2.jpg?w=671", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_094420723_ios-2.jpg?w=409", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/giuliano_bugiardini_ritratto_di_michelangelo_col_turbante.jpg?w=599", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100741835_ios-2.jpg?w=562", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_094553594_ios-2.jpg?w=518", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_095606751_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_095718000_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_095258378_ios-2.jpg?w=491", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_095634638_ios-2.jpg?w=591", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_095932525_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/dscn5087.jpg?w=880", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100324645_ios-2-1.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100313768_ios-2.jpg?w=575", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100504865_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100212443_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/dscn5105-2.jpg?w=583", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/image.png?w=1007", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/image-1.png?w=989", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100651869_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100907582_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_100916622_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/casa_buonarroti.jpg?w=560", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_101259781_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_101044987_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_101201865_ios-2-1.jpg?w=572", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_101153853_ios-2-1.jpg?w=696", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/michelangelo_-_study_for_cleopatra_verso_c._1533.jpg?w=638", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/project_for_the_facade_of_san_lorenzo_in_florence_by_michelangelo_1516_casa_buonarroti.jpg?w=784", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/michelangelo_buonarroti_italian_1475e280931564._sonnet_to_giovanni_da_pistoia_and_caricature_on_his_painting_of_the_sistine_ceiling._pen_and_brown_ink._casa_buonarroti_florence_archivio_.jpg?w=714", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/dscn5225-2-1.jpg?w=827", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_102932106_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_102914908_ios-2.jpg?w=332", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/dscn5228-2.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_085921086_ios-2.jpg?w=584", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_102945751_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/portret_van_antiquair_filippo_buonarroti_rp-p-1909-5443.jpg?w=422", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_093551146_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_093839998_ios-2.jpg?w=806", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_094204316_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_093105143_ios-2.jpg?w=604", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/dscn5227-2-1.jpg?w=1024", "https://italianreflections.wordpress.com/wp-content/uploads/2024/04/20231014_090924630_ios-2.jpg?w=412", "https://0.gravatar.com/avatar/f47c90e0a07ea27217b4b161469154952cabd7a6919908a9c61546d123b4db2d?s=16&d=identicon&r=G", "https://2.gravatar.com/avatar/eeaf1f406c38617e18d14f41cfbdaa014d32499e544afa3b83c44f3b7a9552a8?s=16&d=identicon&r=G", "https://1.gravatar.com/avatar/d790814819f2931324b73d31be4ba928693f496b6c5993c54b5455f7d86772e1?s=16&d=identicon&r=G", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/cropped-dscn3762-2.jpg?w=50", "https://italianreflections.wordpress.com/wp-content/uploads/2024/06/cropped-dscn3762-2.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2024-07-23T08:13:43+01:00	Italian Life, Art, Science and Culture	en	https://italianreflectio…n3762-2.jpg?w=32	Italian Reflections	https://italianreflections.wordpress.com/things-italian-home-page/posts/	COVER PHOTO: Salone dei Cinquecento as seen from the rear balcony. Part 1 of these three related posts looked around the exterior of Florence’s Palazzo Vecchio. Part 2a gave some historical development outlining how the magnificent Salone dei Cinquecento (Hall of the Five Hundred) came into being. Here, Part 2b looks at some of the High Renaissance contents of the Hall. This post is a continuation from Palazzo Vecchio (Part 2a, The Hall of the Five Hundred) So, finally, let’s make our way to see the Salone dei Cinquecento! Entrance to the ground floor of the palazzo is open access (i.e. free to enter), as mentioned in our associated post, Palazzo Vecchio (Part 1, The Building), and consists of three courtyards. The first (redesigned by Michelozzo in 1453 and Ammannati in the 16th century) and the third (much more functional and prosaic) are open to the skies but the central courtyard is closed since, with massive late-15th century columns, its vaulted ceiling supports the floor of the Salone dei Cinquecento (Hall of the Five Hundred) above … Between the first and second courtyards is the imposing and monumental staircase … … that leads to the sublime Salone dei Cinquecento … … the largest room in the palazzo at 54m (177ft) long, 23m (75ft) wide and 18m (59ft) high. And yes, if you think you recognise this hall, it might be just because you have seen the Dan Brown/Ron Howard film Inferno in which a secret agent comes crashing through the ceiling (not possible since the panels of the ceiling are solid wood!) onto the floor 59 ft below. On making then-named Palazzo della Signoria into his family home, Cosimo I de’ Medici was determined to add something a little more ‘homely’ to the austere government building – and something that reflected the power and the majesty of the Medici, especially in terms of maintaining the link between the House of Medici and the patronage of the Arts and Humanities in the High Renaissance. For this task Cosimo employed the services of renowned artist and architect, Giorgio Vasari. Among his many changes, Vasari increased the grandeur of Savonarola’s Hall of the Five Hundred by increasing its height by having it take up two floors-worth of the building … At the raised business end of the hall, from where proclamations were made and the main members of the Council sat – an end that naturally had the attention of the 500 in attendance – what better place to install statues of some of the luminaries of the Medici family … .. taking centre stage here is Bandinelli‘s statue of Pope Leo X … … pope from 1513 to 1531, son of Lorenzo de’ Medici (Lorenzo the Magnificent) and related to Cosimo I through the broader Medici family tree. Roman statues as well of those of other prominent Medici adorn niches around the Hall including further works by Bandinelli, including Alessandro il Moro, Giovanni delle Bande Nere and, of course, Cosimo I himself dressed in classical Roman attire … Bandinelli’s Medici statues are here in auspicious company with six of Vincenzo de’ Rossi‘s statues of the “Labours of Hecules” … … Giambologna’s gesso statue of “Florence Triumphant over Pisa” (1565) commissioned by Francesco de’ Medici (the corresponding marble sculpture is in the Bargello Museum) … … and Michelangelo’s “Genius of Victory” (c. 1530-1534), standing halfway along the east wall … Michelangelo’s statue, originally destined to adorn the tomb of Pope Julius II (several other unfinished statues for the tomb can be seen in the Accademia in the same hall as Michelangelo’s David), is also an unfinished work (especially the left side) that was still in Michelangelo’s workshop when he died. This passed into the hands of his nephew, Leonardo Buonarotti and it was Giorgio Vasari who convinced the nephew to donate the work to Duke Cosimo I for it to stand exactly where it stands today – in celebration of Duke Cosimo’s victory over Siena, as depicted in Vasari’s painting on the wall above. Ah yes, the east and west walls! By August 1512, Savonarola’s precious Republican furnishings had already been removed and the hall sectioned off into separate rooms. The major changes had to wait until after 1563 when the Republican coffered ceiling was removed and destroyed by Vasari. At the same time, the whole roof was removed, extending the walls skyward, now over two floors, by another seven metres (23ft) – so allowing a vast expanse of wall space on which to emblazon in paint the greatness of the Medici war machine. At the request of Cosimo, who wanted to celebrate Florence’s (ie the Medici’s) victories over Siena and Pisa, Vasari (and assistants) was commissioned to fresco the walls with panels displaying notable episodes from these wars. The west wall shows scenes from the 13-year war with Pisa, stretching over 33m in length and 7.6m high. These are (from left to right), The defeat of the Pisans at the Tower of San Vincenzo, The Lifting of the Siege of Livorno from Maximilian of Austria and Pisa attacked by Florentine troops … The similarly-dimensioned east wall’s frescoes illustrates the wars with Siena showing Taking of Fort Porta Camollia, Conquest of Port Ercole and The Battle of Marciano … Now it’s the Battle of Marciano, here on the right, that contains a mystery. High up within the painting there is a pennant (circled) … … upon which is written “Cerca trova” – He who seeks, finds. Now Vasari could have just put this here as an allusion to a passage in Dante’s Divine Comedy … He goes in search of freedom, which is so dear, As he who gives his life for it would know. (Purgatorio, Canto I, 70–72) … or it might have related to these paintings reflecting the glory of Cosimo’s success in battles and, as such, is just a piece of political propaganda (but if so, why up so high that it could not be read from floor level?). Or perhaps … Giorgio Vasari was a great admirer of Leonardo da Vinci and his work. In 1504, during the first Medici interregnum and fifty years before Vasari’s work, Leonardo and Michelangelo were commissioned to paint opposite walls within the Hall depicting successful Florentine battle scenes. Leonardo was to paint the East Wall and chose to depict a scene from the Battle of Anghiari (see our post, Anghiari and the Lost Leonardo) … Unfortunately, Leonardo, ever the innovator, tried a process that failed him (the encaustic process), soon after which he gave up. Leonardo’s work remained on the wall for some fifty years, until Vasari was commissioned to fresco the walls of the enlarged hall. During some restoration work on the Battle of Marciano it was discovered that Vasari’s work was painted on a wall a centimetre or two in front of a wall behind. Through cracks in Vasari’s painting it was possible to place probes that could detect that on the wall behind there were traces of artists’ paint, including a black pigment that was particularly associated with Leonardo da Vinci. So could it be that Vasari, a known fan of Leonardo, was not able to bring himself to fresco over work (no matter in how poor a state) of his High Renaissance ‘superstar’ – and just left a tantalising “Cerca Trova” to beguile us all? Whatever the reality, it was decided that Vasari’s work would not be destroyed just in the hopes that lurking behind his fresco, there was an-albeit-failed ‘Lost Leonardo’. And then there is the ceiling! Much of the ceiling is composed of three coffered bands each containing seven wooden panels. The band adjoining and parallel with the East Wall reflects scenes below of the War with Pisa (1494-1509). That adjoining and parallel with the West Wall relates to the scenes below from the War with Siena (1554-1555). The central band reflects the history of Florence from 70BC to 1434. Here from the central band is Vasari’s tondo showing the allegories of two of the four historical districts of Florence: Santa Croce and Santo Spirito. On the two shields are visible the Cross, the symbol of Santa Croce, and the Dove with golden rays, the symbol of Santo Spirito … But … … pride of place in the centre of the ceiling has to go to he who commissioned most of this work … … here portrayed being crowned by Florence, surrounded by the Coats of Arms of the City and Coats of Arms of the Guilds … … Cosimo I de’ Medici Duke of Florence, Grand Duke of Tuscany. The Salone dei Cinquecento certainly draws from the viewer standing beneath and within, wonderment and awe at the magnitude and complexity of Vasari’s work and that of his High Renaissance peers. It HAS to be on your ‘bucket’ list! Should you wish to visit the upper floors of the Palazzo, including the Salone, then tickets can be bought within the central, covered courtyard. However, do note that this is a functional, working building, the seat of the city council, so may at odd times be closed for special civic occasions. As well as the ticket office, the central courtyard also contains an Information Point, a Bookshop, a cloakroom and a Lift. Times of entry and prices can be found here. Ciao Tutti! COVER PHOTO: Palazzo Veccio photographed from Via del Monte alle Croci Part 1 of these three related posts looked around the exterior of Florence’s Palazzo Vecchio. Here, Part 2a moves inside the building, with some historical development outlining how the magnificent Salone dei Cinquecento (Hall of the Five Hundred) came into being. Moving on, Part 2b looks at some of the High Renaissance contents of the Hall. With its tall tower seemingly standing guard over Florence’s Historic Centre and its crenelated battlements, Palazzo Vecchio seems to be the very essence of a defensive fortress … However, once inside, it is nothing less than a sumptuous palazzo with grand halls, apartments and chapels beautifully decorated by some of the most famous Renaissance artists of the 15th and 16th centuries, including Michelangelo, Donatello, Ghirlandaio, Bronzino, Botticelli and Vasari – there might also be a hidden Leonardo lurking in there somewhere! (More in Part 2b) Sorry, but here comes a smidgen of historical context … The completed palazzo can be seen from the Buonsignori Map of 1594 … … or from the wooden model of Florence … Commissioned in 1299, it took some fifteen years to complete the first phase of construction, consisting of the main body of the palazzo and the iconic Arnolfo Tower … … providing Florence with both a functional and defensive government building which included large meeting rooms and smaller administrative offices. Adorned with battlements, this austere fortified building reflected the political turmoil at the time – a time when Florence’s politics was dominated by two opposing factions: the Guelphs (supporting the Pope) and the Ghibellines (supporters of the Holy Roman Emperor). The year 1300 was the time when Dante Alighieri was elected as one of Florence’s six priors – those who ruled as supreme magistrates – and some years before the rise to prominence of the then embryonic Medici dynasty. Through the late 1300s and 1400s during the rise to power of the Medici, various additions and modifications were made to the original structure as the palazzo increased its footprint beyond the original fortified building. In 1494, the by-then-powerful Medici were expelled from Florence. This began an 18 year interregnum from Medici rule and the introduction of a new theocratic republic under the control of religious firebrand, Dominican friar Girolamo Savonarola, who had partly orchestrated the Medici downfall. During his short rule, peppered with heavily political sermons, items of earthly pleasure such as musical instruments, cosmetics, books, statues, poetry, paintings were burned in what was named the Bonfire of the Vanities. Unfortunately, Savonarola himself fell foul to the same fate when he was charged with heresy and sedition by the pope and held in a small cell (the Alberghetto) in the Arnolfo Tower, only to be hanged and burned on a pyre just outside, in front of the Palazzo Vecchio on the 23 May 1498 … So then, why the History Lesson? Well, the Salone dei Cinquecento (Hall of the Five Hundred) was constructed during the Republic of Savonarola and completed in just seven months from July 1495 to February 1496 … It was commissioned by Savonarola himself, who wanted it as the seat of a decentralised Consiglio Maggiore (Great Council) – made up of more than 1500 citizens, who met in succession of 500 members at a time. In this way, Savonarola was successful in spreading power across the populace, rather than having ultimate power in the hands of a single person, as had been the case when the Medici were in control. In line with Savonarola’s deeply religious beliefs, the Hall was frugal with little or no decoration. In terms of size, the floor area was the