Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 30 n° 328

Posts Tagged ‘stories’

A swarm of stories, and what’s missing

Posted by fidest press agency su domenica, 11 novembre 2018

By Jon Allsop. The midterms were three days ago, but so much has happened since that they feel like three years ago. The elections (which still aren’t over if you live in Florida or Arizona) proved a direct catalyst for some of the subsequent news congestion: the forced resignation of Attorney General Jeff Sessions in their immediate aftermath was no coincidence, and the barring of CNN’s Jim Acosta from the White House grounds on Wednesday looked, among other bad things, like a distraction. By the end of Wednesday night in Thousand Oaks, California, 12 people were fatally shot at a bar. Anything happening on Thursday was likely to get lost, and an important immigration story became incidental.Sessions’s ouster, in particular, inspired aggressive reporting. His successor, Matthew Whitaker, has a history with shenanigans and has made hostile comments about the Robert Mueller probe. Nevertheless, some outlets observed that the firing of Sessions has had an anti-climactic feel. Times writers said that it “came as little surprise”; others, including David Leonhardt, an opinion columnist at the same paper, argued that Mueller’s findings are likely to be safe whatever happens next. Reporters have been well aware of Trump’s anger that Sessions recused himself from oversight of Mueller. Perhaps the lack of alarm in coverage reflects our media fatigue.Journalists did stir over the Trump-Acosta showdown: even though the president’s war on the press is not a new story, this was the first time he’d decided to ban a reporter from the briefing room. Many media reporters, in particular, reacted angrily: The Washington Post’s Margaret Sullivan, for example, called on CNN to sue the White House on First Amendment grounds for revoking its reporter’s access. On Thursday, a debate raged over whether a video—which the White House apparently borrowed from a far-right internet personality, then shared—had been doctored in a way that appeared to show Acosta manhandling a female intern, itself a new front in the administration’s anti-truth crusade.In this context, many news outlets deserve credit for centering the Thousands Oaks shooting in their coverage: The three major broadcast networks sent anchors to California last night, while the story topped the homepages of the Times, The Washington Post, The Wall Street Journal, NPR, CNN, the AP, Reuters, NBC News, and others. Its repetition of so many tragedies past proved its most poignant symbolism—reports emerged that survivors of last year’s mass shooting in Las Vegas, the worst in US history, were present on Wednesday, too, having adopted the Thousand Oaks bar as a “place of solace.” Katie Zezima, Mark Berman, and David Fahrenthold wrote in the Post that, for many affected, “There was a grim benefit to being young in America during an age of massacres: They knew exactly what to do, in the way that past generations knew how to hide from tornadoes or nuclear bombs.”With so many new normals to cover, it was perhaps inevitable that the media would downplay one that deserved greater scrutiny. That story was the White House’s announcement yesterday, invoking national security laws, that Trump will have practically untrammeled power to deny asylum to unlawful migrants. The new policy may get more airtime today as Trump prepares to announce which countries to which it will apply. So far, however, it’s received a sliver of the wall-to-wall attention paid to Trump’s wild, pre-midterm fear-mongering about the migrant “caravan,” despite its being unhinged from reality.In the week Democrats won back the House, the media has faced a series of sharp reminders that Trump is still at the top of the agenda, with the power to send reporters racing. The prominence of the media’s Thousand Oaks coverage, however, shows that national tragedies can still resonate beyond the tiresome churn of Washington. The latest immigration policy should be an example of that, too—and it is. The press should stop treating it as a mere product of the Beltway. (font: CJR Editors)

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The stories left untold in America’s newsrooms

