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Channel: The Inside News Hyderabad

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Selena Gomez without a doubt it is one of our all time favorite pop starsa, but this time he surprised us with the nice detail he did with the model and actress, Cara Delevingne, since a few weeks ago, the two actresses and Hollywood stars made a detail worthy of admiration to strengthen their friendship.

Some days ago, actress and singer Selena Gomez, surprised all social networks, his fans and the media with a photo that left us all stunned, because in it he showed off the new tattoo he had done on his back and it couldn’t be prettier. However, when the singer uploaded the image, it was in black and white, so we couldn’t fully see and appreciate the tattoo, which disappointed us a bit.

But now, we finally get to know what it is, and not only is it a beautiful tattoo, but model Cara Delevingne He also shares it, so we are very excited, since both Hollywood artists have a big rose on their skin.

The artist who was in charge of tattooing the two great celebrities was Keith Scott McCurdy, who is a famous tattoo artist from New York City, better known by the nickname Bang Bang. It was the tattooed man himself, who through his account on the social network of Instagram He published the photographs of the tattoo of a rose with a black stem as if it were painted in watercolor, this image was tattooed on the skin of the two celebrities.

1642128358099 cc (30)

Selena Gomez and Cara Delevingne have the same tattoo

The Selena’s tattoo It was already expected by the fans of the singer, since the December 15, 2021 tattoo artist Bang Bang posted a photo of Gomez showing her back, with the resplendent tattoo, however in that photo the tattoo is not very well distinguished. This is why he first posted Selena Gomez’s photography, in which he proudly wore the tattoo on the lower part of his neck, starting at the nape of the neck and the stem of the flower reaching almost to the lower back.

Watercolor on @selenagomez. Thank you for always being wonderful ♥.

A day after the tattoo artist showed off the new tattoo he had done on Selena’s body, Keith uploaded a video a Instagram in which it appears Cara Delevingne sporting the same design that he had put on the body of actress Selena Gomez, only that the model wanted to put it on the right side, by the height of the ribs and ending almost above the hip.

Match for @caradelevinge. I had a lot of fun doing these tattoos, thanks for always trusting me Cara. FYI, I told you all the way through that these were my first ever watercolor tattoos.

1642128374740 cc (31)

Selena Gomez and Cara Delevingne They have been friends for several years, since they have been seen together on several occasions, one of them was when the singer Taylor Swift released the music video for the song “Bad Blood”, where both Gomez and Delevingne they appeared. In addition, they currently spend a lot of time together thanks to the recording of the new season of the series ‘Only Murders in the Building’, in which both actresses appear.

REFERENCES

Friends tattoo? Cara Delevingne and Selena Gomez got the same tattoo

We want to give thanks to the writer of this article for this awesome content

Cara Delevingne and Selena Gomez get the same tattoo as proof of their beautiful friendship

" } ["summary"]=> string(703) "Selena Gomez without a doubt it is one of our all time favorite pop starsa, but this time he surprised us with the nice detail he did with the model and actress, Cara Delevingne, since a few weeks ago, the two actresses and Hollywood stars made a detail worthy of admiration to strengthen their friendship. ... Read more" ["atom_content"]=> string(5024) "

Selena Gomez without a doubt it is one of our all time favorite pop starsa, but this time he surprised us with the nice detail he did with the model and actress, Cara Delevingne, since a few weeks ago, the two actresses and Hollywood stars made a detail worthy of admiration to strengthen their friendship.

Some days ago, actress and singer Selena Gomez, surprised all social networks, his fans and the media with a photo that left us all stunned, because in it he showed off the new tattoo he had done on his back and it couldn’t be prettier. However, when the singer uploaded the image, it was in black and white, so we couldn’t fully see and appreciate the tattoo, which disappointed us a bit.

But now, we finally get to know what it is, and not only is it a beautiful tattoo, but model Cara Delevingne He also shares it, so we are very excited, since both Hollywood artists have a big rose on their skin.

The artist who was in charge of tattooing the two great celebrities was Keith Scott McCurdy, who is a famous tattoo artist from New York City, better known by the nickname Bang Bang. It was the tattooed man himself, who through his account on the social network of Instagram He published the photographs of the tattoo of a rose with a black stem as if it were painted in watercolor, this image was tattooed on the skin of the two celebrities.

1642128358099 cc (30)

Selena Gomez and Cara Delevingne have the same tattoo

The Selena’s tattoo It was already expected by the fans of the singer, since the December 15, 2021 tattoo artist Bang Bang posted a photo of Gomez showing her back, with the resplendent tattoo, however in that photo the tattoo is not very well distinguished. This is why he first posted Selena Gomez’s photography, in which he proudly wore the tattoo on the lower part of his neck, starting at the nape of the neck and the stem of the flower reaching almost to the lower back.

Watercolor on @selenagomez. Thank you for always being wonderful ♥.

A day after the tattoo artist showed off the new tattoo he had done on Selena’s body, Keith uploaded a video a Instagram in which it appears Cara Delevingne sporting the same design that he had put on the body of actress Selena Gomez, only that the model wanted to put it on the right side, by the height of the ribs and ending almost above the hip.

Match for @caradelevinge. I had a lot of fun doing these tattoos, thanks for always trusting me Cara. FYI, I told you all the way through that these were my first ever watercolor tattoos.

1642128374740 cc (31)

Selena Gomez and Cara Delevingne They have been friends for several years, since they have been seen together on several occasions, one of them was when the singer Taylor Swift released the music video for the song “Bad Blood”, where both Gomez and Delevingne they appeared. In addition, they currently spend a lot of time together thanks to the recording of the new season of the series ‘Only Murders in the Building’, in which both actresses appear.

REFERENCES

Friends tattoo? Cara Delevingne and Selena Gomez got the same tattoo

We want to give thanks to the writer of this article for this awesome content

Cara Delevingne and Selena Gomez get the same tattoo as proof of their beautiful friendship

" ["date_timestamp"]=> int(1642812717) } [1]=> array(11) { ["title"]=> string(43) "20 años de magia: 20 años de Harry Potter" ["link"]=> string(83) "https://theinsidenewshyderabad.com/movies/20-anos-de-magia-20-anos-de-harry-potter/" ["dc"]=> array(1) { ["creator"]=> string(12) "Paula Hooper" } ["pubdate"]=> string(31) "Sat, 22 Jan 2022 00:48:17 +0000" ["category"]=> string(27) "MoviesañosHarrymagiaPotter" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19523" ["description"]=> string(577) "A 20 años del inicio de la saga cinematográfica de Harry Potter, HBOMax ofrece en su servicio de streaming su especial “Retorno a Howarths: Harry Potter 20 aniversario”. Un detrás de cámaras a 20 años del inicio de la saga, con entrevistas y testimonios del elenco original y de su galería de directores. Aquellos niños ... Read more" ["content"]=> array(1) { ["encoded"]=> string(15797) "

A 20 años del inicio de la saga cinematográfica de Harry Potter, HBOMax ofrece en su servicio de streaming su especial “Retorno a Howarths: Harry Potter 20 aniversario”.

Un detrás de cámaras a 20 años del inicio de la saga, con entrevistas y testimonios del elenco original y de su galería de directores. Aquellos niños actores de la primera película son ya adultos treintañeros, y el especial es lo que llaman hoy los especialistas, verdaderamente, un fan service, una obra dedicada a los fanáticos de la serie, que no obstante se cuentan por millones en todo el planeta. Así que no puede escatimarse el valor de un documento como éste. Finalmente Harry Potter es una obra feérica, y encantadora, llena de magia, heroicidad y fantasía.   

Millones de niños iniciaron su vida literaria y cinematográfica en este planeta con los relatos de Harry Potter, primero con los libros de la señora Joanne Rowling, que iniciaron su extraordinario camino editorial en 1997 con “Harry Potter y la piedra filosofal”, a la que siguieron de forma continua “La Cámara Secreta” (1998), “El Prisionero de Azkaban” (1999), y “El Caliz de Fuego” (2000), ya publicados poco antes de que la maravillosa adaptación de la primera novela estrenara en salas de cine en el año 2001 a cargo de Chris Columbus.

Hay muchas formas de abordar este serial literario fílmico, pues los clásicos son fuentes inagotables de riqueza estética. En este asalto al clásico, en este desentrañar los tesoros escondidos, se encuentra la diferencia entre el análisis crítico, o la teoría cinematográfica y la crítica cotidiana, que se agota frente al dictum del estreno. Muchas veces no son más que espejismos del paladeo instantáneo. Ahora, con suficiente distancia y perspectiva, podemos valorar la obra literaria y fílmica.

¿Cuáles son las principales virtudes de Harry Potter como obra narrativa de ficción? Yo encuentro dos inmediatas.

En primer lugar, un gran trabajo de personajes. Las novelas y las películas tienen un reparto de personajes muy interesantes, y muy bien desarrollados, trabajo que le permitió a Rowling desarrollar el serial con la suficiente intriga, como viejo folletín, para despertar la inquietud y curiosidad de sus lectores y espectadores hasta el apoteósico final. En el núcleo narrativo tenemos a esta maravillosa triada de personajes que inician siendo niños Harry, Ron y Hermione, y en el reparto de villanos a Tom Marvolo Riddle, nombre que permite -en lengua inglesa- el maléfico anagrama “Soy Lord Voldemort”. Un villano delicuescente, una entelequia, que es de humo y polvo en los primeros episodios y que va cobrando su temible cuerpo presente conforme avanza la trama.

En torno de este reparto básico de personajes, nos enamoramos de la familia Weasley, con su sencillez y bonohomía; el maravilloso gigante Hagrid con su fastuosa galería de animales fantásticos; el director Albus Dumbledore, -construido sobre el arquetipo del mago Merlin, de la saga artúrica- este viejo y poderoso mago; nos choca y nos fascina “el príncipe mestizo” Severus Snape, hasta que conocemos su verdadero drama al final de la saga, su martirio que lo redime y lo eleva a una heroicidad cuasi santa. En fin, un gran reparto de personajes magníficamente trazados, que nos inducen a la aventura de principio a fin. Hay mucho que estudiar y decir sobre esta construcción de personajes.

La otra gran virtud narrativa de novelas y películas de “Harry Potter” es su manera de entremezclar el mundo mágico con el mundo verdadero. Es decir, como realiza ese cúmulo de transiciones entre la realidad y la fantasía. Algunas de estas soluciones están elaboradas con sentido del humor, es decir para aportar efectos cómicos: como el copioso correo de lechuzas que reciben los tíos de Harry donde es invitado a asistir al Colegio Hogwarts de Magia y Hechicería. O el ingreso al Ministerio de Magia por unos escusados públicos, donde para deslizarse a los pasillos del ministerio hay que jalar de la cadena.