same as that seen today, but the ceiling was much lower. Now move forward to 1512 when the Medici were reinstated as rulers of Florence and then on to 1527 when an anti-Medici faction took back control, providing Florence with a second Medici interregnum – this time for just three years, meaning by 1530 they were back! By 1537 a 17-year-old Cosimo I de’Medici gained power and by 1540 Cosimo, now firmly in control, moved his family home into the the very heart of government, the Palazzo Vecchio (or Palazzo della Signoria, as it was then known) … … and it was Cosimo I de’ Medici who was instrumental in changing the Salone dei Cinquecento and the remainder of the palazzo into what we see today. DEVELOPMENT OF PALAZZO VECCHIO Orange/Yellow — Original building and Arnolfo Tower (1299 – 1314) Green — First extension (1343 – 1346) Blue/Grey — The Salone dei Cinquecento of 1496 with changes and embellishments by Giorgio Vasari and Bartolomeo Ammannati (1540 – 1565) Red — The East Wing was built around the same time as the Salone dei Cinquecento but enhanced, including apartments for the Medici, by Bartolomeo Ammannati and Giorgio Vasari after 1540. Continued enhancements and modifications were made in the late 1500s and 1600s by Grand Duke Francesco I de’ Medici and his successors. These changes included the creation of more private apartments and artistic decorations. Certainly, the whole structure was more or less complete by the time of the Buonsignori (what-you-see-is-what-you-get) Map of 1594 (as shown above). End of History Lesson! So, finally, let’s make our way to see inside the Salone dei Cinquecento with its associated art treasures! This post continues in Palazzo Vecchio (Part 2b, The Hall of the Five Hundred) … Should you wish to visit the upper floors of the Palazzo, including the Salone, then tickets can be bought within the central, covered courtyard. However, do note that this is a functional, working building, the seat of the city council, so may at odd times be closed for special civic occasions. As well as the ticket office, the central courtyard also contains an Information Point, a Bookshop, a cloakroom and a Lift. Times of entry and prices can be found here. Ciao Tutti! COVER PHOTO: View from the Piazzale Michelangelo of the Historic Centre of Florence The Torre Arnolfo, the tower of Florence’s iconic Palazzo Vecchio (left), stands proud above the rooftops of the Centro Storico, along with the equally iconic Cathedral with its famous Brunelleschi Dome and beyond and slightly to the left, the smaller dome of the Chapel of the Princes. NOTE Palazzo Vecchio consists of three posts: Part 1 (here, looking at the exterior) and Part 2a & Part 2b, which investigate both the historical development and the contents of the Salone dei Cinquecento (Hall of the Five Hundred). At 95m (312ft) high, Palazzo Vecchio‘s tower stands as the highest civic building in Florence and for over 700 years has been the symbol of civil power within the city … Palazzo Vecchio is located near the Arno River … … on the east side of the Piazza della Signoria … … with surroundings that form an open-air sculpture gallery … The palazzo has taken several names during its existence. Built at the turn of the 14th century as Florence’s Town Hall, it was known originally as the Palazzo della Signoria (basically Palace of the Lord Protector). However, over time and with different uses it was also known as the Palazzo del Popolo, Palazzo dei Priori and Palazzo Ducale. It was only after Cosimo I de’ Medici moved his residence from here across to Palazzo Pitti did he rename the building as Palazzo Vecchio (the Old Palace). A palazzo had already existed here before 1299 when it was decided to build the current fortified residence/government offices under the auspices of architect, Arnolfo di Cambio, over previously destroyed towers. One such watchtower built on the site, the Guardingo tower, dated from the Lombard period (8th/9th centuries) in Florence. These towers themselves were built upon the remains of a large 1st century BCE Roman Theatre (capacity of up to 15,000) in what was the Roman colony of Florentia. These archaeological remains, first excavated in 1876, can be visited down the stairs beneath Palazzo Vecchio (there is a charge) … Its exact size and location can be seen from the following model, with a wire-frame outline of the current position of the Palazzo Vecchio superimposed … Cambio’s Palazzo Vecchio is a mix of Romanesque, Gothic and later Renaissance styles, with the latter style having contributions from artist and architect, Giorgio Vasari in the 16th century. The rustic building, comprised of unevenly-cut stone, has two rows of Gothic double windows surmounted by trefoil arches in between which Michelozzi added bas reliefs of a cross and the Florentine Lily in the 15th century … The main part of the building is topped by crenelated battlements that project beyond the lines of the building below, supported by corbels with small Romanesque arches between … Under these arches there is a repeated series of nine painted coats of arms of the Florentine Republic … The top of the tower has a similar arched and corbelled arrangement, but here the crenelations are of the ‘swallow-tail’ type and the arches between the corbels are in a pointed Gothic style … It is possible that the difference in the crenelations here is because the current tower rests on a pre-existing tower-house that was once part of the ancient Palazzo Foraboschi – and has maintained that style. The position of the earlier tower-house certainly accounts for the asymmetrical positioning of the tower above the Palazzo Vecchio itself. The climb to the top of the tower (246 stone steps, of which 233 are ‘steep’ steps – not for the fainthearted!) certainly affords many different fabulous views of Florence. Here the view is down to the roof of the Loggia dei Lanzi, which serves as an open-air restaurant/café for the Uffizi Galleries, and the Piazza della Signoria … Climbing the steps to the top takes you past a small cell, the Alberghetto (the ‘small hotel’!) and past a significant part of Florentine history. Amongst other prisoners incarcerated here within the Alberghetto, two notables were Cosimo the Elder (before being exiled in 1433) and Girolamo Savanorola (before being hanged and burned in the Piazza below in 1498). The (single) clock on the Torre Arnolfo was the first public clock to be installed anywhere in Florence … It was designed by Florentine watchmaker, Niccolò di Bernardo, and installed in 1353. However, this was replaced with an exact replica made by George Lederle from Augsburg and installed by pupil of Galileo, Vincenzo Viviani, in 1667 – a clock that remains functional today. The asymmetrically-placed, unpretentious ‘front door’ is guarded by a copy of Michelangelo’s David placed here in 1910 (the original now being one of the most popular tourist attractions in the Accademia) and Bandinelli’s Hercules and Cacus … The ground-floor of the Palazzo Vecchio is open access and free to enter. Once inside, a glimpse back outside reveals to one side across in the Loggia dei Lanzi, Cellini’s Perseus with the Head of Medusa and, to the other, the back side (literally) of Michelangelo’s David … Once inside … … the first courtyard opens out … The surrounding walls in here are adorned with vedute paintings from 1565 by Giorgio Vasari of major Austrian cities. This was at the time when Francesco I de’ Medici married Archduchess Johanna of Austria and were intended to make the Archduchess ‘feel at home’. The central fountain is surmounted by a sculpture of a Putto (cherub) holding a Dolphin … This is a copy of a work by Andrea del Verrocchio (1476) of which Verrocchio’s original can be seen displayed on the second floor of the palazzo. Once inside this courtyard, look up … A 360o view around this courtyard can be seen here (Accessed 09/07/2024). Through the second courtyard, passing Vasari’s staircase up to the Salone dei Cinquecento (more of which in Part 2 of these Palazzo Vecchio posts), leads out into the third courtyard, in the centre of which is a rampant lion … This sculpture is a 20th century incarnation that first appeared in the Palazzo Vecchio‘s third courtyard in July 2023. At the feet of the lion lies a decapitated Roman dressed in a toga. The decapitated head is within the lion’s mouth and is about to be crushed. The symbolism here represents the clash between epochs separated by two millennia – here the 20th century lion aggressively destroys the 2nd century BCE civilisation. A 360o view around the third courtyard (without the lion!) can be seen here (Accessed 09/07/2024). See you in Part 2a and Part 2b, when we head inside the palazzo to the Salone dei Cinquecento (Hall of the Five Hundred). Ciao Tutti! Perhaps you have walked from the Ufizzi Gallery in Florence through the lower arcade (to the right in the above photograph) … … alongside the Arno River to the Ponte Vecchio … … perhaps not realising that in this structure, above your heads is another, ‘secret’, passageway … … that was built at the request of Duke Cosimo I de’ Medici (1519-1574) in 1565 … So what’s the story? Bear with, while all the pieces that constitute the reason for the existence of the Vasari Corridor are here assembled … Prior to 1540, the official Medici residence in Florence was the Palazzo Medici on the Via Larga. However, in 1540 the then Medici ruler and Duke of Florence, Cosimo I (in 1569 becoming the Grand Duke of Tuscany), decided living in a more strategic location from which to rule Florence would be the already 250-year-old Palazzo della Signoria in Florence’s Centro Storico (Historic Centre). Some years later, Cosimo I and family moved residence again, this time to the Palazzo Pitti on the other side of the Arno River, whereupon the Palazzo della Signoria was renamed by Cosimo as the Palazzo Vecchio (the Old Palace), a name that it retains to this day … While the Medici were well-connected, they were fundamentally bankers made good. They were not of noble birth. In order to extend the aggrandisement of the House of Medici and to enhance the power of their recently acquired ducal status, in 1539 Cosimo married the 17-year-old Eleanor of Toledo (1522-1562). Eleanor was the daughter of Pedro Álvarez de Toledo, the Viceroy of Naples, and the third cousin of Emperor Charles V, King of Spain and Archduke of Austria – Eleanor was of noble birth. At the time, Spain was in control of Florence, so the marriage to Eleanor offered Cosimo the opportunity to show allegiance to Spain, whilst at the same time mixing Medici blood with the blue blood of European royalty. With the large dowry provided by her father on her marriage to Cosimo, Eleanor had sufficient wealth to buy Palazzo Pitti in 1549. Initially a summer retreat, the palazzo later became a family home suitable to bring up their eleven children (although only eight survived to maturity) in the fresh air of what was then countryside … Palazzo Pitti‘s location across the river away from the bustling city centre position meant that extensions and enlargements to the palazzo (made by Arezzo-born artist and architect Giorgio Vasari) were possible, so doubling the size of the new Medici home – making it much larger and grander than the Palazzo Vecchio (whose position in the Centro Storico meant extensions were not possible) and so more befitting of a Spanish noblewoman. On the purchase of Palazzo Pitti, Eleanor embellished home life for Cosimo and her family by enhancing the land behind the palace on the Boboli Hill, creating in 1550 parkland and large Italian-style formal gardens covering 111 acres (45 hectares), the ‘Boboli Gardens’ – again something that could not be created at the Palazzo Vecchio … Upon the family’s relocation in 1560 to the Pitti Palace as their new residence, Palazzo Vecchio‘s main raison d’être was to become the seat of government. By 1560, Cosimo had commissioned Giorgio Vasari to commence work designing and building a set of offices beside the Palazzo Vecchio to consolidate power and administrative control in one small area. These offices (or uffici in Italian) are what we know today as the Uffizi … … here below, viewed from within the Uffizi Gallery, looking back towards the Palazzo Vecchio, with the Piazzale degli Uffizi below and an ‘arm’ of the Uffizi on each side … So, the pieces are all in place. Can you see Cosimo’s problem? At a time when the Medici had not long since restored, wrested even, their power from the ruling council of the third Florentine Republic and at a time when political assassinations were not unusual, Cosimo was reluctant to openly walk amongst the public on the streets and across the Ponte Vecchio between his residence at Palazzo Pitti and the government buildings of the Palazzo Vecchio and the Uffizi. In order to avoid walking amongst the hoi-polloi, Cosimo commissioned his architect, Giorgio Vasari, to design a passageway that would allow the Duke to walk unnoticed between his home and his workplace. Vasari’s design was to take Cosimo all the way between the two end palazzi above street level! This elevated passageway was to become known as the Vasari Corridor At the Palazzo Vecchio end, Vasari made an opening in the side of the palazzo on the second floor out from Eleonor’s apartment to bridge the narrow Via della Ninna below, taking the other end of this bridge into the north end of the Uffizi buildings … The corridor passes through the Uffizi, exiting as a corridor above street level across the Lungarno degli Archibusieri … before making an immediate right turn along and above the Lungarno degli Archibusieri … At the corner of the Lungarno degli Archibusieri and the Ponte Vecchio there is a plaque on the wall above the archway… Now the corridor takes an immediate left turn to cross over the Ponte Vecchio … Just as now, filled with tourists, in the 16th century Ponte Vecchio was thronged with people going about their daily lives. Unfortunately for Cosimo, the bridge was the shortest route between his home and his workplace! Fortunately, in the Vasari Corridor he was above it all and could pass unnoticed by the rag-tag populace below … Speaking of which … Before the Vasari Corridor, The Ponte Vecchio housed butcher shops from one end to the other – well, it was convenient to throw the waste cuts over the side of the bridge into the river. But the smell …! The smell wafting up into the Grand Duke’s Corridor would have been unbearable for such refined noses, so all butcher shops were removed from the bridge and replaced by less-malodorous jewellery shops. Even today, over 400-years later, both sides of the Ponte Vecchio are still lined with jewellery (and trumpery!) shops … The eastern, upstream, inland, side of the Vasari Corridor over the Ponte Vecchio has larger windows … … than the smaller porthole windows on the west, downstream, side … The story is that these windows were small since their main role was to spot enemies approaching Florence by boat from the coast. The larger windows looked in a direction where there was less of a threat, so were bigger to allow more light, especially the morning sun, to enter the Corridor. Apocryphal maybe, but then why are there three large windows on that small-window side? However, not apocryphal is the story behind the the three large windows. In 1938, Mussolini was expecting a visit from Adolf Hitler in order to seal the mutual Rome-Berlin pact. Naturally, he wanted to impress his visitor with the grandeur that was Florence. Where better then than the Vasari Corridor. In order to maximise the view down the Arno, he had the three large, panoramic, windows installed from where Florence, the Arno and its bridges could best be seen and best impress … The irony here is that, despite being impressed, Hitler’s retreating army blew up all Florence’s bridges across Arno in 1944 to stop the advancement of the Allies – apart from the Ponte Vecchio and the Vasari Corridor – ah, except, that is, for each end of the bridge which was reduced to rubble so no vehicles could cross, or even gain access to the bridge … Gaining his power from wealth gave Cosimo almost carte blanche to construct his Corridor however and wherever. On the bridge at the time there were four towers belonging to (not as rich or as powerful) Florentine families, who were easily bought out and whose towers were demolished as the Corridor ploughed through. That is, except for one! At the south-east corner of the bridge stood the Manelli Tower. The Torre dei Manelli owners refused to comply with Cosimo’s wishes so Vasari had to dog-leg the Corridor around their tower … .. from where the Corridor passes across the Via de’ Bardi … … which, needless to say, is a reconstruction following the destruction of each end of the bridge during the Second World War. From here the Corridor snakes