Posted by fidest press agency su venerdì, 9 novembre 2018

By Jon Allsop “Unfinished.” That’s the title of CJR’s latest print issue, released today, which focuses on race in journalism and “the stories left untold in America’s newsrooms.” The Race Issue features a range of perspectives on the continued under-representation of people of color in the media—situating the problem in its historical context, sizing up its statistical scale, and outlining the holes in coverage that result. Contributors include Vann R. Newkirk II, a staff writer at The Atlantic; Errin Haines Whack, the Associated Press’s National Writer for Race and Ethnicity; and Rebecca Carroll, special projects editor for WNYC and a critic-at-large for the LA Times. Also in the issue, Gustavo Arellano tackles the uncertain fate of Spanish-language news networks, E. Tammy Kim reflects on lopsided US media coverage of the Koreas, and Eric Deggans interviews David Simon, creator of The Wire, on how journalists could better cover the race beat.CJR’s website will roll out all the columns and features in the issue over the next two weeks. First up this morning, Guest Editor Jelani Cobb, a New Yorker staff writer and director of Columbia University’s Ira A. Lipman Center for Journalism and Civil and Human Rights, discusses “the cost of the status quo” when it comes to race in the media. At a launch event at Columbia Journalism School later today, Cobb will sit down with HuffPost Editor-in-Chief Lydia Polgreen (who serves on CJR’s Board of Overseers) following a roundtable discussion featuring Haines Whack, Atlantic staff writer Adam Serwer, CJR Editor and Publisher Kyle Pope, and former CJR Delacorte Fellow Karen K. Ho. You can livestream the whole event, which is being sponsored by the Ford Foundation and The Guardian, here from 2pm Eastern.In 2017, just 16.6 percent of journalists at daily newspapers in the US were people of color, despite non-white people comprising more than 37 percent of the population at large. “This underrepresentation of minorities is a more polite way of saying that there is an overrepresentation of white people in media,” Cobb writes. “Two years ago, the dearth of people of color at the Oscars generated the satirical #OscarsSoWhite hashtag. A #NewsroomSoWhite hashtag would now be equally fitting.”
For Cobb, this under-representation comes not at the cost of some “vague, frankly condescending idea of ‘inclusion,’” or the appearance of it. It matters, rather, because homogenous newsrooms miss critical stories and perspectives. Cobb cites several micro and macro examples of the trend: from tone-deaf crime coverage in the Bronx, to the Kerner Commission’s 50-year-old finding that the media missed the causes of the 1967 race riots, to euphemistic coverage of the 2016 election campaign “when unblinking assessments of racism and religious bigotry were warranted.”On the eve of the 2018 midterms—whose narrative has, if anything, hewed even more overtly to race—a spotlight has again shone on the timid language much of the media uses to describe racism (even though this language did not go away in between times). On Friday, a headline in the Times referred to the “racial stumbles” of Ron DeSantis, the Republican gubernatorial candidate in Florida; on Saturday, the same paper wrote about the “racially tinged remarks” of hard-right Iowa Congressman Steve King.The Times subsequently changed the latter article to call King’s remarks “racist”—small proof, perhaps, of the power of raised awareness. But as CJR’s new issue shows, journalism’s race problem is entrenched and multi-faceted. Elections loaded with racist rhetoric might seem like an opportune peg for the issue’s release. In truth, any time is a good time to grapple with the media’s failure of representation and its everyday consequences. (from: CJR Editors)

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Developing a skilled maritime workforce: a new collection of European success stories

Posted by fidest press agency su lunedì, 11 giugno 2018

The European Commission has published three compendiums of initiatives that help developing the skills of maritime professionals and making them fit for the diverse needs of an evolving maritime economy.The blue economy has been changing over the last decade. It now implies modern goods and services from technologically advanced and innovation-oriented industry. Sectors like offshore wind, ocean energy, shipbuilding or marine biotechnology offer at present highly specialized niches of employment and are in search of suitable personnel.Matching this demand with an adequate offer will be key to maintaining the industry’s competitive edge. That is why Commission funding is now going into encouraging cooperation between the education and the business worlds, which need to talk to each other more and multiply learning opportunities and out-of-classroom experiences for students. Other grants aim at restoring the image of maritime professions and raising the public appeal of careers at sea, as the many-faceted blue economy offers a multitude of different jobs in as many different sectors.Another good way to move forward is observing and describing the good practices already going on all over the EU, which the Commission has done with the help of 40 experts. The result is a unique inventory of real-life innovative approaches to tackle the skills issues. 15 projects increase cooperation between business and education, 14 expand ocean literacy and 13 create new opportunities for life-long learning and mobility. The three small booklets and the 42 stories show incontestably that bridging the gap between education offer and labour market needs is possible – and that Europe is doing it.