Muchas otras veces, objetos cotidianos se transforman en asombrosos artefactos mágicos, como un autobús londinense de dos pisos que ajusta su anchura al tráfico manejado por una tzantza jìbara -cabeza reducida-, o un versátil Ford Sedan Anglia 59 que puede venir al rescate en plena aracno-crisis, o una peligrosa edición del Libro de los Monstruos cuyo empastado puede arrancarte la mano de un mordisco.

(Warner Bros)

Hay una lírica de la realidad de la que parten todas estas fantasías, en cuyo corazón está precisamente la escuela de magia y la cultura escolar inglesa, todo proviene de ahí. Leyendo la autobiografía de Laurence Olivier, describe a la perfección lo que significaban estos colegios llamados public school “termino de lo más paradójico”i pues estas escuelas no tienen nada de públicas “es por el contrario el tipo de colegio más privado e inaccesible que hay en el mundo”, colegios para las clases altas como Eton, Harrow, Winchester, Westminister y Rugby; y para las clases medias como Radley, Lancing, St. Edward’s y Ardingly entre otros.

Estos famosos colegios son internados. Para asistir a ellos hay que ser admitido, es decir hay un proceso de admisión del cual resulta una invitación, como ocurre con Hogwarts. Aunque gran parte de su éxito es la exclusividad, ya que entrar en estos colegios “exige en muchos casos permanecer años «apuntado» o contar con generaciones enteras de familiares que hayan pasado por el colegio”.

La segunda temporada de “The Crown” en su penúltimo capítulo titulado “Paterfamilias” (2017) nos permite ver el paso del Príncipe Carlos por “Gordonstoun”, escuela enclavada en las Highlands, en Elgin, Escocia, que narra cómo funcionan estos famosos internados exclusivos. Es el famoso modelo de la Hi School que podemos ver también en “La Sociedad de los Poetas Muertos” (1989) de Peter Weir.  De estos colegios, a mediados del siglo XIX surgieron los grandes deportes modernos, el más importante el futbol soccer, pero también el rugby y el croquet, entre otros. Por ello, la evocación a estas actividades deportivas en Hogwarts se da con la creación del “quidditch”, cuyas reglas de juego e historia son muy detalladas por J.K. Rowling y dotan a Hogwarts de ese peso de realidad de la cultura escolar de la cual parte.

Y es que la escuela es la columna vertebral de toda la saga, casi todos los acontecimientos importantes ocurren en ella, y gran parte de las soluciones imaginativas provienen de “imaginar” como sería asistir a una escuela –en este modelo inglés- de magia: desde dónde comprar los útiles mágicos -de una varita a los libros de texto- instituciones de crédito para pagar los insumos, la transportación a la escuela, los salones, aulas, comedor y campo de juegos, hasta dormitorios, y en todos estos aspectos hay elementos maravillosos –nunca tan bien empleada esta palabra- de mis favoritos son las velas flotantes que iluminan el comedor, la arquitectura cambiante –las escaleras que cambian de dirección -a modo de laberinto de Escher- los cuadros cuyas figuras y espacios están vivos y en movimiento, los fantasmas que pululan por todo el castillo y que terminan siendo personajes importantes de la trama.

Todo es fantástico, atractivo e interesante. Incluso aprovecha Rowling, la personalidad académica de los maestros: desde el farsante que deslumbra a los más ingenuos con su relumbrón como Gilderoy Lockhart (Kenneth Brannag) hasta el relajado buena onda, Hagrid (Robbi Coltrane), el autoritario fascista, Dolores Umbridge (Imelda Staunton) y el estricto, que hasta en el nombre lleva su signo “Severus Snape” (en la entrañable interpretación de Alack Rickman)

Una de las imágenes más bellas de la saga fílmica pende de uno de estos profesores, y no es visual, sino literaria, verdaderamente poética: el profesor Horace Slughorn –en una interpretación muy sensible del gran Jim Broadbent– narra el mejor regalo que le hizo uno de sus alumnos, precisamente Lili Evans (la mama de Harry Potter), que consistía en una pecera sobre la cuál flotaba el pétalo de una flor, que súbitamente se transformaba en un pez. Puede uno imaginarlo. Aquel pez acompañó al profesor en sus mejores días. Pero el día que muere Lily, enfrentando a Voldemort, el pez regresa a su forma original, al pétalo: en una metalepsis poética, dramática, y entrañable de la muerte.

h potter 0

(Salamandra)

Hay tantos detalles como éste en la saga, una textura de maravillas que realmente la vuelve interesante a cada punto.       

Podemos dividir la saga en dos secciones claramente definidas: las tres primeras películas tienen o mantienen un tono infantil, mayormente luminoso y verdaderamente encantador. Aunque no estén exentas de partes sombrías. Pero hay una atenuación del drama y tragedia que vendrá cuando los niños crezcan, como la vida misma. Tanto en las dos primeras películas de Chris Columbus, y de forma muy señalada la de Alfonso Cuarón los alumnos transitan de su infancia a su pubertad. Y este tránsito es acompañado por el tono de cada entrega. Es divertido ver y entender cómo el mismo reparto hace esa transición. Al director mexicano le toca, por decirlo así, culminar esta parte mágica luminosa.

La cuarta película es la bisagra, y una bisagra en un tono muy sombrío que termina con la muerte de Cedric Diggory –un Robert Patinson muy joven pero convincente. Esta sección de Mike Newell ya tiene un tono diferente, acendrando el erotismo de la adolescencia, pero también iniciando el tono sombrío que vendrá sobre la segunda sección de la saga. Los niños han crecido y es en esta parte donde Voldemort cobra cuerpo, en la maléfica estampa de Ralph Fiennes desnarigado.

La segunda sección, toda a cargo de David Yates, ya tiene tonos totalmente dramáticos y sombríos, como que les caen encima a los chicos los problemas de la madurez, y el mundo real. Y muere personaje tras personaje, Cedric muere en la 4, Sirius Black –personaje entrañable interpretado por el gran Gary Oldman– muere en la 5, Dumbledore (Richard Harris) muere en la 6, el entrañable elfo doméstico Dobby (Toby Jones) muere en la 7, en la ocho durante la crudísima segunda guerra mágica –nueva métafora de la segunda guerra mundial- muere Fred uno de los gemelos Weasley (James y Oliver Phelps). Y al parecer mueren muchos magos más. Esta última sección de cuatro películas está muy bien encadenada, o eslabonada, y arriba a su clímax de forma magnífica, en un in crescendo bien tramado y estructurado. Puede leerse Harry Potter completa como esta metalepsis de la vida humana, de la infancia a la vida adulta con todas sus complejidades y dramas, con sus grillas, guerras e injusticias.  

Y en cuanto a sus valores cinematográficos: mucho que decir y mencionar, ya en este breve ensayo hemos citado a una gran pléyade de actores y actrices, el magnífico diseño de producción, la música original de John Williams, los trabajos de fotografía de cada sección, uff. No cabe ninguna duda que Harry Potter, la saga cinematográfica, tanto como la saga literaria, es una obra señera del siglo XX que vale la pena disfrutar una y otra vez, y que guarda, para el que quiera aproximarse a los clásicos su gran arcón de maravillas.

Puede verse la serie completa actualmente con una suscripción de HBOMAX, que además ofrece versiones con extras y con escenas extendidas.  

ADENDA

Harry Potter fue una saga cinematográfica tan exitosa que al culminar no podía descansar sin que hubiera intenciones de producir los famosos Spin-off, es decir, películas asociadas a la franquicia, al mundo de la serie original. En 2016 se estrenó “Animales fantásticos y dónde encontrarlos” (2016), película entretenida, pero como suele ocurrir con estos materiales, sin el encanto de la serie original. Ya hay trailers de la secuela “Los secretos de Dumbledore” que va a estrenar este 14 de abril de 2022. Además se ha anunciado la producción de una serie televisiva sobre la vida de Severus Snape, evidentemente sin Alan Rickman, que dejó este plano terrenal en el año 2016. Sin pre juzgar, veremos como resulta.

Algo que ha metido ruido en estos discursos es la oleada de corrección política, y las nuevas tendencias de inclusión de narrativas de género. Así, metieron en la biografía del personaje Dumbledore (Jude Law), una identidad de género homosexual. Justamente para el spin off de “Animales Fantásticos” donde se supone que vivió un tórrido romance con Gellert Grindelwald (Johnny Depp pre-divorcio). Esto parece realmente mucha información y algo muy innecesario para una historia infantil y juvenil… pero corren estos tiempos. Los tropezones mediáticos que ha dado la autora Joanne Rowling con el tema transexual –ya cancelada por transfóbica- ha derivado en la intención de unos productores de la red social Tik Tok de crear un relato parodia en el que todos los personajes de la serie tengan personalidad transexual o no binaria, un Harry Potter LGTB+.

Esta es la razón por la que en su tiempo Cervantes decidió que muriera Alonso Quijano, para evitar que cualquier hijo de vecino tomara a su personaje y lo maltratara, más después del nefasto apócrifo. Pero difícilmente Harry Potter morirá, su leyenda al menos, su mundo mágico, deberá soportar estos tiempos de “corrección política” y ojalá que en los mejores spin off solo se piense en la buena narrativa, y no en impartir lecciones moralinas. Porque esos spin off llegarán.    

 


[i] Todas las citas provienen del libro “Laurence Olivier: confesiones de un actor” escrito por Laurence Olivier, publicado en español por Editorial Planeta, México, 1984. Colección: Al Filo del Tiempo. Pp. 22-23

We would love to say thanks to the writer of this article for this amazing content

20 años de magia: 20 años de Harry Potter

" } ["summary"]=> string(577) "A 20 años del inicio de la saga cinematográfica de Harry Potter, HBOMax ofrece en su servicio de streaming su especial “Retorno a Howarths: Harry Potter 20 aniversario”. Un detrás de cámaras a 20 años del inicio de la saga, con entrevistas y testimonios del elenco original y de su galería de directores. Aquellos niños ... Read more" ["atom_content"]=> string(15797) "

A 20 años del inicio de la saga cinematográfica de Harry Potter, HBOMax ofrece en su servicio de streaming su especial “Retorno a Howarths: Harry Potter 20 aniversario”.

Un detrás de cámaras a 20 años del inicio de la saga, con entrevistas y testimonios del elenco original y de su galería de directores. Aquellos niños actores de la primera película son ya adultos treintañeros, y el especial es lo que llaman hoy los especialistas, verdaderamente, un fan service, una obra dedicada a los fanáticos de la serie, que no obstante se cuentan por millones en todo el planeta. Así que no puede escatimarse el valor de un documento como éste. Finalmente Harry Potter es una obra feérica, y encantadora, llena de magia, heroicidad y fantasía.   