its way across the Oltrarno district of Florence over and through houses and across the Piazza Santa Felicita, before finding itself obscuring the façade of the Chiesa di Santa Felicita … Taking advantage of this position, Vasari opened up the side of the Corridor into the church, placing a balcony where the Medici family could take part in the church services without being seen by the people below … From the Uffizi there was no entrance or exit for Cosimo until the grey door here below, next to the Grotta del Buontalenti in the Boboli Gardens … Originally the position of the Grotto marked the area where an aqueduct brought a water supply to the Pitti Palace, However, in the 1580s, Artist and Architect, but also Stage and theatrical designer, Buontalenti, took the already existing structure and ‘(over?)ornamented’ it to become the Grotto as seen today … Sharp-eyed readers may have recognised the two front statues here as two of Michelangelo’s unfinished Prisoners (or Slaves), which upon the death of Michelangelo, were donated to Cosimo I de’ Medici and placed by Bernardo Buontalenti in the Grotto in 1583 according to the wishes of Grand Duke Francesco I, who had succeeded his father, Cosimo I … In 1908, however, Michelangelo’s four Slaves in the Grotto were transferred to the Accademia Gallery, and now stand in the Hall of the Prisoners with Michelangelo’s David – while in the Grotto the originals were replaced with concrete replicas. While the Corridor was open to groups of visitors, the exit next to the Grotto at the Pitti Palace end of the Corridor was the exit that they had to use . However, the exit next to the Grotto was not the end of Vasari’s Corridor for Cosimo and family … … no, for Cosimo, the Corridor continued the short distance into the Pitti Palace itself, ending in the palazzo‘s gallery – this section of the Corridor has not been accessible to the public up to now (but see access details at the end of this post) … Although a practical project for Cosimo, facilitating his 750-metre pedestrian-free passage across Florence between the palazzi of home and of work, Vasari’s Corridor is also seen as something of a vanity project. Such a grand undertaking was designed to impress … … and to further cement the power of the Medici over Florence. ACCESS DETAILS: The Corridor has been closed for some time for refurbishment, but is supposed to have opened on 27 May 2024. This was the anniversary date of the damage to the Corridor from the 1993 car-bombing in the Via dei Georgofili beneath the beginning of the external part of the Corridor near the Uffizi. However, 27 May 2024 passed by without a reopening, despite the help of a US foundation donating $1 million to help complete the restoration work begun in 2021. Restoration was not the only end-goal, the overall safety of visitors has been achieved through architectural reinforcements, the addition of lifts and paved floors to increase accessibility and the introduction of emergency exits and removal of flammable materials en route. The comprehensive, but flammable, collection of portrait paintings that hung there previously are to be replaced by Greek and Roman marble epigraphs. On 2 July 2024, the director of the Uffizi Galleries stated that the first section will reopen by late autumn 2024, with everything open by the end of the year. Please check the Uffizi web site for any details. A great three-dimensional map of the Vasari Corridor can be found on the Florence with Flair website (Accessed 02/07/24). Click on their pictures of the maps to enlarge them. A one-minute fly-through video of the empty interior of the Corridor can be viewed on YouTube here. (Accessed 29/06/24) Ciao Tutti! One cannot deny the power, profligacy and hubris of the Medici. This was a family that came from humble beginnings but rose to power through their banking wealth. They held sway over Florence, and eventually the whole of Tuscany, from when Cosimo the Elder rose to power in 1434, until the last Medici ruler, Gian Gastone de’ Medici, died without an heir in 1737. It was a ‘humble’ family that, over three centuries, produced four popes (Leo X, Clement VII, Pius IV, and Leo X), seven grand dukes of Tuscany (from 1569 to 1737), and who married into many European royal families. Before describing the unbelievable opulence of the Chapel of the Princes, it is worth outlining how this one family had achieved so much wealth and power … It was Giovanni di Bicci de’ Medici (1360-1429) who established the Banco Medici (Medici Bank) at the end of the 14th century … … a bank that was, in its heyday, to become the 15th century’s largest and most respected bank in Europe. During this time the bank introduced innovative practices, still used in modern finance today, such as Double-Entry Bookkeeping, Letters of Credit (providing a secure method of transferring funds across borders) and Holding Companies. After Giovanni’s demise in 1429, the bank was was taken to its reign of greatest profitability and extension throughout Europe by his son, Cosimo di Giovanni de’ Medici (1389-1464) … … making the Medici the wealthiest family in Europe during the Renaissance. With immense wealth comes power. Cosimo moved into politics establishing the charisma of the Medici, eventually rising to become the leader of the Florentine Republic. By then, the family had amassed a large fortune that helped Cosimo maintain power in Florence. But by the end of the 15th century, with the French invasion of Italy of 1494 under the leadership of King Charles VIII of France, the bank, which for some time had been in decline, collapsed – but not before the Medici had attained a vast array of riches, land and power. With their wealth and power, the Medici dynasty became great patrons of the Arts and Humanities and were among the ultimate movers-and-shakers in the rise of Florence to cultural prominence during the High Renaissance. Their patronage extended to many great artists, architects and scientists who were either native to Tuscany or drawn to Florence through the Medici patronage. These included (amongst many!): Ghiberti, Brunelleschi, Donatello, Botticelli, Leonardo da Vinci, Galileo and Michelangelo. Quite a line-up! The House of Medici, not averse to a touch of hubris, capitalised on their patronage of Arts and Humanities to promote their grandeur and power. As such, there was a requirement for the family to have their own church in Florence, the official church of the Medici, … … San Lorenzo … … which was commissioned with the financial support of the Medici family’s wealth by Cosimo in 1419 and designed by Brunelleschi (1377 –1446). It took from 1422 to the 1490s to complete (although essentially completed by 1459), with delays in intervening periods due to financial challenges and political turmoil. The small dome seen on the right (above) covers the Segrestia Nuova (New Sacristy) designed and adorned by Michelangelo and constructed in the 16th century. The equivalent sacristy on the opposite side of the church, the Segrestia Vecchia (Old Sacristy), was designed and built by Brunelleschi between 1421 and 1440, and was adorned internally by Donatello. The Old Sacristy houses the tomb of the Medici bank founder, Giovanni di Bicci de’ Medici, together with his wife, Piccarda Bueri. Both the Old and New Sacristies are covered in our posts, Brunelleschi’s ‘Old’ Sacristy of San Lorenzo, Florence and Michelangelo’s ‘New’ Sacristy of San Lorenzo, Florence. However … … the LARGE dome in the above photograph covers what can only be described as a ‘super apse‘ – this is the Capella dei Principi (Chapel of the Princes) … … a dome second only in the Florence skyline to the dome of Florence Cathedral designed and built by Brunelleschi … While most ecclesiastical buildings have a ‘small’ semi-circular apse behind the altar, here the apse is a chapel in its own right … Passing through the entrance leads visitors directly into the vaulted crypt, holding the mortal remains of three-centuries worth of major and minor Medici (about 50 in total), including, amongst others, the second Duke of Florence, Cosimo I (1519-1574), Grand Duke Cosimo II (1590-1621), Prince Lorenzo (1492-1519), Cardinal Leopoldo (1617-1675). Also to be found buried in the crypt is the final lineal descendant of the Medici Grand Dukes, Anna Maria Luisa de’ Medici, who died childless in 1743 at the age of 76. In order to avoid the sale and dispersion of the Medici heritage, Anna Maria’s will left most of the Medici possessions to the safekeeping of the city of Florence. These remain virtually intact to this day. Think on this as you visit the artworks in the Ufizzi Gallery, the Pitti Palace and elsewhere in the city. Anna Maria also willed sufficient funds to ensure the completion of the Medici Chapels here at San Lorenzo. As well as her mortal remains resting here, a recent bronze commemorative statue by Alfonso Boninsigni (1910-2003) of Anna Maria stands in the crypt near her tomb … Ascending from the crypt leads either to the Segrestia Nuova, or to the overpowering magnificence and blinding grandeur of The Chapel of the Princes (itself a hubristic misnomer since no high-flying Medici was ever a prince, only ever rising to become Grand Dukes!) … Here, Baroque architect Matteo Nigetti (ca. 1560-1648) in a collaboration with, and based on designs by, Don Giovanni de’ Medici (1567-1621), was entrusted with supervising the construction. The chapel contains an opulent and sumptuous interior (which took almost two centuries to complete) almost entirely encrusted with marble, rare pietre dure (semi-precious stones) and bronze statues, making it a grand mausoleum promoting and celebrating the hegemony, wealth and glory of the Medici Grand Dukes … … while at the same time taking mausoleum design to a new level of ostentation! Its origins may have been conceived in the Renaissance, commissioned by Cosimo I in 1568, but it was completed in a flourish of exuberant Baroque architectural detail in the following century. Nigetti started work on the immense octagonal single structure mausoleum in 1604, personally completing his work 36 years later in 1640. Its internal dimensions measure 28 metres (92 feet) from each side to the opposite, ascending to a height of 59 metres (194 feet) into the cupola … … where the altar’s centrepiece in hard stones shows the Supper at Emmaus (painted by many artists elsewhere, but none so brilliantly as that painted by Caravaggio) … The walls, floor and ceiling of the chapel were designed to be completely inlaid with thin veneers of different-coloured marble and semi-precious stones courtesy of the Opificio delle pietre dure (Workshop of semi-precious stones), a workshop instituted by Ferdinando I de’ Medici in 1588 specifically for this task, but still in operation today. While much work was completed, the demise of the last of the Medici after 1743 left the interior of the dome, in fact the whole chapel itself, unfinished. Originally the dome’s interior was to be entirely covered with lapis lazuli, but with no further Medici money for such an expensive outlay, the dome was instead frescoed by Pietro Benvenuti as ‘recently’ as 1828, featuring scenes from the Old and New Testaments depicting themes such as the last judgment, creation, death, resurrection, … However, no expense seems to have been spared on the smooth, uniform floor inlays, an intricate mosaic of marbles and hardstones begun in 1874 and finished only as recently as 1962 … … while not forgetting to incorporate the Medici crest (even in the floor!) … The walls are also fully finished with stone mosaics of coloured marbles to produce a highly decorative effect … Set into the dado … …are the coats-of-arms of Florence and the Tuscan cities that were under Medici control, including: The artistry of the stone workers can be seen in the intricacy of their marquetry … … and perhaps you can make out the materials inlaid that contribute to these complex portrayals: mother-of-pearl, lapis lazuli, coral, alabaster, quartz … This Florentine marquetry of making pictures and decorating architecture, perfected in the Optificio, even went under its own name, ‘commesso fiorentino‘ (Florentine mosaic) – or ‘commesso in pietre dure‘ (mosaics of semi-precious stones). But let us not forget why we are here … … this whole structure (including the crypt and the New Sacristy) were built to glorify the Medici dynasty by providing a sumptuous resting place, the largest of mausoleums, for the good and not-so-good members of the family. Now while other members of the household have their tombs in the crypt or the two Sacristies, the intention here in the Chapel of the Princes was to provide the ultimate resting place commensurate with the importance of the Medici Grand Dukes. As such, there are six porphyry sarcophagi which were to contain the remains of the Grand Dukes, set below niches to hold statues of the interred. Here are those of Grand Duke Ferdinand I and Grand Duke Cosimo II with bronze statues made by brothers Ferdinando and Pietro Tacca, assistant to Giambologna, between 1626 and 1642 … … while below is that of Grand Duke Cosimo III, where here, and with the other three niches, they find themselves devoid of statues … So, a couple of things to notice here: The six-ball Medici crest appears multiple times around the chapel. The sarcophagi are each placed several feet off the floor; even in death the Medici are lauding their power OVER their ‘subjects’. Each niche has written over the top ‘Dux Etr‘, standing for Duke of Etruria. Etruria was the ancient name for Tuscany ruled over by kings and princes. This inclusion was possibly an act of self-aggrandisement with the Medici equating themselves with the ancient kings of Tuscany. Only two of the six niches provided contain a statue. Unfortunately money and time ran out for the Medici – and the Chapel of the Princes. Fortunately, work on the Chapel was completed in the following centuries. However, these niches aren’t the only empty spaces – and here is the final irony of the Chapel of the Princes … While the Medici have achieved immortality through their record of wealth, power and patronage, not one of those sarcophagi in the Chapel of the Princes contains any of their (im)mortal remains! So where are they? All six grand dukes represented here in the Chapel are buried with their families beneath the floor of the crypt below – the crypt that you whisked past as you entered the building! Did you miss them? Ciao Tutti! We would certainly recommend having a look at the all-round 360o view of the Chapel of the Princes that can be found here (Accessed 24/06/2024) … and don’t forget to visit our posts on Brunelleschi’s and Michelangelo’s Sacristies of San Lorenzo here and here respectively. For opening hours and ticket prices see the Medici Chapels website here. COVER PHOTO: Tomb of Giuliano de’ Medici, Duke of Nemours, with Night and Day, Segrestia Nuova, San Lorenzo, Florence Our previous post, Brunelleschi’s ‘Old’ Sacristy of San Lorenzo, Florence, looked at the Basilica’s Segrestia Vecchia on the left transept, the construction of which was completed in 1428. This post takes us across the other side of the transept to pick up the story a century later, to 1519, when Michelangelo was commissioned to construct the ‘New’ Sacristy of San Lorenzo – the Segrestia Nuova. Strictly not a sacristy (a room in a church used by clergy to prepare for worship), Michelangelo’s ‘sacristy’ was primarily intended as a funerary chapel containing the mortal remains of members of the Medici family, but whose architecture was based on Brunelleschi’s design to maintain symmetry either side of the transept. Now while the Segrestia Vecchia is accessible from within the Basilica, there is no direct access to the New Sacristy from the Basilica itself – there is, but unfortunately this is closed off to visitors. The Segrestia Nuova, together with the Chapel of Princes and the Crypt, are separate entities from the Basilica, combining in 1869 to become a state museum complex in their own right, the Cappelle Medici (Medici Chapels), that today fall under the auspices of the Florence’s Bargello Museum. Entry is around in the Piazza di Madonna degli Aldobrandini beneath the impressive dome … … second only in its inspiration to Brunelleschi’s dome that crowns Florence Cathedral. The sign beside the entrance door, lists the museums principal contents … Online reservation and details of entrance charges (covering the Crypt, the New Sacristy and the Chapel of Princes) and times of opening can be found here. The entrance leads directly into the crypt, in which can be found the tombs of the Grand Dukes of Tuscany (all Medici). Here, for example, can be found the resting place of Cosimo il Vecchio (1389 -1464) Pater Patriae (father of the country) – founder of the Medici family as rulers of Florence … … together with the less grand members of the dynasty who invariably find their less grand tombs beneath stone slabs … A set of stairs leads up to the sublime Sagrestia Nuova (“New Sacristy”), both architecturally designed and adorned with statuary by Michelangelo … Directly modelled on Brunelleschi’s Old Sacristy (1421 – 1440), Michelangelo produced a similar cube-surmounted-by-a-hemisphere structure, where here the coffered cupola reflects that of the Pantheon in Rome … …. but while the Old Sacristy had Brunelleschi as architect and Donatello as sculptor, in the New Sacristy (1520 – 1533), Michelangelo was both. The Segrestia Nouva was Michelangelo’s first realisation of architecture. While his sculptural work here was in Marble, the architectural surrounds, such as the Corinthian pilasters, use the blue-grey pietra serena, an architectural stone commonly used in Renaissance buildings. In the use of these materials, here Michelangelo was promoting himself both as sculptor and architect. The Medici reign was not continuous. After the failed Pazzi Conspiracy of 1478, which attempted to relieve the Medici of their power, significant challenges befell the Medici during the 1490s in which an angered Florentine public forced the exile of the then Medici leader, Piero di Lorenzo de’ Medici, beginning a first Medici interregnum from 1494 to 1512. The first ennoblements of any of the Medici fell to Giuliano, Duke of Nemours (1479 -1516) who ruled Florence from 1512 to 1513 after the family had been restored to power, … … and Giuliano’s nephew, Lorenzo, Duke of Urbino (who died in 1519) … Now such illustrious members of the dynasty required a monumental resting place befitting of their status. Unfortunately, Brunelleschi’s ‘Old’ Sacristy was deemed too sacrosanct to change, to make additions, so a new sacristy was required. In 1519 it was Pope Leo X, aka Giovanni di Lorenzo de’ Medici (1475 –1521), brother and uncle of the two recently deceased dukes, who commissioned Michelangelo to produce a mortuary chapel (a funerary chamber rather than a true sacristy) and adornments befitting their ennobled rank. Upon Leo’s death in 1521, there was a short hiatus after which the commission was continued by Leo’s cousin, Pope Clement VII (another Medici Pope), with work recommencing in 1524. The sacristy was not only intended for the two dukes but was also to include final resting places for one of the more famous members of the Medici family and father of both Pope Leo X and Giuliano, Duke of Nemours, Lorenzo il Magnifico (1449 – 1492) together with Lorenzo’s brother Giuliano di Piero de’ Medici (1453 –1478) – who was also Pope Leo’s uncle. Convoluted, yes, brimming with hubris and nepotism, yes, but this was essentially Popes Leo X and Clement VII looking after their own and promoting their family’s power. A family tree of the Medici can be found in Encyclopaedia Britannica here (where the Family Tree can be enlarged). Michelangelo began work on the new sacristy and its interments from March 1520. Originally suggesting floor-mounted tombs, he eventually opted for wall-mounted tombs with the noble dukes within their own tombs and the two Medici ‘Magnificents’ sharing a single tomb. The work continued on-and-off until 1534 when Michelangelo was called away to Rome to continue his work on the tomb of Pope Julius II and to paint the Altar Wall in the Sistine Chapel with The Last Judgement – commissioned by Pope Clement VII. The relatively unimpressive sepulchre containing both Lorenzo il Magnifico (d. 1492) and Giuliano di Piero de’ Medici (killed in the Pazzi Conspiracy in 1478) is to be found on the wall immediately to the right on entry to the Sacristy … Originally intended to be buried in a free-standing monument, Lorenzo is buried with his brother Giuliano. This was the last tomb in the Sacristy to be ‘completed’ by Michelangelo and was unfinished since it was during this later phase that Michelangelo was called to work in Rome (but completed by pupils of Michelangelo after his departure). The tomb is surmounted by three statues. Either side of Michelangelo’s Madonna and Child … … are the patron saints of the Medici family each centring their gaze on the Madonna, Saint Cosmas (left) and Saint Damian (right) by sculptors Montorsoli and Montelupo respectively. These three sculptures were eventually placed here by Giorgio Vasari in 1554 … Although Lorenzo the Magnificent was perhaps one of the most famous members of the Medici family, the crowning glory in the Segrestia Nuova are the two Ducal tombs with each surmounted by a major sculpture by Michelangelo representing (though not with a true likeness) of the duke interred thereunder. The two ducal tombs are not free-standing, just set against the wall. No, each is an architectural and sculptural complex with Michelangelo ’embedding’ each in its individual wall – an irremovable relationship between the overall structure of the sacristy, the statues and the sepulchres. The tomb of Giuliano, Duke of Nemours, the first of the House of Medici to obtain a noble title, is on the side wall to the right … … with the head of Giuliano’s representative figure turned towards the Madonna and Child above Lorenzo’s tomb on the adjacent wall. Reclining on the top of the sarcophagus itself are two of Michelangelo’s allegorical figures of the four phases of the day – reflecting the passage of time – Night and Day. Either side of the main sculpture is an empty niche, designed to hold statues representing Heaven and Earth but, with Michelangelo executing several other projects at the same time (including the tomb of Pope Julius II and the Laurentian Library), they were never created. Giuliano himself is represented by a classical Roman general holding an army commander’s baton with both hands … … perched above his sarcophagus on which lie the recumbent Night and Day – with all three sculptures carved from individual marble blocks by Michelangelo … Both the lower figures appear incomplete, with smooth-bodied Night emerging from, and still attached to, the marble block from which she was formed (albeit roughly decorated with an owl – a nocturnal bird – and a mask – representing deception) … … as is Day, but here even his head appears to have been left roughly hewn compared with the smoothness of the rest of his torso and limbs … On the opposite wall is the tomb of Lorenzo, Duke of Urbino … … a dukedom that had been secured with the help of his uncle – Pope Leo X! As with Giuliano’s tomb opposite, each of the two upper side niches were meant to hold a statue, this time of Knowledge and Will, but again these were never completed with Michelangelo’s departure to Rome … … and, as with the tomb of Giuliano, the head of the idealised representation of a contemplative Lorenzo in the centre niche here too is turned towards the Madonna and Child … Again, recumbent on the sarcophagus itself are two further allegorical personifications of the times of day – Twilight (left) and Dawn (right) … .. with what again appear to be incomplete sculptures – each smooth, muscular statue being irrevocably bound to the rough hewn marble blocks from which they were formed … Investigations of the contents of this tomb indicated a second body, that of Lorenzo’s illegitimate, but recognised, son, Alessandro de’ Medici, first duke of Florence, murdered at age 27 in a conspiracy by distant relative Lorenzino de’ Medici in 1537. What a tangled web they wove! From behind the altar, the orientation of the sacristy becomes more obvious … The floor area of this square recess ‘behind’ the altar to the area of the funerary chamber beyond is in the ratio 1:4 – exactly as in Brunelleschi’s sacristy. Essentially this smaller area is a chapel – with the room of tombs behind as a backdrop. However, what is more interesting here in the altar’s recess is the graffiti covering much of the walls, now behind Perspex screens – part of which is shown here … The walls are covered with graffiti of characters, animals and architectural features – none of which can be absolutely attributable to Michelangelo himself, being more likely the work of his assistants. However, … … from the Segrestia Nuova here there is trap-door access to a barrel-vaulted chamber beneath, discovered in 1975 during restoration work, whose walls are covered in charcoal sketches – this time it is more likely to be the work of Michelangelo since the drawings show his past and current works, including for the proposed allegorical figure of Night found on the tomb of Giuliano, Duke of Nemours. Further details on the secret room with accompanying photographs of the sketches and why Michelangelo was there can be found in an article by The Florentine available here (updated 23/01/24 and accessed 25/04/24 – let me know if this is ever withdrawn). Note that access to this room is by advanced booking only and allows timed entrance for a 15-minute visit for just four people at a time. Entry to the ‘Secret Room’ itself costs €20.00 (2024 price) on top of the access charge to the Medici Chapels. Advanced ticket booking can be obtained from here or by phone by calling (+39) 055294883. By 1534, Michelangelo’s permanent departure to Rome left the New Sacristy unfinished with the statues left scattered around the sacristy’s floor – only to be placed in their final positions by Giorgio Vasari some 20 years later. We would certainly recommend having a look at the all-round 360o view of the Segrestia Nuova that can be found here (Accessed 25/05/2024) See also our previous post on San Lorenzo’s ‘Old’ Sacristy by Brunelleschi and our next post on the Chapel of the Princes. If you have a ‘Bucket List’ of things to do in Italy, the Medici Chapels should be somewhere near the top! Ciao Tutti! COVER PHOTO: Statue of Giovanni delle Bande Nere in front of the Basilica di San Lorenzo, Florence An inscription on the back of the supporting plinth beneath the marble statue of Giovanni delle Bande Nere by Italian Renaissance sculptor, by Baccio Bandinelli, (literal translation by Google Translate) reads: “A part of this monument, intended by Cosimo Primo to honour the memory of his father Giovanni delle Bande Nere, which had been neglected for a long time, remained here and the vulgar called it the base of San Lorenzo, was restored in the year 1850 and placed there the statue of the great Captain, and at last the valuable work sculpted by Bandinelli was completed.” * Cosimo Primo is Cosimo I de’ Medici (1519 –1574) *** Giovanni delle Bande Nere was another name for Ludovico de’ Medici (1498 -1526) who was a condottiero (= contractor), a captain in command of mercenary companies during medieval times. … so Bandinelli‘s statue and plinth, commissioned by Cosimo I, which had taken from 1540 to 1560 to complete, were only positioned together here in 1850. On the side of the plinth is the Medici Coat of Arms with its five ‘balls’ (more of which later) … … and therein lie the clues as to the family who held sway over this part of Florence. The building behind is the Medici Family Church, the Basilica di San Lorenzo, designed by Brunelleschi (1377 –1446) with the financial support of Giovanni di Bicci de’ Medici (1360 -1429) and the Medici family’s wealth. As such, it is not surprising that there are many of the Medici family whose mortal remains can be found within the basilica. The Basilica’s west front (in the Cover Photo above) shows a particularly prosaic frontage of coarse terracotta brick work – and has done so since completion at the end of the 15th century. A competition was held to design a much more elaborate façade – a competition won by Michelangelo. Unfortunately, his design only ever reached the (wooden) model stage. This can be seen nowadays in the Casa Buonarotti Museum, Florence. See our post, Casa Buonarotti Museum (Part 2) PLAN VIEW OF THE BASILICA DI SAN LORENZO This post looks at Brunelleschi’s ‘Old’ Sacristy on the left side of the transept (labelled 1), the second post in this series at Michelangelo’s ‘New’ Sacristy on the right (labelled 2) and the third considers what may best be described as the “super-apse“, (labelled 3) the Chapel of the Princes (the latter two posts in course of preparation). Commissioned by the Medici as their family mausoleum, Filippo Brunelleschi’s ‘Old’ Sacristy (Sagrestia Vecchia) in the left transept is essentially a cube surmounted by a hemispherical dome. Even so, in its detail it is a masterpiece of early Renaissance architecture … Taking nine years to complete, from 1419 to 1428, it simply oozes the 15th century revival of Classical architecture with its Roman arches, architrave, Corinthian pilasters and Ionic columns. Astronomers have ascertained that the frescoes in the small dome in the apse above the crucifix, attributed to Giuliano d’Arrigo (aka Pesello), show the Sun and the constellations as they appeared over Florence most likely on the night of 4 July 1442 … The tomb beneath the centre table is that of Giovanni di Bicci de’ Medici (1360 –1429) and his wife, Piccarda Bueri (1368 –1433) … Giovanni was the father of Cosimo il Vecchio (1389 –1464) and great-great-great-grandfather of Cosimo I de’ Medici (1519 –1574). At his death, Giovanni was one of the richest people in Florence having founded the Medici bank – the largest in Europe in the 15th century. The power of the Medici fortune led directly to the rise of one of the main branches of the mighty Medici dynasty that lasted for around three centuries (whose family tree from the time of Giovanni di Bicci can be seen here). From humble beginnings, over time the family rose to becoming the Grand Dukes of Tuscany whilst also providing four Popes and two Queens of France. The last Medici ruler, Gian Gastone de’ Medici, died without a male heir in 1737, so bringing the dynasty to an end. Once the Sagrestia Vecchia was completed, it was left to Donatello (1386 – 1466), one of the most outstanding sculptors of the day, to complete the adornments some time between 1428 and 1443. In the above photograph can be seen some of Donatello’s contributions, such as the two double bronze doors with relief panels … … above each door can be found Donatello’s stucco reliefs of four saints, including the Medici patron saints, Cosmas and Damian … Both By Donatello – from the book: Rolf C. Wirtz, Donatello, Könemann, Colonia 1998, Public Domain, https://commons.wikimedia.org/w/index.php?curid=6885730 & https://commons.wikimedia.org/w/index.php?curid=6885722 Dating about 20 years later (1469-72), the side wall of the Segrestia Vecchia holds a tomb, commissioned by Lorenzo de’ Medici (1449 – 1492) and completed by Andrea del Verrocchio (1435 – 1488), containing the mortal remains of Lorenzo’s father, Piero di Cosimo de’ Medici (1416 – 1469) and his uncle, Giovanni di Cosimo de’ Medici (1421 – 1463) … The eight roundels just below the cupola contain painted stucco reliefs by Donatello, one of which shows the Ascension of John the Baptist … Immediately below the tondo is the Medici Crest, this time showing eight balls. Why eight? On the side of the plinth above there were only six. When first adopted as the family coat-of-arms, there were 12, here in the Sagrestia Vecchia there are 8 and by the time of Cosimo I, it had settled down to just the 6. The reason for the variation seems to have become lost in the mists of time, as is the use of balls on a gold shield. Here the explanations range from being pharmaceutical pills (after all the name Medici translates as ‘doctors’, the family’s original trade), through to coins (their association with banking) or even dents in a shield from their time in battle. No one knows for sure. One thing IS for sure, the Medici crest adorns many of the buildings of Florence – such as here, in the central courtyard of the Palazzo Vecchio … You may notice that the later crests have one ball different to the rest … The blue ball in the Medici crest features the symbol of the French monarchy, three golden lilies. Folklore tells us that Louis XI (1423 – 1483), King of France, owed money to the Medici family. So in 1465, to reduce his debts, he allowed the Medici to incorporate the royal symbol into their crest – which, if correct, would have been willingly accepted by the Medici since it added kudos and gravitas to their dynasty. We would certainly recommend having a look at the all-round 360o view of the Segrestia Vecchia that can be found here (Accessed 12/05/2024) The bust in the glass case behind the camera operator is that of Donatello See also our posts on San Lorenzo’s ‘New’ Sacristy by Michelangelo and the Chapel of the Princes (sorry, still inpreparation!) Ciao Tutti! COVER PHOTO: A view across Lake Como from the tip of the promontory that is Bellagio. By Daderot – Self-photographed, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15153875 From Bellagio … … to Skipton, a charming market town in the Craven District of North Yorkshire, England … … where the occasional cobbled streets and alleyways have a beguiling charm … … and where the town lies astride the Leeds-Liverpool canal … Stretching 127 miles and taking 46 years to complete, the Leeds-Liverpool canal is Britain’s longest inland waterway, with its first section opening in 1773 from Bingley to Skipton. The canal played a significant part in Skipton’s development, becoming a major hub facilitating the transport between Yorkshire and Lancashire of stone (from which most of Skipton’s traditional houses are made), cotton, coal, grain and wool. Nowadays the canal has become a wonderful leisure facility for those who ply their iconic narrowboats (a link with the Industrial Revolution in Britain) along the canal through idyllic countryside and bustling towns and cities. On market days, Skipton’s High Street is thronged with temporary market stalls and willing customers … … and at the head of the High Street is the 11th century Skipton Castle … But wait! Hold on! Why am I giving you a travelogue of a market town in England when all the other posts in Italian Reflections are Italy-based? Let me explain … I was visiting Skipton when I happened to pass the Library, noticing this plaque outside … … and it wasn’t the apparently misplaced apostrophe in the word “Mechanic’s” that drew my attention (who was this Skipton Mechanic?)