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Slow Words People and Stories from this World

Posted by fidest press agency su sabato, 21 gennaio 2017

paul-barberaPicturing is recalling but also understanding and with one picture you have sometimes the responsibility to create a first, and comprehensive, understanding. Your field is, mainly, luxury and lifestyle but you seem to have a predilection for people’s spaces, especially workspaces. Is this because today’s labour market is evanescent and is this because you love to depict the integrity of the ‘dream’ of anyone through his creativity deployment? Slow Words is entirely focused on the ‘people of this world’ and their professions and dreams…We, so, got really interested for your series ‘Where They Work’… How the book Where They Create Japan started and who is, according to you, the ideal reader of this very uncanny publication? Why Japan? Which could be the next country ‘on print’? Where They Create began as the homage to my love for travel and the creatives I meet. It was a project that started before I had thought of posting it online or publishing it as a book. I had the opportunity from Frame to publish my first Where They Create book in 2011 and it included a wide range of creatives from around the globe. However when it was time to do a follow-up, I wanted to have a focus for the book. Japan is one of my favourite places on the planet and I had a very inspiring trip there in 2014 and thought it would be a natural place to start. I hope to do a book on the US next, as that is where I have been living for the last 5 years, but I only travelled a little outside of New York and I really want to see more of America. (photo: Paul Barbera)

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Slow Words People and Stories from this World

Posted by fidest press agency su lunedì, 10 ottobre 2016

valentino-chef-licataI was on a Venetian terrace. The best spot in town, one of the most famous hotels in town, during the Movie Festival. There was a party of an US magazine, the self proclaimed ‘bible of cinema’, and was in honour of Sam Mendes, the 2016 president of the festival jury. That was the last place where all of you would imagine to find true stories and true dreams beside the celluloid ones – beyond the mainstream, the movie industry, the wannabes and the glittering. We found it and we’re going to tell it to you.It’s the story of a young cook of Gritti Hotel who, together with other colleagues of the same hotel group designed a dinner after the scripts of the British director’s movies. He had been asked to invent something to tell Road to Perdition with the taste. He had chosen panella with milky cod and then the lemon slush just because ‘there was the possibility to prepare, by hand, also the brioches to accompany with’.I never tasted something similar, and as me, hundreds of ecstatic guests who were keeping to queue at his food stall to ask for another portion.The flavour – and the overall experience of the texture – was bringing you on a boat and you’re ready, and happy, to sail for whatever destination.The lemon, the salt and the sugar were intertwined in one, unique note making the treat different from any other slush (thanks also to the mint and to other still secret ingredients). It was as if you were on a dune or in the sun’s blaze by a seaside during the afternoons. And, or, at the same time, under a Sicilian patio few steps away from the volcan Stromboli to enjoy the breeze of the evening.
Una terrazza veneziana di un grande albergo, un party ambito: quello di una rivista americana – definita la bibbia del cinema – in onore del direttore della Giuria della mostra del cinema di Venezia, il regista Sam Mendes.E’ l’ultimo posto dove pensereste di trovare storie e sogni veri oltre a quelli di celluloide. Nonostante tutto, noi una l’abbiamo trovata – fuori dal mainstream e dall’industry, dalle salt-to-make-a-seastarlette e dal glitter. E ve la raccontiamo.E’ un giovane cuoco del Gritti, che insieme ad altri suoi colleghi ha cucinato a tema per gli invitati: a lui toccava inventarsi qualcosa per raccontare Era Mio Padre, uno dei film del regista britannico. Ha scelto di fare la panella con il baccalà mantecato, e poi la granita perché ‘c’era la possibilità di fare anche la brioche’.Non ho mai assaggiato nulla di simile, e come me, centinaia di persone estasiate continuavano a fare la fila alla sua postazione per averne ancora, di granita.Il sapore – e l’esperienza complessiva della sua texture – ti portava su una barca, eri pronto e contento a salpare. Per qualunque luogo. Il limone il sale e lo zucchero si intrecciavano in una unica nota, diversa da qualsiasi altra (complici la menta ed altri ingredienti segreti). Eri su una duna o nel calore abbacinante di un mare vero al meriggio e, insieme, al riparo sotto un patio siciliano a pochi passi dallo Stromboli, a goderti il fresco della sera.
I cannot hold such emptiness
—the only meaning, the meaning
we make & the way time tugs
the body down, the body named
bone, named brain, the color
of dust & tremor, the soft meat
& the bag it lives in. (…)
Non posso trattenere tale vuoto
– l’unico senso, l’unico significato
noi facciamo & il modo in cui il tempo strattona in basso il corpo, il suddetto
ossa, il detto cervello, il colore
della polvere&del tremore, la carne molle
e la borsa che vive dentro.(…) Renée Ashley, USA (1947 -)
(foto: Valentino chef Licata, Salt to Make a Sea)