Millones de niños iniciaron su vida literaria y cinematográfica en este planeta con los relatos de Harry Potter, primero con los libros de la señora Joanne Rowling, que iniciaron su extraordinario camino editorial en 1997 con “Harry Potter y la piedra filosofal”, a la que siguieron de forma continua “La Cámara Secreta” (1998), “El Prisionero de Azkaban” (1999), y “El Caliz de Fuego” (2000), ya publicados poco antes de que la maravillosa adaptación de la primera novela estrenara en salas de cine en el año 2001 a cargo de Chris Columbus.

Hay muchas formas de abordar este serial literario fílmico, pues los clásicos son fuentes inagotables de riqueza estética. En este asalto al clásico, en este desentrañar los tesoros escondidos, se encuentra la diferencia entre el análisis crítico, o la teoría cinematográfica y la crítica cotidiana, que se agota frente al dictum del estreno. Muchas veces no son más que espejismos del paladeo instantáneo. Ahora, con suficiente distancia y perspectiva, podemos valorar la obra literaria y fílmica.

¿Cuáles son las principales virtudes de Harry Potter como obra narrativa de ficción? Yo encuentro dos inmediatas.

En primer lugar, un gran trabajo de personajes. Las novelas y las películas tienen un reparto de personajes muy interesantes, y muy bien desarrollados, trabajo que le permitió a Rowling desarrollar el serial con la suficiente intriga, como viejo folletín, para despertar la inquietud y curiosidad de sus lectores y espectadores hasta el apoteósico final. En el núcleo narrativo tenemos a esta maravillosa triada de personajes que inician siendo niños Harry, Ron y Hermione, y en el reparto de villanos a Tom Marvolo Riddle, nombre que permite -en lengua inglesa- el maléfico anagrama “Soy Lord Voldemort”. Un villano delicuescente, una entelequia, que es de humo y polvo en los primeros episodios y que va cobrando su temible cuerpo presente conforme avanza la trama.

En torno de este reparto básico de personajes, nos enamoramos de la familia Weasley, con su sencillez y bonohomía; el maravilloso gigante Hagrid con su fastuosa galería de animales fantásticos; el director Albus Dumbledore, -construido sobre el arquetipo del mago Merlin, de la saga artúrica- este viejo y poderoso mago; nos choca y nos fascina “el príncipe mestizo” Severus Snape, hasta que conocemos su verdadero drama al final de la saga, su martirio que lo redime y lo eleva a una heroicidad cuasi santa. En fin, un gran reparto de personajes magníficamente trazados, que nos inducen a la aventura de principio a fin. Hay mucho que estudiar y decir sobre esta construcción de personajes.

La otra gran virtud narrativa de novelas y películas de “Harry Potter” es su manera de entremezclar el mundo mágico con el mundo verdadero. Es decir, como realiza ese cúmulo de transiciones entre la realidad y la fantasía. Algunas de estas soluciones están elaboradas con sentido del humor, es decir para aportar efectos cómicos: como el copioso correo de lechuzas que reciben los tíos de Harry donde es invitado a asistir al Colegio Hogwarts de Magia y Hechicería. O el ingreso al Ministerio de Magia por unos escusados públicos, donde para deslizarse a los pasillos del ministerio hay que jalar de la cadena.

Muchas otras veces, objetos cotidianos se transforman en asombrosos artefactos mágicos, como un autobús londinense de dos pisos que ajusta su anchura al tráfico manejado por una tzantza jìbara -cabeza reducida-, o un versátil Ford Sedan Anglia 59 que puede venir al rescate en plena aracno-crisis, o una peligrosa edición del Libro de los Monstruos cuyo empastado puede arrancarte la mano de un mordisco.

(Warner Bros)

Hay una lírica de la realidad de la que parten todas estas fantasías, en cuyo corazón está precisamente la escuela de magia y la cultura escolar inglesa, todo proviene de ahí. Leyendo la autobiografía de Laurence Olivier, describe a la perfección lo que significaban estos colegios llamados public school “termino de lo más paradójico”i pues estas escuelas no tienen nada de públicas “es por el contrario el tipo de colegio más privado e inaccesible que hay en el mundo”, colegios para las clases altas como Eton, Harrow, Winchester, Westminister y Rugby; y para las clases medias como Radley, Lancing, St. Edward’s y Ardingly entre otros.

Estos famosos colegios son internados. Para asistir a ellos hay que ser admitido, es decir hay un proceso de admisión del cual resulta una invitación, como ocurre con Hogwarts. Aunque gran parte de su éxito es la exclusividad, ya que entrar en estos colegios “exige en muchos casos permanecer años «apuntado» o contar con generaciones enteras de familiares que hayan pasado por el colegio”.

La segunda temporada de “The Crown” en su penúltimo capítulo titulado “Paterfamilias” (2017) nos permite ver el paso del Príncipe Carlos por “Gordonstoun”, escuela enclavada en las Highlands, en Elgin, Escocia, que narra cómo funcionan estos famosos internados exclusivos. Es el famoso modelo de la Hi School que podemos ver también en “La Sociedad de los Poetas Muertos” (1989) de Peter Weir.  De estos colegios, a mediados del siglo XIX surgieron los grandes deportes modernos, el más importante el futbol soccer, pero también el rugby y el croquet, entre otros. Por ello, la evocación a estas actividades deportivas en Hogwarts se da con la creación del “quidditch”, cuyas reglas de juego e historia son muy detalladas por J.K. Rowling y dotan a Hogwarts de ese peso de realidad de la cultura escolar de la cual parte.

Y es que la escuela es la columna vertebral de toda la saga, casi todos los acontecimientos importantes ocurren en ella, y gran parte de las soluciones imaginativas provienen de “imaginar” como sería asistir a una escuela –en este modelo inglés- de magia: desde dónde comprar los útiles mágicos -de una varita a los libros de texto- instituciones de crédito para pagar los insumos, la transportación a la escuela, los salones, aulas, comedor y campo de juegos, hasta dormitorios, y en todos estos aspectos hay elementos maravillosos –nunca tan bien empleada esta palabra- de mis favoritos son las velas flotantes que iluminan el comedor, la arquitectura cambiante –las escaleras que cambian de dirección -a modo de laberinto de Escher- los cuadros cuyas figuras y espacios están vivos y en movimiento, los fantasmas que pululan por todo el castillo y que terminan siendo personajes importantes de la trama.

Todo es fantástico, atractivo e interesante. Incluso aprovecha Rowling, la personalidad académica de los maestros: desde el farsante que deslumbra a los más ingenuos con su relumbrón como Gilderoy Lockhart (Kenneth Brannag) hasta el relajado buena onda, Hagrid (Robbi Coltrane), el autoritario fascista, Dolores Umbridge (Imelda Staunton) y el estricto, que hasta en el nombre lleva su signo “Severus Snape” (en la entrañable interpretación de Alack Rickman)

Una de las imágenes más bellas de la saga fílmica pende de uno de estos profesores, y no es visual, sino literaria, verdaderamente poética: el profesor Horace Slughorn –en una interpretación muy sensible del gran Jim Broadbent– narra el mejor regalo que le hizo uno de sus alumnos, precisamente Lili Evans (la mama de Harry Potter), que consistía en una pecera sobre la cuál flotaba el pétalo de una flor, que súbitamente se transformaba en un pez. Puede uno imaginarlo. Aquel pez acompañó al profesor en sus mejores días. Pero el día que muere Lily, enfrentando a Voldemort, el pez regresa a su forma original, al pétalo: en una metalepsis poética, dramática, y entrañable de la muerte.

h potter 0

(Salamandra)

Hay tantos detalles como éste en la saga, una textura de maravillas que realmente la vuelve interesante a cada punto.       

Podemos dividir la saga en dos secciones claramente definidas: las tres primeras películas tienen o mantienen un tono infantil, mayormente luminoso y verdaderamente encantador. Aunque no estén exentas de partes sombrías. Pero hay una atenuación del drama y tragedia que vendrá cuando los niños crezcan, como la vida misma. Tanto en las dos primeras películas de Chris Columbus, y de forma muy señalada la de Alfonso Cuarón los alumnos transitan de su infancia a su pubertad. Y este tránsito es acompañado por el tono de cada entrega. Es divertido ver y entender cómo el mismo reparto hace esa transición. Al director mexicano le toca, por decirlo así, culminar esta parte mágica luminosa.

La cuarta película es la bisagra, y una bisagra en un tono muy sombrío que termina con la muerte de Cedric Diggory –un Robert Patinson muy joven pero convincente. Esta sección de Mike Newell ya tiene un tono diferente, acendrando el erotismo de la adolescencia, pero también iniciando el tono sombrío que vendrá sobre la segunda sección de la saga. Los niños han crecido y es en esta parte donde Voldemort cobra cuerpo, en la maléfica estampa de Ralph Fiennes desnarigado.

La segunda sección, toda a cargo de David Yates, ya tiene tonos totalmente dramáticos y sombríos, como que les caen encima a los chicos los problemas de la madurez, y el mundo real. Y muere personaje tras personaje, Cedric muere en la 4, Sirius Black –personaje entrañable interpretado por el gran Gary Oldman– muere en la 5, Dumbledore (Richard Harris) muere en la 6, el entrañable elfo doméstico Dobby (Toby Jones) muere en la 7, en la ocho durante la crudísima segunda guerra mágica –nueva métafora de la segunda guerra mundial- muere Fred uno de los gemelos Weasley (James y Oliver Phelps). Y al parecer mueren muchos magos más. Esta última sección de cuatro películas está muy bien encadenada, o eslabonada, y arriba a su clímax de forma magnífica, en un in crescendo bien tramado y estructurado. Puede leerse Harry Potter completa como esta metalepsis de la vida humana, de la infancia a la vida adulta con todas sus complejidades y dramas, con sus grillas, guerras e injusticias.  

Y en cuanto a sus valores cinematográficos: mucho que decir y mencionar, ya en este breve ensayo hemos citado a una gran pléyade de actores y actrices, el magnífico diseño de producción, la música original de John Williams, los trabajos de fotografía de cada sección, uff. No cabe ninguna duda que Harry Potter, la saga cinematográfica, tanto como la saga literaria, es una obra señera del siglo XX que vale la pena disfrutar una y otra vez, y que guarda, para el que quiera aproximarse a los clásicos su gran arcón de maravillas.

Puede verse la serie completa actualmente con una suscripción de HBOMAX, que además ofrece versiones con extras y con escenas extendidas.  

ADENDA

Harry Potter fue una saga cinematográfica tan exitosa que al culminar no podía descansar sin que hubiera intenciones de producir los famosos Spin-off, es decir, películas asociadas a la franquicia, al mundo de la serie original. En 2016 se estrenó “Animales fantásticos y dónde encontrarlos” (2016), película entretenida, pero como suele ocurrir con estos materiales, sin el encanto de la serie original. Ya hay trailers de la secuela “Los secretos de Dumbledore” que va a estrenar este 14 de abril de 2022. Además se ha anunciado la producción de una serie televisiva sobre la vida de Severus Snape, evidentemente sin Alan Rickman, que dejó este plano terrenal en el año 2016. Sin pre juzgar, veremos como resulta.