! No, it was the fact that the library’s main benefactor was the ‘American’ (but born in Scotland) steel magnate and one-time one of the richest individuals in the America, Andrew Carnegie! What association had he with Skipton? The Craven Herald & Pioneer from the 11th October 2019 (Accessed 30/04/2024) can explain in more detail than space allows here. So no Italian link there! However, … … look down the list of names on the right (passing by George Harrison!) … … and there, amongst local names such as Birtwhistle, Bairstow and Dewhurst, there appears a Thomas Fattorini – someone who must have had Italian forebears. Who were they? Why and when did they come to England? The scene now shifts to the Lakes of Lombardy during the 1820s post-Napoleonic, pre-Risorgimento Italy, to Bellagio, a promontory in the inverted-Y that is Lake Como … During the early 19th century, this area of Lake Como, then part of Switzerland, was left impoverished by the Napoleonic Wars but was particularly well-endowed with artisans adept at making barometers, clocks and other precision instruments. In order to maintain a livelihood, there was a migration of these artisans to an emerging industrial power – England. One such migrant was Antonio Fattorini (1797 -1859). Arriving in Dewsbury, Yorkshire in about 1820, for several years Antonio made a living as a travelling salesman and selling items at street markets. By 1831, 1841 and 1846 he had bought three shops (in Dewsbury, Harrogate and Bradford, respectively) – and had had seven sons! By 1827, the Fattorini family opened a shop selling jewellery, clocks and other luxury goods on the corner of Skipton’s High Street and Newmarket Street. Ahh, the link becomes clearer! Although all part of the same family, Thomas Fattorini Ltd of Skipton was distinct from Fattorini and Sons of Bradford (established 1829) and Antonio Fattorini in Harrogate (est.1831). Moving into the 20th Century, Thomas Fattorini Ltd opened a factory in Birmingham to manufacture medals, brooches etc … … including Lonsdale Belts, awarded to champion professional boxers, first awarded in 1909 … The company progressed to such an extent that it was granted a Royal Warrant of Appointment to Her Majesty Queen Elizabeth II in 2008. The Fattorini family was later instrumental in setting up a selling method whereby customers could afford to buy more expensive goods by purchasing them over a 20-week regular payment of instalments (the so-called, never-never). This new method of purchase eventually morphed into the Grattan Warehouses Ltd company, founded in 1912 by John Enrico Fattorini and Empire Stores, first registered in 1909. The demise of Empire Stores is well chronicled in the Bradford Telegraph & Argus of 11th January 2008 (Accessed 30/04/2024). However the Fattorini Group is still a major player in the manufacture of Emblematic Jewellery, Trophies, Medals and Badges, Ceremonial Swords, Civic Insignia, Automotive Products and Prestigious Silverware. Their website can be found here. Today Thomas Fattorini Ltd is based on three sites: London, Manchester and Birmingham, but its headquarters are registered at … Wait for it …! So, back to Skipton and the mystery of who is … By 1910, the year Skipton Library opened, the Fattorini family were well established major characters in Skipton (and Yorkshire) life, with Thomas Fattorini (1864-1934) mentioned here on the library plaque as a Trustee. This Thomas was the son of Innocent Fattorini (1830 – 1874) and the grandson of the ‘original’ Fattorini, Antonio (1797-1859) from Bellagio. So that was one mystery solved, but there was another … Above, I left hanging the statement that “Thomas Fattorini Ltd … headquarters are registered at …” Why? Because their headquarters are registered at Skipton Castle! Back in 1956, the Fattorini family were wealthy enough to purchase this Grade I Listed medieval castle, built in 1090 by Robert de Romille, a Norman baron. It is a Fattorini-owned private residence but, apart from their private wing, is a tourist attraction currently managed by Sebastian Fattorini, open for visits, £12.00 for adults (18 – 64 years old) and £11.00 for seniors (65 and older), 2024 prices. Sorted! The Fattorini family have made great contributions not only to Yorkshire life, but British life as a whole – and still do after 200 years since leaving Bellagio. Skipton is an enchanting, archetypal, historic Yorkshire market town set in stunning countryside on the southern end of the Yorkshire Dales National Park and just to the east of the Forest of Bowland National Landscape. Do visit! … and see if you can find out more about Antonio Fattorini and his descendants! Ciao Tutti! or this time Ta’ra! COVER PHOTO: Casa Buonarotti, Via Ghibellina 70, 50122 Firenze (43°46′11.32″N 11°15′48.93″E) Part 1 of our Casa Buonarotti posts gives a brief history of the Casa and has a look around the ground floor. In Part 2 here we ascend the stairs to visit rooms on the first floor. At the top of the first flight of stairs is a landing where hang images of Michelangelo – a person who painted portraits only in exceptional cases and who disliked having portraits painted of him. Fortunately for us, he allowed just the two portraits to be painted by friends, one here by Jacopino del Conte (originally believed to be a self-portrait) … … while other paintings of Michelangelo on the landing are derivative works. The second original portrait of Michelangelo (wearing a turban) by Giuliano Bugiardini (who assisted Michelangelo on the vault of the Sistine Chapel), hangs in an adjacent room accompanying a bronze bust of Michelangelo created by Daniele da Volterra, a trusted friend of Michelangelo (who was there to assist him on his deathbed and to remove his death mask in 1564) … A copy of di Volterra’s bust of Michelangelo can be found over the front door of Casa Buonarotti – and in many tourist shops in Florence! Two of Michelangelo’s earliest sculptures can be found here on the first floor; works that were completed while under the patronage of Lorenzo de’ Medici. This, while a teenager, was a time during which Michelangelo lived with the Medici family, absorbing the scientific, philosophical, poetical and artistic influences from the many philosophers and artists who frequented the courts of the Medici. The earlier of the two sculptures had been donated along with drawings by Leonardo Buonarotti to Cosimo I de’Medici around 1566, but were donated back by Grand Duke Cosimo II de’Medici in 1616 to Michelangelo’s grand-nephew, Michelangelo the Younger, specifically to place in the Casa Buonarotti in recognition of the Younger’s work in instituting the house-museum to his illustrious ancestor. The 57cm x 40cm (22″ x 16″) Madonna of the Stairs, influenced by his study of the works of Donatello, was sculpted in marble by the 15-year-old around 1490 using the low-relief stiacciato technique … Here the Madonna sits on a stone slab with the child held firmly on her lap. Along and up the stairs, youngsters are seen handling a long cloth. Even on such a low-relief sculpture the Madonna’s drapery hangs realistically around her and over the stone block, exhibiting an illusory 3-dimensionality that belies the shallow depth of the sculptor’s chisel cuts. Do YOU know any 15-year-olds that could produce such an amazing, mature, piece of work!? The later of the two sculptures, the unfinished 84.5cm x 90.5cm (33″ x 36″) marble Battle of the Centaurs ), his final work while under Lorenzo’s patronage, was created at the age of 17 around 1472 … This scene of utter mayhem, a chaotic tangle of writhing bodies, represents the battle between the Aeolian tribe of the Lapiths and the Centaurs (half-horse, half-human) at the wedding feast of Pirithous – a favourite composition from ancient Greek mythology. The use of the subbia chisel (a pointed chisel or punch) has produced the unfinished (non finito) appearance of the surfaces, as opposed to the smoothness of the earlier work (above) … While the Madonna of the Stairs was completed as a shallow-relief, this sculpture is truly high-relief in which the characters come bursting out of the scene … The room off to one side of the space containing these two sculptures is devoted to the wooden model (2.83m wide by 2.10m high) designed by Michelangelo of the proposed marble façade … … for the incomplete, rough-stone, gable-end of the Basilica di San Lorenzo, the Brunelleschi-designed church dating from 1421, considered by the Medici as their own family church … … although, as can be seen, Michelangelo’s marble façade was never implemented! On the opposite side to the room containing the two marble sculptures is the Galleria … … with walls and ceilings adorned with paintings by contemporary Italian artists, including Artemesia Gentileschi‘s ‘Allegory of Inclination’ as one of the ceiling panels (discussed in Part 1) … The Gallery, the ornamental plan of which was designed by Michelangelo the Younger, is overseen from one end by Michelangelo himself in the form of a statue created specifically for the Casa by Antonio Novelli (1599 – 1662) around 1633 … Commissioned by Michelangelo the Younger, the statue portrays Michelangelo as the classical philosopher, dressed in a toga and holding a scroll, in a similar pensive mode that Michelangelo himself had created for the tomb of Lorenzo de’ Medici in the Medici Chapel in the 1520s … The walls of the Gallery are adorned with panels showing scenes from Michelangelo’s life, such as the painting by Anastasio Fontebuoni (1571–1626) showing Michelangelo introducing himself to Pope Julius II in Bologna … … or the painting by Cosimo Gamberucci (1562 – 1621) in which a young Michelangelo meets with Francesco I de’ Medici … The Gallery continues through to the Camera della Notte e del Dì (Room of Night and Day) completed in 1637-1638, depicting members of the Buonarroti family and events connected with them. This is the room that contains Giuliano Bugiardini’s turban wearing portrait and di Volterra’s bronze bust of Michelangelo (both mentioned above) … So through to the next room, the Camera degli Angioli (Room of the Angels), which from 1677 was used as a chapel, containing frescoes by Jacopo Vignali of the good and great of Florence in a procession lead by John the Baptist … The cupola and the ceiling of the former chapel are decorated with frescoes by Michelangelo Cinganelli, with the ceiling panels depicting angels, from which the room takes its name … … and the cupola containing an image of St. Michael the Archangel … The following, final room along from the Galleria, is the Studio, a room originally belonging to an adjoining apartment but incorporated into the Casa in 1633 by Michelangelo the Younger. The ceiling portrays Fame, a trompe l’oeil painting by Cecco Bravo … … while the perimeter of the upper part of walls is festooned with a gallery of the great and good of Tuscany, including mathematicians, physicists, historians, philosophers, judges … The small room just beyond is the Stanzino dell’Apollo (Small Room of Apollo), completing the run of monumental rooms created by Michelangelo the Younger. This room is named after the marble statue therein, a restored 1st-century BCE Roman sculpture of Apollo, behind which there is a faded fresco of a terrace that opens onto a garden … … and on the side wall is an arm carved from marble, probably from a Roman copy of Greek sculptor Myron’s portrayal of Discobolus, the “Discus Thrower” … There is so much more to see in the Casa Buonarotti including around 200 drawings, sketches and cartoons (although some of which found their way into the British Museum in London in the mid-19th century) … With the death of Michelangelo’s last direct collateral descendant and heir, Cosimo Buonarotti, all remaining works and the Casa itself were left for the public good. The drawings up to the 1960s were on permanent display in frames and display cases, but suffered some damage. For their conservation they were restored at the Uffizi and returned to the Casa Buonarroti in 1975. Since then only a rotating selection have been released for public view. The collection also includes texts and letters, including this sonnet to Giovanni da Pistoia … … a translation of which can be found here. We have not covered the whole of Casa Buonarotti here. As somewhere that is so full of riches and is off the well-worn beaten track of Tourist-Florence, it just has to be included on your must-see stops in the city. Casa Buonarotti is a fabulous find, giving an overview of Michelangelo, his work and his descendants. For a tour of the Casa via Google Street View, have a look here … … start on the ground floor at the front door here … … and then have a look around upstairs, starting with Artemesia, here. Just step inside and wander round! Ciao Tutti! COVER PHOTO: Casa Buonarotti, Via Ghibellina 70, 50122 Firenze (43°46′11.32″N 11°15′48.93″E) Part 1 here investigates some of the history of the Casa Buonarotti and what can be seen on the ground floor. Part 2 moves upstairs to see some of the exhibits on the first floor. Contained within what for Florence is an assuming house on an unassuming street (but is, nevertheless, a 17th-century palazzo) can be found one of the most outstanding artistic treasure-troves of Florence. This is the Casa Buonarotti, an absolutely ‘must-visit’, where the exterior disguises the richness of its contents and its history … Anyone who has visited the museums of Florence will have experienced the queues snaking around the block to enter the larger, more widely known galleries such as the Uffizi, or the Bargello or the Accademia; but often here, at the Casa Buonarotti, it is possible to walk in directly off the street … … and if you haven’t already guessed, the bust above the door gives the game away … … this is the house, part of a complex of five buildings, bought in 1508 and 1514 by the great Renaissance artist, Michelangelo Buonarotti. While not his main residence – he spent much of his time in Rome – Michelangelo is known to have occupied two of the buildings within this complex (with the other three buildings rented out) from 1516 to 1525 while he was working on the façade of the Basilica di San Lorenzo. All five were rented out between 1525 and 1534, while Michelangelo lived elsewhere in Florence. With a permanent move to Rome in 1534, Michelangelo requested of his nephew, Leonardo Buonarotti, to transform all five buildings into a single entity that would represent and house memorabilia of the Buonarotti inheritance in one building. On Michelangelo’s death in 1564, Leonardo inherited the estate, but left it until 1590 to partially restore and unify the complex. However, Michelangelo’s vision was only realised after the death of Leonardo in 1599, when the buildings passed to mathematician and Michelangelo’s grand-nephew, ‘Michelangelo Buonarotti the Younger’ (1568 – 1646) … … an ardent supporter of his family’s distinguished ancestor, who from 1612 began the transformation to what we see today as the Casa Buonarotti… Subsequent to the integration of the five buildings into one, Michelangelo the Younger set about retrieving autograph manuscripts and drawings and other artefacts by, or belonging to, his famous ancestor. On entering the Casa, the first room on the right deals not with Michelangelo himself, but with an archaeological collection that was put together by Michelangelo the Younger and later, and more significantly, by antiquarian, numismatist, archaeologist