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Masashi Echigo: Stories

Posted by fidest press agency su martedì, 28 settembre 2010

Roma fino al 6/11/2010 via San Francesco di Sales 16/a, I galleria extraspazio a cura di Emilia Giorgi  Masashi Echigo e’ solito studiare e analizzare, attraverso lunghe passeggiate esplorative, la città in cui andrà a costruire la sua opera. Accompagnato dagli incontri con persone comuni o esperti che possono indirizzare o ispirare le sue ricerche, colleziona sistematicamente le sue vedute, le emozioni, le suggestioni del viaggio, scattando fotografie e cercando ‘indizi’, oggetti trovati, o materiali presi semplicemente in prestito. L’archivio cosi’ formato trova nella mente dell’artista nuove configurazioni che, di volta in volta, vengono presentate al pubblico delle sue mostre attraverso opere scenografiche in equilibrio costante tra arte e architettura.
Nato nel 1982 a Toyama (Giappone), Masashi Echigo vive attualmente a Ghent, Belgio, dove sta conseguendo il diploma presso l’ HISK – Higher Institute for Fine Arts. Si e’ laureato in architettura alla Musashino Art University, Tokyo e, negli ultimi anni, ha vissuto o ha passato lunghi periodi in molte città europee prendendo parte a numerose mostre collettive. In Italia, dopo un periodo di residenza presso Qwatz a Roma, Echigo presenta la sua prima mostra personale Stories alla galleria e x t r a s p a z i o e , contemporaneamente, l’installazione Immanence negli spazi esterni della Galleria Nazionale d’Arte Moderna. (masashi)

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Masashi echigo stories

Posted by fidest press agency su venerdì, 17 settembre 2010

Roma 27 settembre ore 19 via San Francesco di Sales 16/a extraspazio. Accumulare oggetti significa raccogliere Storie?  Questa è  la domanda che ci pone la prima mostra personale italiana di Masashi Echigo (Toyama, Giappone, 1982) a cura di Emilia Giorgi.  Un tema centrale nella ricerca dell’artista, quello della collezione di oggetti desueti o abbandonati, che ritorna anche nell’installazione presentata dal 25 settembre sulla facciata principale della Galleria Nazionale d’Arte Moderna.
Masashi Echigo è nato a Toyama, Giappone nel 1982; vive e lavora attualmente a Ghent.
La galleria  e x t r a s p a z i o  è aperta dal martedì al sabato dalle 15.30 alle 19.30  e su appuntamento http://www.extraspazio.it

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Campionato mondiale di curling