Algo que ha metido ruido en estos discursos es la oleada de corrección política, y las nuevas tendencias de inclusión de narrativas de género. Así, metieron en la biografía del personaje Dumbledore (Jude Law), una identidad de género homosexual. Justamente para el spin off de “Animales Fantásticos” donde se supone que vivió un tórrido romance con Gellert Grindelwald (Johnny Depp pre-divorcio). Esto parece realmente mucha información y algo muy innecesario para una historia infantil y juvenil… pero corren estos tiempos. Los tropezones mediáticos que ha dado la autora Joanne Rowling con el tema transexual –ya cancelada por transfóbica- ha derivado en la intención de unos productores de la red social Tik Tok de crear un relato parodia en el que todos los personajes de la serie tengan personalidad transexual o no binaria, un Harry Potter LGTB+.

Esta es la razón por la que en su tiempo Cervantes decidió que muriera Alonso Quijano, para evitar que cualquier hijo de vecino tomara a su personaje y lo maltratara, más después del nefasto apócrifo. Pero difícilmente Harry Potter morirá, su leyenda al menos, su mundo mágico, deberá soportar estos tiempos de “corrección política” y ojalá que en los mejores spin off solo se piense en la buena narrativa, y no en impartir lecciones moralinas. Porque esos spin off llegarán.    

 


[i] Todas las citas provienen del libro “Laurence Olivier: confesiones de un actor” escrito por Laurence Olivier, publicado en español por Editorial Planeta, México, 1984. Colección: Al Filo del Tiempo. Pp. 22-23

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20 años de magia: 20 años de Harry Potter

" ["date_timestamp"]=> int(1642812497) } [2]=> array(11) { ["title"]=> string(74) "Environment: Europe still divided on its ranking of sustainable activities" ["link"]=> string(120) "https://theinsidenewshyderabad.com/world-news/environment-europe-still-divided-on-its-ranking-of-sustainable-activities/" ["dc"]=> array(1) { ["creator"]=> string(12) "Susan Qnenly" } ["pubdate"]=> string(31) "Sat, 22 Jan 2022 00:45:10 +0000" ["category"]=> string(62) "World NewsactivitiesdividedenvironmentEuroperankingsustainable" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19517" ["description"]=> string(714) "European Commission President Ursula von der Leyen in Brussels on January 11, 2022. OLIVER MATTHYS / AP New delay in the European taxonomy, this classification of sustainable activities which aims to direct private investments towards sectors contributing to reduce greenhouse gases. The delegated act that the Commission has been preparing for several months will not ... Read more" ["content"]=> array(1) { ["encoded"]=> string(4750) "

New delay in the European taxonomy, this classification of sustainable activities which aims to direct private investments towards sectors contributing to reduce greenhouse gases. The delegated act that the Commission has been preparing for several months will not be presented during the last week of January, as planned.

Brussels first wants to make sure that it will not be rejected by the co-legislators. Because, once published, the text can no longer be amended, but the Member States and the European Parliament can oppose it, within four months, by a qualified majority of 20 Member States representing 65% of the population of European Union (EU) for the former, and by a simple majority for the latter.

Since the beginning of the year, the Commission has stepped up contacts with its experts, the Member States and the European Parliament, who had until Friday 21 January to give their feedback.

Berlin has yet to make its position clear

On the side of the Twenty-Seven, the draft delegated act, which provides for nuclear and gas to be included in the list of activities « durables », to the extent that they would contribute to the « transition » towards a green economy, divides. But a circumstantial alliance between the proponents of gas and those of the atom assures him, at this stage, of being adopted. The former, notably Poland and its Eastern European neighbours, need gas to reduce their greenhouse gas emissions. The latter, led by France, know how to put forward their arguments, at a time when energy prices are soaring and when Europe is committed to respecting the Paris climate agreement of 2015 and achieve carbon neutrality by 2050.

Read also Article reserved for our subscribers The European Commission is preparing to classify nuclear as green energy

During a meeting in Amiens of European environment ministers on Friday 21 January, Luxembourg and Austria reaffirmed their opposition to the inclusion of nuclear power in the taxonomy and recalled their intention, if the text should not change, to seize the Court of Justice of the EU. The day before, Vienna and Luxembourg had published a letter with Copenhagen and Madrid, in which they ask the Commission to reconsider its plan to grant gas and nuclear power a green label, even on a transitional basis.

Berlin, for the time being, has not made its position clear, as the three coalition parties are so divided: the liberals of the FDP support the Commission’s text, the SPD is against the atom, but can live with gas, and the Greens are hostile to both energies. Nuclear is not “not green energy” ni « durable », nevertheless affirmed, in Amiens on Thursday, Secretary of State Stefan Tidow, while adding that he does not “thought” not only that “weighs on Franco-German relations”. So far, Chancellor Olaf Scholz has not made taxonomy a casus belli with Paris.

You have 31.11% of this article left to read. The following is for subscribers only.

We would like to thank the writer of this write-up for this awesome material

Environment: Europe still divided on its ranking of sustainable activities

" } ["summary"]=> string(714) "European Commission President Ursula von der Leyen in Brussels on January 11, 2022. OLIVER MATTHYS / AP New delay in the European taxonomy, this classification of sustainable activities which aims to direct private investments towards sectors contributing to reduce greenhouse gases. The delegated act that the Commission has been preparing for several months will not ... Read more" ["atom_content"]=> string(4750) "

New delay in the European taxonomy, this classification of sustainable activities which aims to direct private investments towards sectors contributing to reduce greenhouse gases. The delegated act that the Commission has been preparing for several months will not be presented during the last week of January, as planned.

Brussels first wants to make sure that it will not be rejected by the co-legislators. Because, once published, the text can no longer be amended, but the Member States and the European Parliament can oppose it, within four months, by a qualified majority of 20 Member States representing 65% of the population of European Union (EU) for the former, and by a simple majority for the latter.

Since the beginning of the year, the Commission has stepped up contacts with its experts, the Member States and the European Parliament, who had until Friday 21 January to give their feedback.

Berlin has yet to make its position clear

On the side of the Twenty-Seven, the draft delegated act, which provides for nuclear and gas to be included in the list of activities « durables », to the extent that they would contribute to the « transition » towards a green economy, divides. But a circumstantial alliance between the proponents of gas and those of the atom assures him, at this stage, of being adopted. The former, notably Poland and its Eastern European neighbours, need gas to reduce their greenhouse gas emissions. The latter, led by France, know how to put forward their arguments, at a time when energy prices are soaring and when Europe is committed to respecting the Paris climate agreement of 2015 and achieve carbon neutrality by 2050.

Read also Article reserved for our subscribers The European Commission is preparing to classify nuclear as green energy

During a meeting in Amiens of European environment ministers on Friday 21 January, Luxembourg and Austria reaffirmed their opposition to the inclusion of nuclear power in the taxonomy and recalled their intention, if the text should not change, to seize the Court of Justice of the EU. The day before, Vienna and Luxembourg had published a letter with Copenhagen and Madrid, in which they ask the Commission to reconsider its plan to grant gas and nuclear power a green label, even on a transitional basis.

Berlin, for the time being, has not made its position clear, as the three coalition parties are so divided: the liberals of the FDP support the Commission’s text, the SPD is against the atom, but can live with gas, and the Greens are hostile to both energies. Nuclear is not “not green energy” ni « durable », nevertheless affirmed, in Amiens on Thursday, Secretary of State Stefan Tidow, while adding that he does not “thought” not only that “weighs on Franco-German relations”. So far, Chancellor Olaf Scholz has not made taxonomy a casus belli with Paris.

You have 31.11% of this article left to read. The following is for subscribers only.

We would like to thank the writer of this write-up for this awesome material

Environment: Europe still divided on its ranking of sustainable activities

" ["date_timestamp"]=> int(1642812310) } [3]=> array(11) { ["title"]=> string(84) "Gaspard Ulliel : “une collision peu violente”, les dernières infos sur sa mort" ["link"]=> string(118) "https://theinsidenewshyderabad.com/magazine/gaspard-ulliel-une-collision-peu-violente-les-dernieres-infos-sur-sa-mort/" ["dc"]=> array(1) { ["creator"]=> string(12) "Paula Hooper" } ["pubdate"]=> string(31) "Sat, 22 Jan 2022 00:37:44 +0000" ["category"]=> string(69) "MagazinecollisiondernièresGaspardinfoslesmortpeusurUllieluneviolente" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19511" ["description"]=> string(758) "GASPARD ULLIEL MORT. Gaspard Ulliel est mort le 19 janvier 2022 après un accident de ski en Savoie. L’enquête se poursuit avec de nouveaux éléments sur son décès tragique. Sommaire L’essentiel Gaspard Ulliel est mort ce mercredi 19 janvier 2022. Le comédien français, césarisé à deux reprises, avait été impliqué dans un ... Read more" ["content"]=> array(1) { ["encoded"]=> string(31880) "


GASPARD ULLIEL MORT. Gaspard Ulliel est mort le 19 janvier 2022 après un accident de ski en Savoie. L’enquête se poursuit avec de nouveaux éléments sur son décès tragique.