and great-grandnephew, Filippo Buonarotti (1661 – 1733) … The room contains over 150 archaeological pieces, mainly Etruscan and Roman, including urns and terracotta figures and two large Roman Togati (toga wearers) statues that originally stood in the courtyard of the Casa … The following room displays works all completed in the 16th century by artists wishing to emulate the style of Michelangelo. Here can be seen, for example, adaptations from The Last Judgement and a Sybil from the ceiling of the Sistine Chapel … The next room holds various works of art from the Buonarotti family collection including a sculpture of Michelangelo as a child sculpting the head of a Faun … … however, this is a 19th century sculpture by Emilio Zocchi (1835 – 1913). Out into the Casa‘s 19th century internal courtyard, modelled after the central courtyards of Roman houses, stands a marble statue of a 2nd-century Togato which formerly stood in the Uffizi Gallery before being moved here in 1875 … On our 2023 trip to Florence, we were extremely fortunate to visit Casa Buonarotti during a particular exhibition, ‘Artemisia in the Museum of Michelangelo’, which ran from September 2023 to January 2024 … Artemisia Gentileschi (1593 – 1656), a widely-acclaimed and important 17th-century Baroque artist, has a fascinating, but gruesome, story; but why does she warrant an exhibition in the Casa Buonarotti? In 1615, Artemisia came to the attention of Michelangelo the Younger who, at the time, was preparing the Casa Buonarotti as a ‘shrine’ to his illustrious forbear. Under his patronage, several artists including Artemisia were commissioned to paint panels for the ceiling in the Galleria (more of which in Part 2 – in preparation) which represented personal traits associated with Michelangelo. Artemisia’s, entitled ‘Allegory of Inclination‘, depicts the inborn creative ability of Michelangelo … Originally painted as a nude in 1615, the drapes were added at a later date by Baldassare Franceschini in 1684 to avoid any embarrassment for the viewer. During 2022, the painting was removed from the ceiling for restoration. Although it would not be possible to remove the drapery without damaging the painting, modern scientific techniques were able to reconstruct how the painting would have looked in its original form. By 2023, the restoration work was completed, allowing for the Artemisia exhibition at the Casa. A fabulous tour, setting the rooms of the Casa Buonarotti in context, can be experienced using Google Street View. Start on the ground floor at the front door here … … and in the meantime, proceed to Part 2 (but not yet – in the course of preparation) to view the exhibits on the first floor. Casa Buonarotti opening hours 10.00 a.m. to 4.30 p.m. Admission Full price: € 8.00 Reduced: € 5.00 (2024 prices) Ciao (for now!)
5438	dbpedia	0	19	https://www.amarcort.it/2019/en/giuria.html	en	Amarcort Film Festival	http://www.amarcort.it/img/logo-amarcort.png	http://www.amarcort.it/img/logo-amarcort.png	[ "https://www.facebook.com/tr?id=1645577385682401&ev=PageView&noscript=1", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-regione-emilia-romagna.gif", "https://www.amarcort.it/2019/img/logo-comune-rimini.gif", "https://www.amarcort.it/2019/img/icona-facebook-n.png", "https://www.amarcort.it/2019/img/icona-instagram-n.png", "https://www.amarcort.it/2019/img/icona-twitter-n.png" ]	[]	[]	[ "rimini", "amarcort", "cortometraggi", "corti", "festival", "november 2019", "film", "cinema", "cinema breve", "giuria", "francesca fellini", "edo tagliavini", "giuseppe tagliavini", "gianfranco miro gori", "alberto gimignani" ]	null	[]	null	Amarcort Film Festival - La Giuria che decreterà i vincitori del festival di cortometraggi di Rimini	en	../icons/favicon.ico	Amarcort Film Festival	http://www.amarcort.it/	GRAND JURY Sandrine Cassidy Sandrine Faucher Cassidy è Senior Director per Festival e Distribuzione alla USC School of Cinematic Arts. In quanto tale, consiglia e tutora student e alumni, aiutandoli a strategizzare le carriere e i festival e la distribuzione dei loro corti e lungometraggi indipendenti. Aiuta a costruire quel ponte vitale tra la scuola cinematografica, il circuito dei festival e l'industria cinematografica. Il catalogo USC di cortometraggi cresce di circa 2000 titoli l'anno. Sandrine si occupa della distribuzione di quei corti in tutto il mondo. Alcuni di questi film includono corti di registi di fama come George Lucas, Robert Zemekis etc. Con oltre 25 anni di esperienza nell'industria cinematografica e nei festival internazionali sin dalla sua posizione come promoter di film all'Unifrance Film International, Sandrine Cassidy ha costruito la propria carriera specializzandosi nella distribuzione, esposizione di corti e lungometraggi e il supporto di registi indipendenti. Andrea Lodovichetti Andrea Lodovichetti was born in Italy in 1976 and currently lives between Europe and the US. Graduated in Film Directing at the Centro Sperimentale di Cinematografia (National School of Film in Italy), he worked as 2AD for the Academy Award winner director Paolo Sorrentino. Director, producer and screenwriter, he won a consistent number of international Awards including the Italian Golden Globe and the Looking for a Genius Award at the Babelgum Film Festival in Cannes, headed by Spike Lee. Luca Nervegna Luca Nervegna works as director of photography and has nearly twenty years of experience in the cinema field. After years spent working whithin the industry in Rome, he has founded a film company, in partnership with Giacomo Benini and entirely focused on the region of Romagna: the Furia Film. Tony Parnis Tony undertook film studies in Canada and produced and hosted Servizz Xandir Malti on Graham Cable TV in Toronto. He won four Graham Awards for drama in Maltese, and Producer of the Year from Graham Cable Television. He was also awarded the Canada Birthday Award for Achievement (Government of Ontario). In 1984 he joined Xandir Malta's Newsroom as editor / director. Later as Head of Drama of PBS he directed and produced TV drama serials and various documentaries. Independently he wrote and directed the feature film Operation White Dove which was shown both in Malta and Australia, and also directed Bawxati The Movie, and Pawlu ta' Tarsu which were also screened at local Cinamas. In 1990, he joined One Productions as head of drama, and produced and directed drama and various award winning documentaries, and as an independent director/producer he has also done sterling work for NET TV. Tony has won several Broadcasting Authority Awards for Drama and documentaries as well as the BPC Award to Journalism (TV). He also, won the award for Best Cultural Programme with Joyce Grech for the production of the Malta International TV Short Film Festival aired on TVM. He has served as judge on several film festivals, including the Short-Shock 2007 International Film Festival in Anapa, Russia, and The Golden Knight Film Festival in Malta (Malta Cine Circle) and the Malta Journalist Awards. Tony is the Festival Director/Producer of The Malta International TV Short Film Festival that is broadcasted by PBS, Malta national television for the past eleven years. Elena Zanni Elena Zanni was born in a cinephile family of entrepreneurs. She spends her childhood in the many cinemas owned by his family, who also run some independent movie theatres like the parish indie cinema in Gabicce Mare, the very first challenge of his father, Silvio Zanni, back in the 60s. Elena literally grows up in the movie houses. She now runs one of the most known movie theatres in the world and in Italy: Fulgor, Fellini's movie theatre. Praised, discussed and still loved by many for its long history, Fulgor movie house is more than 100 years old and it raised the little Federico Fellini who fell in love with it. That is why Fulgor is displayed in many of his movies. It is the first indie cinema to open its doors in Rimini, in 1914, and it was led by a resourceful woman, Ida Ravulli. The cinema reopens in January 2018, on Fellini's birthday, to celebrate the non-forgotten director. This time, another charismatic woman is in charge of it: Elena Zanni. She begins her activity in 2009 thanks to his father. Together, they decide to take over Settebello in Rimini to turn it into an independent movie theatre. Thanks to the precious help of the many collaborators she meets during her carrier and thanks to her foresight, she takes over her family business and runs it with success, winning the management of Fulgor. Nowadays, she manages projects which lead to the great cultural events organized in her movie theatres in Rimini. Writers, artists, actors, directors, musicians but also scientists and entrepreneurs, leaders of the national cultural scene, animate those spaces which are no more just 'cinemas', but a real cultural, social, artistic and humanitarian melting pot. All of this is possible thanks to the sensible and big efforts that her team put in place every day, in order to convey feelings and awareness to people. FELLINI'S AWARD JURY Francesca Fabbri Fellini My name is Francesca Fabbri Fellini, born in 1965, professional journalist. Being daughter of his sister, Maria Maddalena, I'm the only remaining heir for Maestro Federico Fellini's DNA. I'm the worldwide ambassador of this work. In addition to being peacefully legitimized to the protection of Maestro's name and image by being his heir, I'm also the only and exclusive owner for trade marks composed of FEDERICO FELLINI's patronymic (including his signature), registered trademark in Italy and abroad, in order to distinguish actual and/or potential commercial activities suited to Maestro's prestige and image, and to avoid the attempts of hoarding sales power connected to Fellini's name by third parties. Therefore, I take care of Maestro Fellini's name, image of his works and of his signature. Defending artist Fellini is a job. Born in Bologna in 1965 under the sign of Gemini, with Libra on the ascendant, Francesca lived her first 19 years in Rimini, with her parents Maria Maddalena Fellini and Giorgio Fabbri, a pediatrician. At 23 years she graduated in Foreign Languages and Literature and in 1987 she signed her first writing in video for RAI, for the program "Muoviamoci su Rai Due" with Sidney Rome, composed of 180 episodes. After this experience, she signed many more contracts with RAI: from 1999 to 2006 she's one of the correspondents for "La vita in diretta" with Michele Cucuzza on Raiuno. She worked with authors such as Michele Guardì, Senza Sampò, Licia Colò. She really likes television, but cinema has been in her chromosomes since forever (she defines herself as "raised with cinema and tortellini"): from 1993 and 1997 she collaborated with radio network RTL 102.5, managing cinema, and thanks to this experience she became a professional journalist. From 2004 to 2006 she signed and hosted on RTL: "Asa NIsi MAsa L'ANIMA del cinema", which took its name from the magic sentence repeated by Guido/Mastroianni, main character of "Otto e mezzo". Francesca thought about this title for her program as a tribute to her uncle "CHICCO". The 'Fellinette', as her uncle Federico used to call her, loves good food, theatre, books, flowers and spending her time with her little big friend Alfie, a white poodle who only lacks of words. Her favorite movie is Amarcord, of which she knows every line and which she watches as soon as she can. Blasco Giurato Born in Rome on 7th June 1941, he's a cinematographer and became known working with Giuseppe Tornatore in "Nuovo Cinema Paradiso". Thanks to his work with his film he also gained a nomination to BAFTA. Filmography (partial): Sapore di mare 2 - Un anno dopo (Bruno Cortini, 1983) Olga e i suoi figli (Salvatore Nocita, 1985) Il camorrista (Giuseppe Tornatore, 1986) Teresa (Dino Risi, 1987) Nuovo Cinema Paradiso (Giuseppe Tornatore, 1989) Sinbad of the Seven Seas (Enzo G. Castellari, 1989) Saremo felici (Gianfrancesco Lazotti, 1989) Tolgo il disturbo (Dino Risi, 1990) Una pura formalità (Giuseppe Tornatore, 1994) Belle al bar (Alessandro Benvenuti, 1994) Chicken Park (Jerry Calà, 1994) Passaggio per il paradiso (Antonio Baiocco, 1998) Ferdinando e Carolina (Lina Wertmuller, 1999) Vajont (Renzo Martinelli, 2001) Piazza delle Cinque Lune (Renzo Martinelli, 2003) L'estate del mio primo bacio (Carlo Virzì, 2005) Il mercante di pietre (Renzo Martinelli, 2006) Ma l'amore... sì! (Marco Costa eTonino Zangardi, 2006) Tutte le donne della mia vita (Simona Izzo, 2007) Zodiaco, miniseries (2008) 100 metri dal Paradiso (Raffaele Verzillo, 2012) Il bambino cattivo (Pupi Avati, 2013) Un ragazzo d'oro (Pupi Avati, 2014) Oltre le nubi (Marcella Mitaritonna, 2014) Le nozze di Laura (Pupi Avati, 2015) Mi rifaccio il trullo (Vito Cea, 2016) Prigioniero della mia libertà (Rosario Errico, 2016) Stato di ebbrezza (Luca Biglione, 2018) Television work: Il balordo (Pino Passalacqua - miniserie TV, 1978) Piazza di Spagna (Florestano Vancini - miniserie TV, 1992) La missione (Maurizio Zaccaro - miniserie TV, 1998) Un nero per casa (Gigi Proietti - film TV, 1998) Luigi Piccolo Luigino Piccolo (Giuti) was born in Udine, studies Literature in Padua with the idea of becoming a restorer. In 1980 he arrives in Rome, contacted by Paolo Tommasi, set designer and costume designer for Giancarlo Cobelli. After two years as assistant to the costume designer, he meets Pietro Farani who asks him help in running tailoring history: there, the majority of the costumes for the masterpieces in Italian cinema from 60s to 70s were realized. And all of this happened thanks to the collaboration with Danilo Donati, usual costume maker for Pasolini, Fellini e Zeffirelli, two Oscar Awards and several other prizes. Since 1997, after the passing of Farani, the tailoring passes directly into his hands; without disowning his past, tailoring oriented in historical reconstruction of costumes and, with great pride, between his last years' clients we can remember Colleen Atwood, Tim Burton's costume designer, who won four Oscars. Starting with a small fundus found in tailoring, during the years Piccolo created a notable collection of authentical dresses: more than 3000 pieces, starting from 1750s to High Fashion collections of the 60s; he uses this material for studying, which is very important to philologically reproduce the time. For five years now he's teaching, with great passion, reciprocated by his students, History of Cinema at IED in Rome and, for a year now, History of Costume at Accademia di moda e costume (Academy of fashion and costume), which is also based in Rome. ALDINA JURY Samuele Sbrighi (Born in Santarcangelo di Romagna, Rimini - 21.10.1975). Is an italian actor, director and screenwriter. He graduated in 1997 from Accademia d'Arte Drammatica Antoniana in Bologna and is a member of Centro di Cinema e Teatro "Duse" in Rome, hosted by Francesca De Sapio from 2000 to 2004. He is known to television audience for his role as Billo in "Un posto al sole d'estate" in 2008/2009 and for his role as inspector Giacomo Romani in "Centovetrine" 2010/11. In 2006 opens at cinema "La Vida es un Carnaval", a movie that sees him in the three hats of director, author and actor. In 2013 he is one of the main characters of "Una notte gli studios", cinema movie directed by Claudio Insegno, and he's testimonial for the national campaign of Ministry against AIDS, directed by Raul Bova. During the same year, he shoots "La Prof. 5" and the successful webserie "Interno giorno". He's in the radio, on M20, hosting the section "Good News" of the programm "AQPP". In 2014 he's in "Un passo dal cielo 3" along with Terence Hill and he's one of the main characters of "Forse Sono Io 2", a webserie directed by Vincenzo Alfieri. From 2014 to 2016 he's Biagio Izzo's theatre company, in which he takes part to the national tour for shows such as "Come un Cenerentolo" (directed by Claudio Insegno) and "L'amico del cuore" (Directed by Vincenzo Salemme". In 2017 he's one of the main characters in the cinema movie "Tiro Libero" by Alessandro Valori. In 2017 he debuts in theatre as a director and author with "Un altro spettacolo con cui rovinare una serata ad amici e parenti" and in 2018 he directs and writes the show "L'evoluzione della specie". In 2018 he also takes part as actor in the RAI fiction "L'Allieva 2", in Giorgia's music video "Le tasche piene di sassi" and he's screenwriter and co-protagonist with Maria Grazia Cucinotta, Ivano Marescotti and Pietro Maggiò in the feature film "Tutto Liscio" by Igor Maltagliati, produced by "La Famiglia Film" with the contribution of region Emilia Romagna. After shooting many music videos, in 2019 he's director and screenwriter for music video "Rossetto", a song by the winner of platinum record "Random". Since 2016 he's founder and teacher of Centro di Cinema e Teatro "La Valigia dell'Attore", a laboratory for acting, established in Romagna. Charles Stroud Started off in modern Theatre as actor/director together with working as a projectionist in a local Cinema. A few years in Film art departments followed at Malta's Film facilities. Directed and coordinated events both for the Private and Public sector. These include Opening and closing ceremonies for the Games of the Small States of Europe, Grand Harbour Spectacles on VE Day, complete production and direction of Malta's Millennium activities and part production and direction of Malta's accession celebrations into the EU with mega projections on Fort St. Angelo in Malta's Grand Harbour. 