Posted by fidest press agency su sabato, 30 gennaio 2010

Cortina d’Ampezzo dal 3 all’11 aprile “Campionati Mondiali Maschili – Capital One World Men’s Curling Championship” sfide fra le 12 migliori squadre al mondo. Per l’Italia gareggerà il Team Retornaz. L’attività di preparazione della manifestazione da parte del comitato organizzativo presieduto da Massimo Antonelli va via via intensificandosi, affinché la prima italiana dei Mondiali Maschili di Curling sia definita “al millimetro”. Per favorire la massima valorizzazione dell’evento è stato costituito un Comitato d’Onore, presieduto dall’editorialista ed economista Enrico Cisnetto, il quale ha il compito di assicurare alla manifestazione visibilità e lustro, invitando personalità di spicco del mondo della politica e dell’economia, della cultura e dello spettacolo. Enrico Cisnetto è anche ideatore ed organizzatore di “Cortina InConTra”, la manifestazione sui grandi temi dell’attualità che dal 2002 si svolge d’estate e d’inverno nella città ampezzana la quale, oltre ad essere patria di sport invernali e sul ghiaccio, è anche “capitale della cultura e dell’attualità in vacanza”, come giustamente sottolinea il sindaco di Cortina, Andrea Franceschi. Tra i primi ad aderire al Comitato d’Onore vi sono i ministri Michela Brambilla e Giorgia Meloni, il governatore del Veneto Giancarlo Galan, il presidente del CONI Gianni Petrucci, il sindaco di Roma Gianni Alemanno, il presidente della FIAT Luca Cordero di Montezemolo, il presidente dell’ENIT Matteo Marzotto. E ancora : Evelina Christillin, Antonio Puri Purini, Vito Gamberale, Mario d’Urso, Bruno Vespa, Rolly Marchi, Enrico Vanzina, Enrico Marchi, Ivanhoe Lo Bello, Michele Mirabella, Toni Concina, Paola Balducci. Ai “Campionati Mondiali Maschili – Capital One World Men’s Curling Championship” saranno presenti le dodici migliori squadre del mondo. L’Italia parteciperà di diritto in quanto nazione ospitante e finalmente è stata decisa la formazione che rappresenterà il tricolore. Dopo un appassionante confronto tra i trentini campioni d’Italia del Team Retornaz e i cortinesi del C.C. Dolomiti BPT, è stato confermato il team Retornaz, che quindi rappresenterà l’Italia all’evento iridato. In gara ci saranno il Canada (presente di diritto essendo in cima al ranking mondiale), la Cina, il Giappone e le europee Danimarca, Francia, Germania, Norvegia, Scozia (medaglia d’oro ai Mondiali 2009), Svezia e Svizzera. Il dodicesimo posto disponibile verrà occupato dalla squadra vincente lo spareggio tra Stati Uniti e Brasile, in programma dal 5 al 7 febbraio prossimi, con i nordamericani decisamente favoriti. Il curling a Cortina ha origini lontane. Oltre un secolo di storia – e di storie – che lo hanno visto crescere e trasformarsi in sport “mondiale”, da semplice passatempo praticato su lastre ghiacciate all’aperto: indimenticabili le foto in bianco e nero di stelle del jet-set internazionale come Alberto Sordi, David Niven e Brigitte Bardot, che trascorsero momenti di relax a Cortina, “armati” di scope e stones.