L’essentiel

  • Gaspard Ulliel est mort ce mercredi 19 janvier 2022. Le comédien français, césarisé à deux reprises, avait été impliqué dans un accident de ski la veille sur la Station de La Rosière, en Savoie. Une enquête est en cours pour déterminer les circonstances de l’accident, mais pourrait déboucher à un classement sans suite. L’acteur serait entré en collision avec un autre skieur au croisement de deux pistes bleues (donc jugées faciles) mais la collision aurait été peu violente. Il est décédé des suites de ses blessures, après avoir souffert d’un important traumatisme crânien. L’acteur laisse derrière lui sa compagne, Gaëlle Pietri, et leur fils de 6 ans prénommé Orso. 
  • Que s’est-il passé ? Le déroulé du drame. C’est aux alentours de 16 heures que l’accident se serait produit le mardi 18 janvier. Gaspard Ulliel serait entré en collision avec un autre skieur au croisement entre deux pistes bleues du domaine skiable de La Rosière en Savoie. La météo était clémente ce jour-là et l’enneigement de qualité. D’après les informations publiées par Le Dauphiné Libéré, Gaspard Ulliel n’était pas équipé d’un casque au moment de la chute, mais la procureure de la République en charge de l’enquête n’a pas affirmé que ça aurait changé le dénouement de ce tragique accident. L’audition du second skieur impliqué dans la chute a permis de déterminer que “les skieurs se sont bien touchés”, mais que la collision aurait été peu violente selon des informations de France Bleu. La tête de l’acteur aurait heurté le sol, alors qu’il ne portait pas de casque. Les secouristes l’ayant pris en charge l’ont découvert inconscient dans un état jugé sérieux. Le comédien a ensuite été transporté en hélicoptère au CHU de Grenoble environ une heure après l’accident. Grièvement blessé, Gaspard Ulliel souffrait d’un important traumatisme crânien. Selon l’AFP, son pronostic vital était engagé au moment de sa prise en charge par les secours.
  • Vers un classement sans suite de l’enquête. Dans une interview au Dauphiné Libéré, la procureure de la République d’Albertville, Anne Gaches, a donné de nouveaux éléments sur les circonstances du drame. Les deux skieurs avançaient côte à côte et se seraient percutés. On ne sait pas encore si le choc ou la chute a entraîné la mort de l’acteur. “Au vu des premiers éléments, il n’a pas été relevé de vitesse excessive, de comportement inadapté ou de faute de l’un des deux skieurs.” Aucune responsabilité ne devrait être engagée contre aucun des deux skieurs impliqués dans cet accident tragique, et aucune autopsie ne sera réalisée sur le corps de Gaspard Ulliel.
  • Gaspard Ulliel était un acteur français reconnu comme l’un des plus doués de sa génération. Révélé dans “Embrassez qui vous voudrez” de Michel Blanc, il obtient le César du meilleur espoir masculin en 2005 pour “Un long dimanche de fiançailles”. Il multiplie par la suite les rôles, apparaissant sous les traits du duc de Guise dans “La Princesse de Montpensier” (2010) ou de Yves Saint Laurent (“Saint Laurent”, 2014). Il obtient son second César en 2017, celui du meilleur acteur cette fois, pour sa partition dans “Juste la fin du monde”. L’acteur de 37 ans sera à l’affiche de la série Marvel “Moon Knight” dès le 30 mars 2022.
  • Les hommages se multiplient sur les réseaux sociaux. L’un des plus émouvants reste celui du réalisateur québécois Xavier Dolan sur son compte Instagram : “C’est invraisemblable, insensé, et tellement douloureux de même penser écrire ces mots. Ton rire discret, ton œil attentif. Ta cicatrice. Ton talent. Ton écoute. Tes murmures, ta gentillesse. Tous les traits de ta personne étaient en fait issus d’une douceur étincelante. C’est tout ton être qui a transformé ma vie, un être que j’aimais profondément, et que j’aimerai toujours. Je ne peux rien dire d’autres, je suis vidé, sonné par ton départ.”

En direct

23:56 – Selon Laurent Raynaud, les collisions entre skieurs sont très rares

Laurent Reynaud, délégué Général de “Domaines Skiable de France”, organisation qui représente les deux cent domaines skiables français, s’est exprimé au sujet de la sécurité sur les pistes de ski. Il explique notamment que les accidents fatals tels que celui qui a emporté brutalement Gaspard Ulliel sont extrêmement rares. “Il y a, à peu près, dix millions de personnes qui skient sur les pistes françaises et on déplore moins de moins de dix décès sur piste chaque année”. Les collisions entre skieurs sont très rares, poursuit-il. “Les collisions, qu’elles soient contre obstacles ou que ce soit entre skieurs, sont des événements qui restent rares et qui sont exceptionnellement mortels.”

23:12 – Comment une telle chute peut-elle être aussi dangereuse ?

Comment une telle chute peut-elle être aussi dangereuse ?  Auprès de France Bleu Pays de Savoie, un expert a expliqué qu’une mauvaise chute pouvait être très grave même si la vitesse n’était pas très élevée. “C’est comme si vous étiez à vélo et que vous prenez un mur sans freiner à 30 ou 40 km/h”.

22:27 – Le témoignage de l’habitant de la station qui a assisté à l’accident de Gaspard Ulliel

Les circonstances de l’accident qui a coûté la vie de Gaspard Ulliel mercredi 19 janvier 2022 se précisent. Les enquêteurs de la CRS Alpes recueillent des témoignages et divers éléments afin de savoir précisément ce qu’il s’est passé. A priori, la responsabilité d’aucun des deux skieurs ne serait engagée. Dans un article publié dans Libération ce jeudi 20 janvier 2022, un habitant de la station, qui aurait assisté à la scène, témoigne : “Ça skiait fort et ça a tapé fort”, a-t-il simplement détaillé. Des propos en contradiction avec les premières conclusions des enquêteurs, puisque la procureure d’Albertville avait déclaré dans Le Dauphiné Libéré ce même jour qu’aucune vitesse excessive de la part d’aucun des deux skieurs ne serait en cause. De son côté, France Bleu Savoie précise que les skieurs se sont bien touchés, mais que le choc a été peu violent.

21:40 – Il n’y aura pas d’autopsie

Si les détails des circonstances de l’accident qui a mené à la mort de Gaspard Ulliel sont connus, la cause exacte de sa mort n’a pas été dévoilée. On sait en effet que le comédien souffrait d’un traumatisme crânien et que son état était jugé sérieux par les secouristes qui l’ont pris en charge. Plus de détails n’ont pas été donnés mais nous n’en apprendrons a priori pas plus puisqu’aucune autopsie ne sera réalisée, a précisé la procureure d’Albertville.

20:54 – Arte diffuse “Juste la fin du monde” en hommage à Gaspard Ulliel ce soir

Les chaînes de télévision bouleversent leurs programmes pour rendre hommage à Gaspard Ulliel. Après France Télévision, la chaîne Arte a annoncé qu’elle diffuserait “Juste la fin du monde” ce vendredi 21 janvier, dès 20h55. C’est un des films marquants de la carrière d’acteur de Gaspard Ulliel. Le jeune comédien avait en effet été récompensé d’un César du meilleur acteur en 2017 pour sa performance dans ce long-métrage de Xavier Dolan.

20:06 – L’acteur avait reçu deux Césars

Gaspard Ulliel a décroché son premier César, celui du meilleur espoir, en 2005 pour son rôle dans “Un long dimanche de fiançailles”. En 2016, Gaspard Ulliel décroche le premier rôle de “Juste la fin du monde”, long-métrage de Xavier Dolan. Il y incarne un écrivain, de retour dans sa famille après douze ans d’absence, pour annoncer à ses proches sa mort à venir. Ce rôle lui permet de remporter son second César, celui du meilleur acteur, l’année suivante.

19:21 – Qui est l’autre skieur impliqué dans l’accident de Gaspard Ulliel ?

Les enquêteurs de la CRS des Alpes travaillent à éclaircir les circonstances de l’accident qui ont mené à la mort de Gaspard Ulliel. Ils ont interrogé le deuxième skieur, qui est entré en collision avec le comédien. Il s’agit d’un ressortissant lithuanien. Celui-ci a été reçu par les enquêteurs en présence d’un traducteur. Il a confirmé qu’il y avait bien eu collision mais que celle-ci n’avait pas été particulièrement violente. Cet autre skieur, qui portait un casque, était présent lors de la prise en charge d’Ulliel par les secouristes. Il n’a pas été blessé dans le choc mais il reste particulièrement affecté par l’accident.

18:31 – Une série avec Gaspard Ulliel diffusée à titre posthume

Le décès soudain de Gaspard Ulliel a grandement choqué le monde du cinéma. Le jeune comédien français s’apprêtait à tourner dans le prochain film de Bertrand Bonello. Il avait également terminé le tournage d’un films mais aussi d’une série prévue pour une diffusion prochaine sur Disney+. En effet, Gaspard Ulliel joue le rôle de Midnight Man dans la prochaine série Marvel : Moon Knight dans laquelle on retrouve Oscar Isaac et Ethan Hawke. Prévue pour une date de sortie le 30 mars prochain, celle-ci sera le premier projet de l’acteur diffusé à titre posthume.

18:02 – La réaction d’Emmanuel Macron à la mort de Gaspard Ulliel

C’est dans un communiqué publié sur le site officiel de l’Elysée que l’on peut lire la réaction du Président de la République, Emmanuel Macron, au sujet du décès tragique du comédien Gaspard Ulliel. “Le Président de la République a appris avec une grande tristesse le décès de Gaspard Ulliel, emporté trop jeune, à seulement 37 ans, par un grave accident de ski. Acteur de télévision depuis l’enfance, de cinéma ensuite, de théâtre parfois, icône de l’élégance française, il éblouissait tous les objectifs et occupait le haut de l’affiche depuis plus de deux décennies”. Le communiqué présidentiel ajoute par ailleurs que “le Président de la République et son épouse déplorent la disparition brutale de cet acteur talentueux dont le regard bleu était une signature du cinéma français”.

17:27 – Une autopsie va-t-elle être réalisée ?

S les détails des circonstances de l’accident qui a mené à la mort de Gaspard Ulliel sont connus, la cause exacte de sa mort n’a pas été dévoilée. On sait en effet que le comédien souffrait d’un traumatisme crânien et que son état était jugé sérieux par les secouristes qui l’ont pris en charge. Plus de détails n’ont pas été donnés mais nous n’en apprendrons a priori pas plus puisqu’aucune autopsie ne sera réalisée, a précisé la procureure d’Albertville.

16:52 – Gaspard Ulliel “était un acteur merveilleux” pour Isabelle Huppert

Le cinéma français pleure à l’unisson Gaspard Ulliel. Dans les colonnes de Libération, Isabelle Huppert, qui a joué à ses côtés dans “Un barrage contre le Pacifique” et “Eva”, a tenu à rendre hommage à cet “acteur merveilleux, avec qui il était très agréable de travailler, tout simplement. Et puis c’était quelqu’un de très bien.” L’actrice n’a pas manqué de se rappeler qu’il “avait un mystère autour de lui, mais qui ne consistait pas à l’éloigner des gens, il nous engageait plutôt à approfondir et à nourrir la relation qu’on avait avec lui. Il était tout à fait merveilleux, avec une certaine gravité, pas souvent léger. Je ne l’ai pas assez bien connu pour savoir ce qui se cachait derrière, mais cette gravité lui donnait une intelligence des situations.” La comédienne s’est dit “très choquée et très triste, il ne méritait pas cela”.

16:10 – Jérémie Rénier auprès des proches de Gaspard Ulliel

Ce vendredi 21 janvier, l’émission “La Bande Originale” de Nagui devait recevoir Jérémie Rénier, Alma Jodorowsky et Stephan Streker sur son plateau pour discuter de la sortie du film L’Ennemi. Seuls Jodorowsky et Streker étaient sur le plateau ce jour. Le comédien Jérémie Rénier a préféré annuler sa venue. Le présentateur de l’émission a expliqué la raison de son absence : “Frappé, comme tout le monde du cinéma, par le départ prématuré de Gaspard Ulliel et endeuillé par cette mort, il a préféré ne pas venir”. Jérémie Rénier se trouve “auprès des amis et de la famille de Gaspard Ulliel” a précisé Nagui.