1973 employed with Television Malta as programme producer and director, showing specialisation for drama and documentaries. Employed with NET Television as Head of Programmes, Produced and directed Best Drama Production 2003. 2005 set up the Media Production company, "26th Frame" and directed numerous award winning productions. In 2018/19 wrote and Co Produced "Carmelo" for PBS Television Malta together with a TV Series "Nostalgija". Attended film making courses and seminars, including most recent Master Classes with writer John Coolle, in Working on a Micro Budget, Crowd Funding, Marketing and Distribution, (Valletta Film Festival 2015) Film Production and Script Writing (Storyworks) 2015. Commenced production of Short Animation Films and major animation projects. 2016 19 with productions shortlisted in international film Festivals. Attended and represented Malta in International Seminars and Conventions covering all aspects of film production. Gave talks, courses and seminars on Audience attitudes, Television, Acting for TV, Cinema and Public Events Organisation. Served on boards and committees including the National Festivities Committee as president (1987 - '91), the Foundation of European Carnival Committees as vice-president (1988 - '91), Radio 101 (1991 - '94 ), Mediterranean Film Studios (1992 - '93), and the Council for Culture and the Arts (2002 '05). Sat on judging panels for Photographic, Art, Costume, Drama, Beauty and Song competitions including Malta's prestigious Golden Knight Film Festival and the Television Short Film Festival. Producer/Manager of Malta's first Film Expo 2017. Enrico Zoi Family, cinema, theater, journalism , music and poetry: here's Enrico Zoi, Florentine born in 1959, graduated in Literature on a poem from the 1500s. To his credit also various books, including two poetic sillogues and the recent collection of fairy tales "Favole per Irene" (2018), illustrated by his son Filippo. Zoi has been writing press releases for the Municipalities of Bagno a Ripoli and Impruneta for 25 years. He published thousands of interviews, articles, film and theater reviews and puzzles and seen (currently) 6400 films, a figure destined inexorably and daily to rise. With Philippe Chellini, Zoi is Alessandro Benvenuti's cinematographic biographer (two books) and the author of the twenty-year volume of Leonardo Pieraccioni's 'Ciclone'. Zoi He was part of the Juries of 'Underflorence' (Florence Film Festival, 1991), 'Under Rock - Futurock a Firenze' (1992), 'Schermi Irregolari' (2001, 2016, 2017 e 2018), 'Amarcort Film Festival' (2014, 2016, 2017, 2018), 'Cartoon Club' (2018, 2019). He also has an editorial football incursion, having written a book, "Firmamento Viola", on Fiorentina, his favorite team. In recent times, he has ventured into theatrical writing, with the monologue show "Zenrico, or his clone?" (Co-author Massimo Blaco) and the two cinemonologue shows "As time goes by", dedicated to Humphrey Bogart, and "Dr. Jekyll & Mister(o) Totò", obviously on the Prince of laughter. YOUTH JURY - Cooperativa Sociale Ragazzi e Cinema Giorgia Aprile Annaluna Batani Jennifer Giacone Lorenzo Montaguti Jacopo Mussoni Dino Rebai Gaia Vannucci YOUTH JURY - Liceo Artistico Volta/Fellini - Riccione Filiberto Filanti Virginia Gabriele Carlotta Guglielmi Alessandro Pavlovi&cacute; Erika Ricci Asia Lucia Rocchi Beatrice Rosa REX JURY Giorgio Ghisolfi Once a student of the school "Ipotesi Cinema" run by Ermanno Olmi, he is now an entertainer, director, professor, and production manager with an extensive experience in the field of cinema and animation. He has worked with Bruno Bozzetto, Maurizio Nichetti, Guido Manuli, Enzo d'Alò. He wrote the theme song of the 47th Venice Film Festival and won awards for some tv spots and medium-length films. For Benetton, he directed "Birima son of Africa", a short film featuring the music of Youssou Ndour, the web series "Security.com" for Pirelli, and the animated video for the WWWF and its campaign "Now or Never" concerning climate change. As adjunct professor, he teaches subjects about cinema and communication in several schools such as the IED in Milan, the CISA in Locarno, the Insubria University and the High School of Linguistic Mediation in Varese. He is also the author and director of A-tube, the Global Animation Film Festival and A-tube Review 2019. For the publishing house Mimesis, he wrote the essay "Indiana Jones e il Cinema di Animazione" (2011) and the monographs "Star Wars. L'Epoca Lucas" (2017), "Superman&Co. Codici del Cinema e del Fumetto" (2018). Riccardo Sivelli He graduated as Master of Applied Arts at the Art Institute in Bologna. With a bachelor's degree in Surgical Anatomical Drawing achieved at Med School in Bologna, he has worked as advertising graphic designer and illustrator in several fields, and at the same time he has undertaken, in the role of designer, a few projects on set design, aimed at communication, interior design, theatre, film and advertisement setting. For almost 8 years he has worked as teacher, photographer and director in fashion. As a freelancer, he majored in the setting up of theme parks and worked for EuroDisney and for the main suppliers of carousels and coin-operated games. In 1999 he founded a communication and set design company in Rimini, which aims at bringing together the local artistic scene and prestigious clients. He was selected from ECIPAR in Rimini as best advisor for a project on female entrepreneurship and has obtained funding for a training course on work psychology, transactional analysis, lateral thinking and HR management. In those years, he broadened his experience by working for producers such as Casa Vianello, Stelle a quattro zampe, Quelli che il calcio, Smau Milano for WIND, TG5, the Bonci Theater in Cesena, Iceberg, Paolo Gerani, Roberts, Microsoft Italia and more. Riccardo Sivelli is the founder of "extralab" and is engaged in creativity and experimentation. He has a good knowledge of numerous materials, both traditional and composite. Moreover, he combines contemporary arts and groundbreaking materials. He is always looking for new types of communication and visual concepts in order to conceive effective communication projects that are able to appeal for the uniqueness and refinement of the manufacturing. Along the years, Riccardo Sivelli has developed a strong experience in the areas of communication, art, fashion and design. His projects are based on trends and how they can interact with one another in order to shape communication means, installations and committed projects. He relies heavily on the ongoing search for innovative techniques and materials, and on the development of new interaction systems between the digital world and the real world. Along with traditional materials, he specialized in the use of composite materials such as silicones, resins for different uses. As a video enthusiast, he combines traditional and video animation techniques for inventive projects addressed to the several demands of communication. Extralab is the embodiment of all his experiences, from which modeling samples, fake food, make-up, artistic installations, theatrical and film settings, and pilot projects are conceived. Sabrina Zanetti Born in Rimini in 1963, graduated in sociology with a specialization in mass communications and a master's thesis on animation films. From 1990 she has been working in the field of social research, particularly on issues such as juvenile disadvantage, intercultural disciplines and mass media. She is an expert in cinema and mass communications and has worked extensively in various cultural activities of the city of Rimini, collaborating on the organization of a large number of events dealing with music, film and visual arts. Since 1991 she has been taking care of the ACLI Rimini cultural activity,from the association activities (music clubs, dance, theater, photography and movie culture) to "Progetto Immagine", a special project including various activities and events dedicated to the world of communications. In 1984 she organizes two video-film events and since 1991 she becomes their Artistic Director: "Round - Video film festival for short films, dedicate to independent authors" (1984/2012). "Cartoon Club - International Festival of animation, comics and games". Since 1999, she's been organizeing activities and cultural events for the detained of the Prison of Rimini. From 2000 to 2008 she has been president of the ACLI of Rimini Province. From 1999 to 2009 she has coordinated the activities of the Social Services of the town of Verucchio. From 2001 to 2003 she has coordinated the activities of the Culture of the Municipality of Riccione. From 2005 to 2013 she has been president and director of "Foundation Enaip S. Zavatta" which organizes training courses and social activities. From 2008 to 2013 she has been managing director of CO.AP. Cooperativa Comunità Aperta a.r.l. that manages radio channels, TV and web in the Rimini province. In 1998, together with the musician Andrea Felli of Acanto Snc, she founded a sound research center located in Rimini which includes a professional recording studio called Farmhouse, a recording label and music publishings. GIRONZALON JURY (composed by campus "Emilia-Romagna welcomes Europe" students) Alessia Gallo Andrea Cimilio Anita Pavolucci Azzurra Ricci Benedetta Bronchi Camilla Maldini Cristina Sordano Elena Romano Elisabetta Zani Enrico Chiudinelli Enza Pulvirenti Federica Benini Gianluca Messini Ilaria Prenga Julian Bisacchi Kevin Ferrini Livia Guidi Luca Cola Luna Evangelisti Maria Laura Carrara Martina Dall'Ara Maurizio Nari Nabil Bella Nicola Capelli Roberta Calisesi Rostas Laurentiu Gabriel Sara Nardi Serena Mondello Silvia Cruccu Simona Ottaviani Simone Forti Sofia Di Pietro Stefania Rossi Swami Fusaroli Swami Prati Tiziano Neri Valentina Brulli Viola Dini FULGOR JURY Kristian Gianfreda Italian director and screenwriter. He was born on the 27th March 1971 in Rimini, where he still lives with his family. He has always been socially committed. After a short experience as a social educator in the rehabilitation centre "Luce sul Mare", in 1997 he gets in touch with the association "Comunità Papa Giovanni XXIII". For almost 20 years, until 2017, he has been in charge of "Capanna di Betlemme", a reception facility for homeless people. From 2011, he is also the spokesman for Housing Sociale, a project of the municipality of Rimini and contact person for solidarity projects dedicated to people who live in extreme poverty. In 2016, his social commitment leads him to be elected Councilman of Rimini in the civil list "Rimini Attiva" of the Democratic Party. In the same year, "Capanna di Betlemme" collects experiences from social outcasts: people living in poverty and in solitude. All of this life experiences impress Kristian, who strives to give those subjects a voice and make them visible at society's eyes. His experience in the audio-visual industry begins in 2011 with an internship at Produzioni L&C, in Rome. In 2002, he attends "CICS" (Centre for Social Communication) at the Gregorian University. In 2005, he attends theWorkshop Documentary in Europe for screenwriting and production promoted by "Festival dei Popoli" of Florence. In 2005, he collaborates to the screenwriting and production of TV documentaries for 2AFILM of Antonio e Pupi Avati. In 2002, for "L&C" of Luca De Mata, he realizes a documentary series called "La Valigia con lo Spago" for the National Italian Television, while in 2011 he realizes "Musulmani Europei". He is head of production and director of the production studio "Audiovisivi Apg23" of the association "Comunità Papa Giovanni XXIII". In 2010, he becomes head of the communication, events and sensitization campaign office for the association. In these years, he has been producing and directing many documentaries, short films and social advertisements. Here's a list: Documentaries - "La strada di Oana" (2005), documentary movie on the life of a girl forced to prostitute herself; "Do you love Jesus?" (2005), documentary movie on Don Oreste Benzi's life; "Il metodo Apac" (2009), documentary on Brazilian prisons; "I bambini di Dakka" (2012), documentary on the life of children in the streets of Bangladesh; "Con gli ultimi sulle strade del mondo" (2012), documentary on "Comunità Papa Giovanni XXIII"; "So far so close" (2014), documentary on the Arab-Israeli conflict; "Vite in fuga" (2015), documentary on immigrants fled by refugee centres in Lebanon and their disembarkation; "I ragazzi del carcere minorile di Acireale" (2015), documentary on youth detention centre in Acireale; Short Films - "Da un pugno a una carezza" (2008) and "Oltre le sbarre" (2008), short film on prisons in Italy; "1,1,2,3,5" (2014), short film on disability; "Rimini homeless" (anno 2015), short film on poverty; TV Programs - "Punto a capo" (2005 2006) and "Scatechismo", (2010 2012), TV broadcasts on current events; Animation - "Thiago y el Caracol" (2014 e 2016), animation project for deaf-mute children; Social Advertisement - "Un pasto al giorno, qualcosa di straordinario" (2010) for the fundraising for meal centres of Comunità Papa Giovanni XXIII; "Moments" (2011) and "5x1000 un gesto d'amore che cambia la storia" (2012) for the 5x1000; "La mia famiglia esce dal foglio" (2012), advertising IULM's foster home of Milan; "Per le donne crocifisse" and "Questo e` il mio corpo" (2016, 2017), social adverts against prostitution.. Kristian Gianfreda has obtained many prizes and awards for his works. In 2012, he was awarded the prize for his advert "La mia famiglia esce dal foglio". In 2015, he obtained a special mention for "La strada di Oana" and "1, 1, 1, 2, 5" at l'Anello Debole di Capodarco Festival. In the same year, he wins the First Prize for best documentary with "So far, so close" at People for Peace and at The Prem Rawat Foundation. In 2012, he was invited at Fiuggi Film Festival as a member of the jury. He gained an international recognition thanks to his first feature film, "Solo cose belle". His movie has been applauded both by the public and the critics. For this movie, in 2007 he founded the production studio "Coffee Time Film", based Rimini. Roberto Grassilli Roberto Grassilli was born in S. Pietro in Casale (Bologna). Since the 80s he publishes comics, illustrations, cartoons on magazines and newspapers such as Alter, Linus, Frigidaire, Tempi Supplementari, Consumatori, Cuore, PuntoCom, il Fatto Quotidiano, Banca Etica, NavigareSicuri. As an illustrator, he works for Milano Libri, Conde' Nast, VociOff, Sperling & Kupfer, Cuore s.r.l, Inter Press Edizioni, Arcana Edizioni, Il Manifesto, Manutencoop, Kowalski, L'Arca Edizioni, Perdisa Editore, L'Arengo di Rimini, Edizioni Este, Bookrepublic, Telecom Italia, NdA Edizioni, Italica Edizioni, Edizioni Smasher, Bertoni Editore. He collaborated in various ways to events and manifestations, especially Biografilm Festival in Bologna, Mare di Libri in Rimini, Cesena Comics & Stories and Festa della Rete / Blogfest. In 1988 he established Showbiz with Steo Zacchi (illustration and graphic for album and advertisement campaigns for Italian music makers). In 1990 he moves to London to work in Spielberg's animation studio for the animated feature "Fievel goes West" (Amblin, Usa, 1991). In 1991 he enters the newsroom of the new weekly satire magazine Cuore, run by Michele Serra. He remains until qualifying as art-director and until the magazine closes in '96. In 97/98 he's responsible for publishing for Pan Distribuzioni (Marvel Italia) and collaborates to the realization of commercial websites (Alitalia, Ras, Microsoft Italia etc). In 1999 with Gianluca Neri and Gianluigi Mazzeschi he establishes Clarence srl. During the years of "net-economy", he works with marketing and graphics. Inside the well-known portal he also publishes a daily comic strip (sept. 2001): Net To Be. Speaking of which, it was also published in a comic collection: "To Be or Net to Be", Hops Libri, Milano, 2002. In 2004, moved to Rimini, he starts again with his illustrator and cartoonist career. He collaborates to the creation of Il misfatto, satiric insert for Il Fatto