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Matteo Peretti Stories

Posted by fidest press agency su lunedì, 19 ottobre 2009

Roma 21 ottobre dalle ore 18,00 e fino al 21 novembre 2009 Emmeotto – Via Margutta  8 presenta una selezione della produzione più  recente di Matteo Peretti: circa quaranta opere scelte tra i “ritratti” ed una serie di sculture monocrome realizzate, a partire dal 2007, assemblando giocattoli usati. Osservando gli assemblaggi di oggetti di Matteo Peretti, opere in cui l’eleganza formale si sposa all’ironia, ci si domanda se il giovane artista sia in debito d’ispirazione con il mondo di Arcimboldo o con le dissacranti provocazioni novecentesche che, partendo da Duchamp e passando per l’arte povera, hanno imposto gli umili oggetti del vivere quotidiano al centro della ribalta artistica. In verità la storia familiare ed il percorso di formazione del giovane artista romano fanno di lui il fertile terreno di convergenza di mondi e tradizioni artistiche in apparenza assai lontani. Figlio di antiquari, Peretti si è confrontato dalla nascita con l’arte della grande tradizione italiana, compiendo però il suo percorso di formazione lontano dal nostro paese in contesti vocati alla contemporaneità. Dopo la laurea in arti visive conseguita nel 1995 all’Oberline College – una delle strutture universitarie più rigorose e, al contempo,  anticonformiste degli Stati Uniti –   l’artista si è specializzato presso la Central Saint Martins School of Art di Londra, la città che, insieme a New York, ha ospitato le sue prime mostre personali. Le sculture a tutto tondo e i bassorilievi di giocattoli che Emmeotto e Martina Cavallarin, curatrice della rassegna, hanno selezionato parlano chiaro a questo proposito. Il loro autore è impegnato nella ricerca di un alto livello di esteticità che induce Petrucci a coniare per lui l’azzeccata definizione di pauperismo ludico e formalista. Peretti conduce ad unità l’infinita varietà di forme, dimensioni, consistenze e tinte della materia di cui si serve – i giochi tratti dalla collezione che oramai invade il suo studio – applicando nel montaggio criteri di equilibrio ed armonia tra le parti ed uniformando ulteriormente il tutto con una patina monocroma  che predilige la vivacità dei colori primari: il giallo senape, il rosso lacca, il blu oltremare, il bianco e il nero.   In Point of View la vicenda universale del rapporto tra i sessi viene commentata costruendo su una batteria giocattolo il mondo dell’uomo e quello della donna come diversi e contigui ma non comunicanti. I rispettivi monarchi si osservano con curiosità dall’interno di confini che non tenteranno di varcare. Si chiamano Synthetic Brain le carcasse di vecchi televisori catodici che Peretti trasforma in affollati teatrini. Va in scena il bombardamento di parole, suoni e immagini del mondo della comunicazione di massa. Un mondo creato ma non governato da un’umanità che spesso perde il controllo delle sue sofisticate creature.  Capita poi che spunti e temi desunti dalle frequentazioni di famiglia con l’arte antica si affaccino con ironica puntualità nelle sue opere. Si spiega così il vezzo di non firmare, ma rappresentarsi piccolino all’interno delle sue affollate scenografie. Oppure quello di trattare temi di scottante attualità affidandosi a soggetti della grande tradizione iconografica occidentale. E’ il caso della Strage degli innocenti “un tema classico che  utilizzo per parlare della condizione giovanile”.

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Valerie Mrejen: La Virreina

Posted by fidest press agency su giovedì, 16 luglio 2009

La De'faiteBarcelona until 6/9/2009 Palau de la Virreina, La Rambla 99,  Artist, photographer and writer, Vale’rie Mre’jen uses a variety of mediums to explore the rich potential of language. She uses short, familiar stories from everyday situations that she has read about or experienced to evoke childhood and its memories, the cruel or comical sides of life, commonplaces and misunderstandings. Her approach endows these familiar stories with an obsessive quality, making them strange through the power of the dialogue and the emptiness we can sense behind them.  In her films Mre’jen presents everyday situations that are like a sampling of human relations.  Vale’rie Mre’jen has made several videos and two short films and has published three stories: Mon Grand-pe’re (1999) – which she continued in 2000 with the photographs in the series L’Appartement de mon grand-pe’re – L’Agrume (2000) and Eau sauvage (2003), all with Allia. Her film Pork and Milk (52 mins) was made in 2002 when a gallery in Tel Aviv asked her to produce a work about contemporary Israeli society for an exhibition there.  (Image: La De’faite)

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