15:33 – “Sonné”, le réalisateur Xavier Dolan rend hommage à Gaspard Ulliel

C’est sur son compte Instagram officiel que le cinéaste Xavier Dolan s’est exprimé au sujet de la mort de Gaspard Ulliel, qu’il a eu le plaisir de diriger dans le film Juste la fin du monde qui lui avait valu le César du meilleur acteur. “C’est invraisemblable, insensé, et tellement douloureux de même penser écrire ces mots. Ton rire discret, ton œil attentif. Ta cicatrice. Ton talent. Ton écoute. Tes murmures, ta gentillesse. Tous les traits de ta personne étaient en fait issus d’une douceur étincelante.” Bien plus, le réalisateur québécois pleure celui qui a “transformé ma vie, un être que j’aimais profondément, et que j’aimerai toujours. Je ne peux rien dire d’autre, je suis vidé, sonné par ton départ”.

14:50 – Où a eu lieu l’accident de ski mortel de Gaspard Ulliel ?

Gaspard Ulliel est mort des suites d’un accident de ski. L’acteur français de 37 ans était en vacances au domaine de La Rosière, situé dans le massif de la Haute Tarentaise, en Savoie. L’accident s’est produti à 15h58 exactement ce mardi 18 janvier 2022, au croisement de deux pistes bleues, donc jugées de difficulté moyenne.

14:16 – Arte diffuse “Juste la fin du monde” en hommage à Gaspard Ulliel

Les chaînes de télévision bouleversent leurs programmes pour rendre hommage à Gaspard Ulliel. Après France Télévision, la chaîne Arte a annoncé qu’elle diffuserait “Juste la fin du monde” ce vendredi 21 janvier, dès 20h55. C’est un des films marquants de la carrière d’acteur de Gaspard Ulliel. Le jeune comédien avait en effet été récompensé d’un César du meilleur acteur en 2017 pour sa performance dans ce long-métrage de Xavier Dolan.

LIRE PLUS

Le 18 janvier 2022, vers 16 heures, Gaspard Ulliel a été victime d’un accident de ski sur le domaine de la Rosière, en Savoie, où il était en vacances en famille. Les conditions météorologiques étaient bonnes et propices à la pratique du ski. L’acteur serait entré en collision avec un autre skieur au croisement de deux pistes bleues, alors qu’il a bifurqué vers la gauche, vraisemblablement pour rejoindre des amis. La collision aurait été peu violente, mais la tête de l’acteur aurait touché le sol. Gaspard Ulliel ne portait pas de casque, mais la procureure d’Albertville, Anne Gaches, a précisé que, selon elle, “cela n’aurait pas nécessairement changé” le dénouement du drame. Le comédien a été retrouvé inconscient sur place par les secouristes. Selon l’AFP, qui cite la gendarmerie, le pronostic vital de l’acteur était engagé lorsqu’il a été transporté par hélicoptère au CHU de Grenoble.

Gaspard Ulliel est mort le lendemain, mercredi 19 janvier 2022, des suites de ses blessures. Il avait 37 ans. Le comédien césarisé à deux reprises souffrait d’un important traumatisme crânien. Une enquête a été ouverte par le parquet d’Albertville. L’autre skieur impliqué dans la chute, un Lituanien d’une quarantaine d’années, n’a pas été hospitalisé et s’en est sorti indemne. Il a été interrogé par la CRS Alpes, chargée de l’enquête. Au lendemain du décès tragique du comédien, la procureure de la République d’Albertville Anne Gaches a évoqué certains éléments de l’enquête en cours auprès du Dauphiné Libéré. “Les deux skieurs évoluaient côte à côte et se sont rentrés dedans. Pour le moment, il est difficile de dire si c’est le choc ou la chute qui a entraîné la mort de M.Ulliel”. Aucune responsabilité ne devrait être engagée contre aucun des deux skieurs impliqués dans l’accident tragique, et l’enquête devrait être classée sans suite. “Au vu des premiers éléments, il n’a pas été relevé de vitesse excessive, de comportement inadapté ou de faute de l’un des deux skieurs.” Aucune autopsie ne sera réalisée sur le corps de Gaspard Ulliel.

Gaspard Ulliel est un acteur et mannequin né le 25 novembre 1984 à Boulogne-Billancourt et mort le 19 janvier 2022. Il a été césarisé à deux reprises : il reçoit d’abord le César du meilleur espoir masculin en 2005 pour son interprétation dans “Un long dimanche de fiançailles”. En 2017, il est récompensé du prix du meilleur acteur pour sa performance dans “Juste la fin du monde”. Il est également connu pour avoir joué dans “Saint Laurent”, “Jacquou le Croquant” ou “La Princesse de Montpensier”.

Gaspard Ulliel est né le 25 novembre 1984. Sa mère est styliste et son père designer. Il commence sa carrière de comédien très tôt, alors qu’il a seulement 12 ans, dans en jouant dans le téléfilm “Une femme en blanc”. C’est pourtant à la réalisation que se destine le jeune homme qui poursuit un cursus universitaire dans ce sens. Il continue pourtant à tourner et obtient un petit rôle dans “Le pacte des loups” de Christophe Gans en 2001. C’est Michel Blanc qui le révèle l’année suivante en lui faisant interpréter un adolescent en pleine découverte de la vie dans “Embrassez qui vous voudrez”.

Gaspard Ulliel démarre sa carrière de comédien dès le collège en jouant dans le téléfilm “Une femme en blanc”. C’est pourtant à la réalisation que se destine le jeune homme qui poursuit un cursus universitaire dans ce sens. Il continue pourtant à tourner et obtient un petit rôle dans “Le pacte des loups” de Christophe Gans en 2001. C’est Michel Blanc qui le révèle l’année suivante en lui faisant interpréter un adolescent en pleine découverte de la vie dans “Embrassez qui vous voudrez”.

Après une brève reprise de ses études, il est sollicité par André Téchiné pour jouer aux côtés d’Emmanuelle Béart dans “Les Égarés”. Sa performance lui vaut une nomination aux César en 2004 dans la catégorie meilleur espoir masculin. César qu’il emporte finalement en 2005 pour le film “Un long dimanche de fiançailles” de Jean-Pierre Jeunet dans lequel il incarne le fiancé d’Audrey Tautou. Gaspard Ulliel devient un comédien de premier plan. La même année, il est à l’affiche de “Jacquou le croquant” où il interprète le personnage éponyme.

En 2007, sa carrière prend une dimension internationale avec son incarnation d’Hannibal Lecter dans le volet qui raconte la jeunesse du célèbre serial killer “Hannibal Lecter : les origines du mal”. Il témoigne de son éclectisme cinématographique en jouant le rôle d’Henri de Guise dans “La Princesse de Montpensier” dans lequel il partage l’affiche avec Mélanie Thierry en 2010. Après ses rôles remarqués dans “Saint Laurent” (2014) et “Juste la fin du monde” (2017), Gaspard Ulliel apparaît dans “Eva” (2017) puis “Sibyl” (2019) de Justine Triet. Il incarne l’un des rôles secondaires de la série Marvel “Moon Knight”, diffusée sur Disney+ en 2022.

En 2014, Gaspard Ulliel décroche le rôle du célèbre couturier dans “Saint Laurent”, réalisé par Bertrand Bonnello. Dans C à vous l’année de la sortie du film, l’acteur explique qu’il a dû prendre en compte “un certain nombre de contrainte” : “la direction qu’on a choisi était de s’écarter de tout mimétisme, ou de l’idée de reproduire quoi que ce soit. L’idée était d’aller dans l’appropriation, même parfois la quasi évocation”. Ce biopic est le second consacré à Yves Saint Laurent à sortir au cinéma cette année-là. Dans la seconde version, Pierre Niney incarne le grand couturier français. Les deux comédiens sont nommés pour le César du meilleur acteur, mais c’est Pierre Niney qui remporte la récompense.

Gaspard Ulliel a décroché son premier César, celui du meilleur espoir, en 2005 pour son rôle dans “Un long dimanche de fiançailles”. En 2016, Gaspard Ulliel décroche le premier rôle de “Juste la fin du monde”, long-métrage de Xavier Dolan. Il y incarne un écrivain, de retour dans sa famille après douze ans d’absence, pour annoncer à ses proches sa mort à venir. Ce rôle lui permet de remporter son second César, celui du meilleur acteur, l’année suivante.

En parallèle de sa carrière d’acteur, Gaspard Ulliel travaille également comme mannequin pour des publicités. Il a notamment tourné en 2010 pour le spot du parfum “Bleu” de Chanel, sous la direction du réalisateur américain Martin Scorsese. Il a également participé à une campagne publicitaire pour les sacs Longchamp aux côtés de Kate Moss. Ci-dessous, retrouvez la publicité “Bleu” de Chanel dans laquelle figure Gaspard Ulliel.

Depuis décembre 2013, Gaspard Ulliel fréquente officiellement la mannequin Gaëlle Pietri, surtout dans des publicités. Ensemble, le couple a donné naissance à un petit garçon en 2016. La petite famille est néanmoins extrêmement discrète, n’apparaissant qu’au détour de rares photographies sur Instagram. Avant de trouver l’amour avec Gaêlle Pietri, Gaspard Ulliel a fréquenté Cécile Cassel entre 2005 et 2007 et une attachée de presse nommée Jordane.

Gaspard Ulliel se distingue notamment parmi les autres acteurs de sa génération par la cicatrice qu’il arbore sur sa joue gauche. L’acteur a expliqué que celle-ci est la conséquence de l’attaque d’un doberman, un coup de griffe plus spécifiquement, alors qu’il n’avait que six ans. Cette marque de cet accident se révèle particulièrement lorsque le comédien sourit.

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Gaspard Ulliel : “une collision peu violente”, les dernières infos sur sa mort

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GASPARD ULLIEL MORT. Gaspard Ulliel est mort le 19 janvier 2022 après un accident de ski en Savoie. L’enquête se poursuit avec de nouveaux éléments sur son décès tragique.