Quotidiano, he projects and realizes graphic for the editorial online series 40K, of which he also draws singular covers. In 2015 he creates la Realtà Diminuita. In 2018 he illustrates Orlando e il Pinguino, comic book for children, written by Sara Galli, Bertoni Junior Editore. The "side" business he's been most involved into, in particular from 1982 to 1991, as lead singer, was the rock band Lino e i Mistoterital. Piero Maggiò After competing as a professional boxer in the '80s, thanks to his resemblance to Marlon Brando, he then starts modeling for the most important fashion designers at the beginning of the '90s. In '95 he is Popeye for the famous Moschino Cheap and Chic campaign and in that same year he becomes its testimonial for the underwear. In 1997, he decides to study and pursue his passion: acting. He attends the Beatrice Bracco's acting school and he is cast in his first film, Elvis e Marilyn, directed by Armando Manni. Following, he stars in several films and in 2000 he is on the international set of the film Captain Corelli's Mandolin along with Nicolas Cage, Penelope Cruz and Christian Bale, with the direction of John Madden. In 2002 he is in El Alamein, directed by Enzo Monteleone and in Radio West, directed by Alessandro Valori. During those same years, Maggiò participates in several TV shows, among which Anni '60, Casa Vianello, Don Luca, L'ispettore Coliandro. In 2005 he founds La Famiglia Film studio with Samuele Sbrighi and produces La vida es un carnaval, directed by Samuele Sbrighi. In 2018, they produce Everything's Going Smooth (Tutto liscio!), directed by Igor Maltagliati, in which Maria Grazia Cucinotta and Ivano Marescotti star as protagonist, and distributed globally in 2020 thanks to Industry Works. Currently, he is on the TV show Il collegio, broadcast by Rai 2 channel, where he interprets the hall monitor of the school. Daniele Pagnoni Nasce a Rimini nel 1974, in un decennio di gran fermento sociale e politico in Italia. Daniele Pagnoni was born in Rimini (Italy) in 1974, in a lively social and economic decade. He obtained a degree in Engineering, a Master's degree and then started to work permanently in a multinational cooperation based in Milan, as a result of his education and dedication to his studies. In Milan, he dedicates both to his job and the cultural life, regularly visiting museums, cinemas, exhibitions and theatres. He gets into photography; an art he performs regularly even now he is back in his native town to enjoy the seaside and a happy family life. He is an associate and volunteer member of Palloncino Rosso, a cultural association. Here, he deals with the logistics and organization of cultural events, thanks to his passion for cinema and TV series. CANTAREL JURY Enrico Fink Born in Florence, where he always lived apart from two years passed in the USA. He graduated in Physics in 1994, immediately understanding that he wanted to focus on music and theatre. He produced and recorded music going from jazz to modern music, from street music to sacred music; he performed as singer, actor, flute player, on several stages starting from Sanremo Festival to Quirinale, from discos to international festivals, from sidewalks to major legitimate stages. He wrote and acted musical theatre shows such as "Patrilineare" (1998), "Lev" (1999), "Purimshpil!" (2000), "Yonah" (2002 who deserved an award from the European Association for Jewish Culture). He acted in Moni Ovadia's company from 2000 to 2004 on "Tevye un Mir", and "Il violinista sul tetto". He collaborates with the ancient music assemble Lucidarium, with which he recorded in France the cd "La Istoria de Purim". For Materiali Sonori he published in 2000 the album "Lokshen Patrilineare" and in 2005 "Il ritorno alla Fede del Cantante di Jazz" (produced by Arlo Bigazzi), in which he dedicates a revisit in a contemporary, electronic, jazz key many Jewish lyrics and musics from religious ambit. His main publications are "Klezmer Cronache di viaggi", Frame editions (1997); "La Mutazione" (1999) with group named Tacitevoci directed by Bruno de Franceschi. With the "Homeless L.I.G.H.T. Orchestra", in 2009, he published the cd "Quasi Live" (Officine della Cultura/Materiali Sonori Associated). He's musical director for O.M.A. (Orchestra Multietnica di Arezzo) and he published in 2009 the cd/dvd "Animameticcia" and in 2013 "portosantagostino" (Officine della Cultura). He's one of the founding members of the ensemble "Cantierranti" directed by Giampiero Bigazzi, with which he realized the narrative concert "Senza Padrone - sogni e storie dell'impresa a capitale collettivo". Since 2007 he teaches classes of Jewish music at Università degli Studi Ebraici in Rome. For Materiali Sonori in 2010 he publishes "La mamma, l'angelo e la ciambella" (with Stefano Bartolini playing sax and Marcella Carboni playing harp) and in 2011 takes care of the cd "La casa dei canti quasi 100 anni di Chazanut al Tempio Maggiore di Firenze". In 2012 with Arlo Bigazzi, Sabina Manetti e Cantierranti, he writes a song for Caterpillar Rai Radio 2 "Vedo chiaro limpido vero", which videoclip won as best music video. In 2014 the song gets included into the album "Fuori dal pozzo", realized with Arlo & Cantierranti and the participation of Sabina Manetti, Mino Cavallo, Marzio Del Testa, Moni Ovadia, Raiz... "Fuori dal pozzo" goes on tour. He held classes and conferences in many universities such as Yale, UC Santa Cruz, Università Federale di Rio de Janeiro; Fondazione Levi, Venezia; and also in the universities of Bologna, Genova, Venezia, Milano. He taught "Storia della Musica Ebraica" at the Corso di Laurea in Studi Ebraici in Rome; he regularly teaches at the Bet Midrash of the Jewish community in Florence. He taught music from Jewish tradition in many schools of musical specialization. Collaborating with Renaissance music group Ensemble Lucidarium, he studied Jewish authors from Italian Renaissance and presented several programs in festivals, universities and institutions all around the world. He's curator for Primo Levi Center in New York for the project "Italian Chazanut Round Table" dedicated to Erna Finci Viterbi. Enrico Fink he's coming back from his third Canadian tour and from a long theatrical season in which he directed Orchestra Multietnica from Arezzo on original compositions for the new show written by Stefano Masini and acted by Ottavia Piccolo. Matteo Medri Matteo Medri was born in Forlì on 8 September 1975 and he lives in Cesena since he graduated in Psychology. He gets close to the arts world in third grade by starting to play classical clarinet at the "Angelo Masini" music school in Forlì and graduating with the lower-level diploma of the 5th year at "Cherubini" Conservatory in Florence. After that, he started playing the drums with Maestro Stefano Paolini and forms a rock group (The Wizards), which performs with its own and unpublished music, with more than 65 live dates every year. The group gets reviewed by various trade magazines and publishes two CDs with independent production companies. During his university years he gets close to theatre and acting by participating in local and national drama courses with teachers from the international scene and by acting in some theatrical performances and in minor roles in TV fictions. During the same years, he establishes an association of social promotion (L'Aquilone di Iqbal) that takes care of activities for minors and art, also starting a path of official recognizing from Ministry of the role of Clowndoctor, through the establishment of a National Federation. Both those realities are operating today in the area with several projects. While participating in different artistic projects, he also operates as an animator/educator and street artist with many national realities such as WWF Italy, Arci NA, Regione Emilia-Romagna, etc. The experience he lived while realizing his group's music video made him find out a passion and love for video language. He then starts an educational process in that direction. He takes part of many courses with professional figures in different parts of Italy, such as a course in Rome's cinema academy with R. De Laurentiis and Acay Cinematografica, as well as getting closer to professionals by covering different roles. At the start of 2000s he establishes his own society (Metters Studio Films srl) and a production team, with which he took care of productions and 360° audiovisuals during the years (from commercials to documentaries, from short and medium-length films to formats and TV projects, from corporate to viral for web and social medias, and not to forget music videos and live events). Some of the companies and institutions that entrusted him to be the video director are: Technogym, Orogel, Zucchetti, Tubes, Yamaha (with Valentino Rossi), Elio Fiorucci, Eridania, Prink, Calibe, Regione Emilia Romagna, Regione Marche, Trevi, Avis EMR, Cosmoprof International, Hera, ecc. In the world of art and audiovisual he won several national and international prizes, such as the international festival "I've seen film festival" by Rutger Houer with the short film "Solo"; the "Red Dot Award" for the commercial video "Faraway" for Zucchetti.KOS company, and many more special mentions and prizes for short films, commercials and social media realized between 2005 and 2019. In music and artistic world he took care of audiovisual projects for: Dario Fo, FNC Italia, ONG Internazionale "Persone come noi", Max Gazzè, YoYo Mundi, Demo Rai Radio Uno with Michel Pergolani and Renato Marengo, Khorakhanè for Sanremo festival 2007, Libero.it portal with the videoclip project on women's bullying and more, SKYARTE with "Vai col Liscio" format, Mediaset friend with social adverts (among which we remember the one about abandoning animals, aired during all the summer in 2012), TV2000 and national channels with documentary about Clown Doctors (still airing). In theatre world he wrote three shows as a tribute to Fabrizio De André, two of them collaborating with authors and actors from national scene, which were added to some theatre bills in region EMR and Tuscany. Those shows had the coexistence of different artistic languages: from live music to painting, from acting to dance, to video projection. In his educational path he didn't miss out on professional experiences as a live events director (Repubblica delle Idee, Cosmoprof, Techongym, Utopia etc.) and as production manager to programs and institutions (Rai Radio 1- Demo Rai, RTI and national and regional television networks). Diego Spagnoli Born in the province of Brescia in 1959. Meet the Music at 16 and immediately fall in love with it, finding in her a lifestyle, a goal to reach. His studies led him to obtain a diploma as a surveyor, but his career behind a desk stopped shortly. Guido Elmi, a historical Artistic producer of Vasco Rossi, notices him, who after a concert organized by Diego asks him to be a professional member of the Group. Since 1982 Diego follows Vasco Rossi in the role of Stage Manager, coordinates people and things nec essary for the best performance of the Show as well as making his artistic contribution with his Performances as Master of Ceremony during the Band's presentations since 1996. He founded and is a director of ATTIVI E CREATIVI, a company that deals with entertainment services. His clients include many other Italian and foreign artists, as well as entertainment agencies. In addition to the technical role, he is involved in musical projects as DubMaster and Singer. When he's not busy touring in Diego, he like s to cook, hang out with people and design shows. He is currently busy writing a theater project. AFIC JURY (Best italian short movie) Pedro Armocida Art. Dir. Pesaro Film Festival Pedro Armocida (Madrid, 1971), a graduate of La Sapienza University of Rome in Literature, he is an essayist, professional journalist, film critic and adjunct professor. He contributes for Ciak magazine, 8 1/2, Film Tv and Il Giornale. He is art director of the Mostra Internazionale del Nuovo Cinema, member of the board of the AFIC, the Italian Film Festivals Association, general secretary of the trade union of Italian Film Critics (SNCCI). He is adjunct professor of Film Criticism in the Theatre, Cinema, Dance and Digital Arts Master's Degree Course at the for the La Sapienza University in Rome. He is a member of a shortlist of juries for the documentaries of the David di Donatello Awards (2018-2019). He was the editor and co-editor of various publications, among which: Ieri, oggi e domani. Il cinema di genere in Italia, Marsilio, Venice, 2019; L'attore nel cinema italiano contemporaneo. Storia, performance, immagine, Marsilio, Venice, 2017; Romanzo popolare. Narrazione, pubblico e storie del cinema italiano negli anni duemila, Marsilio, Venice, 2016; Esordi italiani. Gli anni Dieci al cinema (2010-2015), Marsilio, Venice, 2015; Il cinema argentino contemporaneo e l'opera di Leonardo Favio, Marsilio, Venice, 2006; Oltre la frontiera. Il cinema messicano contemporaneo, Revolver, Bologna, 2004; Cinema in Spagna oggi, Lindau, Turin, 2002. Luca Caprara Art. Dir. Corto Dorico Film Festival Screenwriter and producer of short films, film clips, educational videos, commercials, theatre performances. He organizes film courses, festivals and seminars, while also working with magazines and websites. He has been a radio host in several regional and national broadcast channels, where he was in charge of the cinema section. With the film director Andrea Lodovichetti, he founded the cultural association Lobecafilm and he wrote the short film Sotto il mio giardino, produced by the Centro Sperimentale di Cinematografia Scuola Nazionale del Cinema (Experimental film centre National film school) in Rome. Currently, Sotto il mio giardino is one of the short film which has been selected and awarded the most, having received awrds such as the Italian Golden Globe, the People's Choice Award at the Academy Festival of Beijing, the first prize at the Rhode Island International Film Festival and the Looking for Genius Spike Lee's International Competition Award at the Festival of Cannes. He wrote and produced with the director Andrea Lodovichetti the documentary PescAmare. He also wrote the screenplay of the film Le parole del silenzio. Together with Andrea Lodovichetti and Eros Tumbarello, he wrote the screenplay for Nero come le formiche (Black as the ants) and for the film L'origin du monde. He is the author of the original screenplay of the fictional feature-length film La bambina di Chernobyl, co-written with Massimo Nardin. He is the creator of a recital on Marcello Mastroianni named Il bel Marcello, as well as another recital about Monica Vitti, entitled L'avventura di chiamarsi Monica. He contributed to the realisation of the Ozu Film Festival in Sassuolo. Since 2018, with Daniele Ciprì, film director and director of photography, he is the art director for the CortoDorico Film Festival of Ancona, supported by MIBAC, the Ministry of Cultural Heritage and Activities. Gianluca Castellini Art. Dir. Sedicicorto Film Festival Born on 07 April 1962 in Forlì, Italy. He attended several courses in Film History and Directing. He organizes film clubs and film literacy activities. In 2004, he founded the Association "Sedicicorto". Since then, he has been Art Director of the Sedicicorto International Film Festival in Forlì. He is member of the promoting Committee of the CNC, the Italian National Short Films Centre. In 2008, he created the Golden FEDIC, a network composed by 12 film festivals and 30 film clubs. He has been an advisor member for FEDIC, the Italian Film Clubs Federation, since 2009. In 2011, in Cesenatico, Castellini founded ANIMARE, an animation film festival for children aged 3 to 13. Since 2014, he coordinates the REFF network, in which 15 film festivals take part. In 2018, he founded the IRANFEST, which focuses on Iranian cinema. He took part in many Italian and international film festivals as a jury member and a member of the selection committee. He works with several cultural associations to support programmes which promote the art of short films and the development of film literacy in the schools of his area. He participates in numerous Italian and international film festivals to contribute to the distribution network of short films in Italy and abroad. POPULAR JURY Alessandro Rossini Andrea Gobbi Anna Linsalata Annaflavia Bianchi Barbara Garagnani Carla Bonvicini Caterina Gobbi Clara Bollini Dario Virginillo Deano Giunchi Elisabetta Zavoli Erica Rocchi Fabrizio Pelaca Floriana Polino Gabriella Ancona Maria Del Carmen Moretto Marina Costantini Marina Cerdà Bernabeu Massimo Venturelli Michele Ghiselli Monia Facondini Monna Moatemri Nino Celli Patrizia Bacci Paolo Pini Redeo Amadori Rossella Salvi

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.