L’essentiel

  • Gaspard Ulliel est mort ce mercredi 19 janvier 2022. Le comédien français, césarisé à deux reprises, avait été impliqué dans un accident de ski la veille sur la Station de La Rosière, en Savoie. Une enquête est en cours pour déterminer les circonstances de l’accident, mais pourrait déboucher à un classement sans suite. L’acteur serait entré en collision avec un autre skieur au croisement de deux pistes bleues (donc jugées faciles) mais la collision aurait été peu violente. Il est décédé des suites de ses blessures, après avoir souffert d’un important traumatisme crânien. L’acteur laisse derrière lui sa compagne, Gaëlle Pietri, et leur fils de 6 ans prénommé Orso. 
  • Que s’est-il passé ? Le déroulé du drame. C’est aux alentours de 16 heures que l’accident se serait produit le mardi 18 janvier. Gaspard Ulliel serait entré en collision avec un autre skieur au croisement entre deux pistes bleues du domaine skiable de La Rosière en Savoie. La météo était clémente ce jour-là et l’enneigement de qualité. D’après les informations publiées par Le Dauphiné Libéré, Gaspard Ulliel n’était pas équipé d’un casque au moment de la chute, mais la procureure de la République en charge de l’enquête n’a pas affirmé que ça aurait changé le dénouement de ce tragique accident. L’audition du second skieur impliqué dans la chute a permis de déterminer que “les skieurs se sont bien touchés”, mais que la collision aurait été peu violente selon des informations de France Bleu. La tête de l’acteur aurait heurté le sol, alors qu’il ne portait pas de casque. Les secouristes l’ayant pris en charge l’ont découvert inconscient dans un état jugé sérieux. Le comédien a ensuite été transporté en hélicoptère au CHU de Grenoble environ une heure après l’accident. Grièvement blessé, Gaspard Ulliel souffrait d’un important traumatisme crânien. Selon l’AFP, son pronostic vital était engagé au moment de sa prise en charge par les secours.
  • Vers un classement sans suite de l’enquête. Dans une interview au Dauphiné Libéré, la procureure de la République d’Albertville, Anne Gaches, a donné de nouveaux éléments sur les circonstances du drame. Les deux skieurs avançaient côte à côte et se seraient percutés. On ne sait pas encore si le choc ou la chute a entraîné la mort de l’acteur. “Au vu des premiers éléments, il n’a pas été relevé de vitesse excessive, de comportement inadapté ou de faute de l’un des deux skieurs.” Aucune responsabilité ne devrait être engagée contre aucun des deux skieurs impliqués dans cet accident tragique, et aucune autopsie ne sera réalisée sur le corps de Gaspard Ulliel.
  • Gaspard Ulliel était un acteur français reconnu comme l’un des plus doués de sa génération. Révélé dans “Embrassez qui vous voudrez” de Michel Blanc, il obtient le César du meilleur espoir masculin en 2005 pour “Un long dimanche de fiançailles”. Il multiplie par la suite les rôles, apparaissant sous les traits du duc de Guise dans “La Princesse de Montpensier” (2010) ou de Yves Saint Laurent (“Saint Laurent”, 2014). Il obtient son second César en 2017, celui du meilleur acteur cette fois, pour sa partition dans “Juste la fin du monde”. L’acteur de 37 ans sera à l’affiche de la série Marvel “Moon Knight” dès le 30 mars 2022.
  • Les hommages se multiplient sur les réseaux sociaux. L’un des plus émouvants reste celui du réalisateur québécois Xavier Dolan sur son compte Instagram : “C’est invraisemblable, insensé, et tellement douloureux de même penser écrire ces mots. Ton rire discret, ton œil attentif. Ta cicatrice. Ton talent. Ton écoute. Tes murmures, ta gentillesse. Tous les traits de ta personne étaient en fait issus d’une douceur étincelante. C’est tout ton être qui a transformé ma vie, un être que j’aimais profondément, et que j’aimerai toujours. Je ne peux rien dire d’autres, je suis vidé, sonné par ton départ.”

En direct

23:56 – Selon Laurent Raynaud, les collisions entre skieurs sont très rares

Laurent Reynaud, délégué Général de “Domaines Skiable de France”, organisation qui représente les deux cent domaines skiables français, s’est exprimé au sujet de la sécurité sur les pistes de ski. Il explique notamment que les accidents fatals tels que celui qui a emporté brutalement Gaspard Ulliel sont extrêmement rares. “Il y a, à peu près, dix millions de personnes qui skient sur les pistes françaises et on déplore moins de moins de dix décès sur piste chaque année”. Les collisions entre skieurs sont très rares, poursuit-il. “Les collisions, qu’elles soient contre obstacles ou que ce soit entre skieurs, sont des événements qui restent rares et qui sont exceptionnellement mortels.”

23:12 – Comment une telle chute peut-elle être aussi dangereuse ?

Comment une telle chute peut-elle être aussi dangereuse ?  Auprès de France Bleu Pays de Savoie, un expert a expliqué qu’une mauvaise chute pouvait être très grave même si la vitesse n’était pas très élevée. “C’est comme si vous étiez à vélo et que vous prenez un mur sans freiner à 30 ou 40 km/h”.

22:27 – Le témoignage de l’habitant de la station qui a assisté à l’accident de Gaspard Ulliel

Les circonstances de l’accident qui a coûté la vie de Gaspard Ulliel mercredi 19 janvier 2022 se précisent. Les enquêteurs de la CRS Alpes recueillent des témoignages et divers éléments afin de savoir précisément ce qu’il s’est passé. A priori, la responsabilité d’aucun des deux skieurs ne serait engagée. Dans un article publié dans Libération ce jeudi 20 janvier 2022, un habitant de la station, qui aurait assisté à la scène, témoigne : “Ça skiait fort et ça a tapé fort”, a-t-il simplement détaillé. Des propos en contradiction avec les premières conclusions des enquêteurs, puisque la procureure d’Albertville avait déclaré dans Le Dauphiné Libéré ce même jour qu’aucune vitesse excessive de la part d’aucun des deux skieurs ne serait en cause. De son côté, France Bleu Savoie précise que les skieurs se sont bien touchés, mais que le choc a été peu violent.

21:40 – Il n’y aura pas d’autopsie

Si les détails des circonstances de l’accident qui a mené à la mort de Gaspard Ulliel sont connus, la cause exacte de sa mort n’a pas été dévoilée. On sait en effet que le comédien souffrait d’un traumatisme crânien et que son état était jugé sérieux par les secouristes qui l’ont pris en charge. Plus de détails n’ont pas été donnés mais nous n’en apprendrons a priori pas plus puisqu’aucune autopsie ne sera réalisée, a précisé la procureure d’Albertville.

20:54 – Arte diffuse “Juste la fin du monde” en hommage à Gaspard Ulliel ce soir

Les chaînes de télévision bouleversent leurs programmes pour rendre hommage à Gaspard Ulliel. Après France Télévision, la chaîne Arte a annoncé qu’elle diffuserait “Juste la fin du monde” ce vendredi 21 janvier, dès 20h55. C’est un des films marquants de la carrière d’acteur de Gaspard Ulliel. Le jeune comédien avait en effet été récompensé d’un César du meilleur acteur en 2017 pour sa performance dans ce long-métrage de Xavier Dolan.

20:06 – L’acteur avait reçu deux Césars

Gaspard Ulliel a décroché son premier César, celui du meilleur espoir, en 2005 pour son rôle dans “Un long dimanche de fiançailles”. En 2016, Gaspard Ulliel décroche le premier rôle de “Juste la fin du monde”, long-métrage de Xavier Dolan. Il y incarne un écrivain, de retour dans sa famille après douze ans d’absence, pour annoncer à ses proches sa mort à venir. Ce rôle lui permet de remporter son second César, celui du meilleur acteur, l’année suivante.

19:21 – Qui est l’autre skieur impliqué dans l’accident de Gaspard Ulliel ?

Les enquêteurs de la CRS des Alpes travaillent à éclaircir les circonstances de l’accident qui ont mené à la mort de Gaspard Ulliel. Ils ont interrogé le deuxième skieur, qui est entré en collision avec le comédien. Il s’agit d’un ressortissant lithuanien. Celui-ci a été reçu par les enquêteurs en présence d’un traducteur. Il a confirmé qu’il y avait bien eu collision mais que celle-ci n’avait pas été particulièrement violente. Cet autre skieur, qui portait un casque, était présent lors de la prise en charge d’Ulliel par les secouristes. Il n’a pas été blessé dans le choc mais il reste particulièrement affecté par l’accident.

18:31 – Une série avec Gaspard Ulliel diffusée à titre posthume

Le décès soudain de Gaspard Ulliel a grandement choqué le monde du cinéma. Le jeune comédien français s’apprêtait à tourner dans le prochain film de Bertrand Bonello. Il avait également terminé le tournage d’un films mais aussi d’une série prévue pour une diffusion prochaine sur Disney+. En effet, Gaspard Ulliel joue le rôle de Midnight Man dans la prochaine série Marvel : Moon Knight dans laquelle on retrouve Oscar Isaac et Ethan Hawke. Prévue pour une date de sortie le 30 mars prochain, celle-ci sera le premier projet de l’acteur diffusé à titre posthume.

18:02 – La réaction d’Emmanuel Macron à la mort de Gaspard Ulliel

C’est dans un communiqué publié sur le site officiel de l’Elysée que l’on peut lire la réaction du Président de la République, Emmanuel Macron, au sujet du décès tragique du comédien Gaspard Ulliel. “Le Président de la République a appris avec une grande tristesse le décès de Gaspard Ulliel, emporté trop jeune, à seulement 37 ans, par un grave accident de ski. Acteur de télévision depuis l’enfance, de cinéma ensuite, de théâtre parfois, icône de l’élégance française, il éblouissait tous les objectifs et occupait le haut de l’affiche depuis plus de deux décennies”. Le communiqué présidentiel ajoute par ailleurs que “le Président de la République et son épouse déplorent la disparition brutale de cet acteur talentueux dont le regard bleu était une signature du cinéma français”.

17:27 – Une autopsie va-t-elle être réalisée ?

S les détails des circonstances de l’accident qui a mené à la mort de Gaspard Ulliel sont connus, la cause exacte de sa mort n’a pas été dévoilée. On sait en effet que le comédien souffrait d’un traumatisme crânien et que son état était jugé sérieux par les secouristes qui l’ont pris en charge. Plus de détails n’ont pas été donnés mais nous n’en apprendrons a priori pas plus puisqu’aucune autopsie ne sera réalisée, a précisé la procureure d’Albertville.

16:52 – Gaspard Ulliel “était un acteur merveilleux” pour Isabelle Huppert

Le cinéma français pleure à l’unisson Gaspard Ulliel. Dans les colonnes de Libération, Isabelle Huppert, qui a joué à ses côtés dans “Un barrage contre le Pacifique” et “Eva”, a tenu à rendre hommage à cet “acteur merveilleux, avec qui il était très agréable de travailler, tout simplement. Et puis c’était quelqu’un de très bien.” L’actrice n’a pas manqué de se rappeler qu’il “avait un mystère autour de lui, mais qui ne consistait pas à l’éloigner des gens, il nous engageait plutôt à approfondir et à nourrir la relation qu’on avait avec lui. Il était tout à fait merveilleux, avec une certaine gravité, pas souvent léger. Je ne l’ai pas assez bien connu pour savoir ce qui se cachait derrière, mais cette gravité lui donnait une intelligence des situations.” La comédienne s’est dit “très choquée et très triste, il ne méritait pas cela”.

16:10 – Jérémie Rénier auprès des proches de Gaspard Ulliel

Ce vendredi 21 janvier, l’émission “La Bande Originale” de Nagui devait recevoir Jérémie Rénier, Alma Jodorowsky et Stephan Streker sur son plateau pour discuter de la sortie du film L’Ennemi. Seuls Jodorowsky et Streker étaient sur le plateau ce jour. Le comédien Jérémie Rénier a préféré annuler sa venue. Le présentateur de l’émission a expliqué la raison de son absence : “Frappé, comme tout le monde du cinéma, par le départ prématuré de Gaspard Ulliel et endeuillé par cette mort, il a préféré ne pas venir”. Jérémie Rénier se trouve “auprès des amis et de la famille de Gaspard Ulliel” a précisé Nagui.

15:33 – “Sonné”, le réalisateur Xavier Dolan rend hommage à Gaspard Ulliel

C’est sur son compte Instagram officiel que le cinéaste Xavier Dolan s’est exprimé au sujet de la mort de Gaspard Ulliel, qu’il a eu le plaisir de diriger dans le film Juste la fin du monde qui lui avait valu le César du meilleur acteur. “C’est invraisemblable, insensé, et tellement douloureux de même penser écrire ces mots. Ton rire discret, ton œil attentif. Ta cicatrice. Ton talent. Ton écoute. Tes murmures, ta gentillesse. Tous les traits de ta personne étaient en fait issus d’une douceur étincelante.” Bien plus, le réalisateur québécois pleure celui qui a “transformé ma vie, un être que j’aimais profondément, et que j’aimerai toujours. Je ne peux rien dire d’autre, je suis vidé, sonné par ton départ”.

14:50 – Où a eu lieu l’accident de ski mortel de Gaspard Ulliel ?

Gaspard Ulliel est mort des suites d’un accident de ski. L’acteur français de 37 ans était en vacances au domaine de La Rosière, situé dans le massif de la Haute Tarentaise, en Savoie. L’accident s’est produti à 15h58 exactement ce mardi 18 janvier 2022, au croisement de deux pistes bleues, donc jugées de difficulté moyenne.

14:16 – Arte diffuse “Juste la fin du monde” en hommage à Gaspard Ulliel

Les chaînes de télévision bouleversent leurs programmes pour rendre hommage à Gaspard Ulliel. Après France Télévision, la chaîne Arte a annoncé qu’elle diffuserait “Juste la fin du monde” ce vendredi 21 janvier, dès 20h55. C’est un des films marquants de la carrière d’acteur de Gaspard Ulliel. Le jeune comédien avait en effet été récompensé d’un César du meilleur acteur en 2017 pour sa performance dans ce long-métrage de Xavier Dolan.

LIRE PLUS

Le 18 janvier 2022, vers 16 heures, Gaspard Ulliel a été victime d’un accident de ski sur le domaine de la Rosière, en Savoie, où il était en vacances en famille. Les conditions météorologiques étaient bonnes et propices à la pratique du ski. L’acteur serait entré en collision avec un autre skieur au croisement de deux pistes bleues, alors qu’il a bifurqué vers la gauche, vraisemblablement pour rejoindre des amis. La collision aurait été peu violente, mais la tête de l’acteur aurait touché le sol. Gaspard Ulliel ne portait pas de casque, mais la procureure d’Albertville, Anne Gaches, a précisé que, selon elle, “cela n’aurait pas nécessairement changé” le dénouement du drame. Le comédien a été retrouvé inconscient sur place par les secouristes. Selon l’AFP, qui cite la gendarmerie, le pronostic vital de l’acteur était engagé lorsqu’il a été transporté par hélicoptère au CHU de Grenoble.

Gaspard Ulliel est mort le lendemain, mercredi 19 janvier 2022, des suites de ses blessures. Il avait 37 ans. Le comédien césarisé à deux reprises souffrait d’un important traumatisme crânien. Une enquête a été ouverte par le parquet d’Albertville. L’autre skieur impliqué dans la chute, un Lituanien d’une quarantaine d’années, n’a pas été hospitalisé et s’en est sorti indemne. Il a été interrogé par la CRS Alpes, chargée de l’enquête. Au lendemain du décès tragique du comédien, la procureure de la République d’Albertville Anne Gaches a évoqué certains éléments de l’enquête en cours auprès du Dauphiné Libéré. “Les deux skieurs évoluaient côte à côte et se sont rentrés dedans. Pour le moment, il est difficile de dire si c’est le choc ou la chute qui a entraîné la mort de M.Ulliel”. Aucune responsabilité ne devrait être engagée contre aucun des deux skieurs impliqués dans l’accident tragique, et l’enquête devrait être classée sans suite. “Au vu des premiers éléments, il n’a pas été relevé de vitesse excessive, de comportement inadapté ou de faute de l’un des deux skieurs.” Aucune autopsie ne sera réalisée sur le corps de Gaspard Ulliel.

Gaspard Ulliel est un acteur et mannequin né le 25 novembre 1984 à Boulogne-Billancourt et mort le 19 janvier 2022. Il a été césarisé à deux reprises : il reçoit d’abord le César du meilleur espoir masculin en 2005 pour son interprétation dans “Un long dimanche de fiançailles”. En 2017, il est récompensé du prix du meilleur acteur pour sa performance dans “Juste la fin du monde”. Il est également connu pour avoir joué dans “Saint Laurent”, “Jacquou le Croquant” ou “La Princesse de Montpensier”.

Gaspard Ulliel est né le 25 novembre 1984. Sa mère est styliste et son père designer. Il commence sa carrière de comédien très tôt, alors qu’il a seulement 12 ans, dans en jouant dans le téléfilm “Une femme en blanc”. C’est pourtant à la réalisation que se destine le jeune homme qui poursuit un cursus universitaire dans ce sens. Il continue pourtant à tourner et obtient un petit rôle dans “Le pacte des loups” de Christophe Gans en 2001. C’est Michel Blanc qui le révèle l’année suivante en lui faisant interpréter un adolescent en pleine découverte de la vie dans “Embrassez qui vous voudrez”.

Gaspard Ulliel démarre sa carrière de comédien dès le collège en jouant dans le téléfilm “Une femme en blanc”. C’est pourtant à la réalisation que se destine le jeune homme qui poursuit un cursus universitaire dans ce sens. Il continue pourtant à tourner et obtient un petit rôle dans “Le pacte des loups” de Christophe Gans en 2001. C’est Michel Blanc qui le révèle l’année suivante en lui faisant interpréter un adolescent en pleine découverte de la vie dans “Embrassez qui vous voudrez”.

Après une brève reprise de ses études, il est sollicité par André Téchiné pour jouer aux côtés d’Emmanuelle Béart dans “Les Égarés”. Sa performance lui vaut une nomination aux César en 2004 dans la catégorie meilleur espoir masculin. César qu’il emporte finalement en 2005 pour le film “Un long dimanche de fiançailles” de Jean-Pierre Jeunet dans lequel il incarne le fiancé d’Audrey Tautou. Gaspard Ulliel devient un comédien de premier plan. La même année, il est à l’affiche de “Jacquou le croquant” où il interprète le personnage éponyme.

En 2007, sa carrière prend une dimension internationale avec son incarnation d’Hannibal Lecter dans le volet qui raconte la jeunesse du célèbre serial killer “Hannibal Lecter : les origines du mal”. Il témoigne de son éclectisme cinématographique en jouant le rôle d’Henri de Guise dans “La Princesse de Montpensier” dans lequel il partage l’affiche avec Mélanie Thierry en 2010. Après ses rôles remarqués dans “Saint Laurent” (2014) et “Juste la fin du monde” (2017), Gaspard Ulliel apparaît dans “Eva” (2017) puis “Sibyl” (2019) de Justine Triet. Il incarne l’un des rôles secondaires de la série Marvel “Moon Knight”, diffusée sur Disney+ en 2022.

En 2014, Gaspard Ulliel décroche le rôle du célèbre couturier dans “Saint Laurent”, réalisé par Bertrand Bonnello. Dans C à vous l’année de la sortie du film, l’acteur explique qu’il a dû prendre en compte “un certain nombre de contrainte” : “la direction qu’on a choisi était de s’écarter de tout mimétisme, ou de l’idée de reproduire quoi que ce soit. L’idée était d’aller dans l’appropriation, même parfois la quasi évocation”. Ce biopic est le second consacré à Yves Saint Laurent à sortir au cinéma cette année-là. Dans la seconde version, Pierre Niney incarne le grand couturier français. Les deux comédiens sont nommés pour le César du meilleur acteur, mais c’est Pierre Niney qui remporte la récompense.

Gaspard Ulliel a décroché son premier César, celui du meilleur espoir, en 2005 pour son rôle dans “Un long dimanche de fiançailles”. En 2016, Gaspard Ulliel décroche le premier rôle de “Juste la fin du monde”, long-métrage de Xavier Dolan. Il y incarne un écrivain, de retour dans sa famille après douze ans d’absence, pour annoncer à ses proches sa mort à venir. Ce rôle lui permet de remporter son second César, celui du meilleur acteur, l’année suivante.

En parallèle de sa carrière d’acteur, Gaspard Ulliel travaille également comme mannequin pour des publicités. Il a notamment tourné en 2010 pour le spot du parfum “Bleu” de Chanel, sous la direction du réalisateur américain Martin Scorsese. Il a également participé à une campagne publicitaire pour les sacs Longchamp aux côtés de Kate Moss. Ci-dessous, retrouvez la publicité “Bleu” de Chanel dans laquelle figure Gaspard Ulliel.

Depuis décembre 2013, Gaspard Ulliel fréquente officiellement la mannequin Gaëlle Pietri, surtout dans des publicités. Ensemble, le couple a donné naissance à un petit garçon en 2016. La petite famille est néanmoins extrêmement discrète, n’apparaissant qu’au détour de rares photographies sur Instagram. Avant de trouver l’amour avec Gaêlle Pietri, Gaspard Ulliel a fréquenté Cécile Cassel entre 2005 et 2007 et une attachée de presse nommée Jordane.

Gaspard Ulliel se distingue notamment parmi les autres acteurs de sa génération par la cicatrice qu’il arbore sur sa joue gauche. L’acteur a expliqué que celle-ci est la conséquence de l’attaque d’un doberman, un coup de griffe plus spécifiquement, alors qu’il n’avait que six ans. Cette marque de cet accident se révèle particulièrement lorsque le comédien sourit.

We would like to thank the writer of this post for this amazing content

Gaspard Ulliel : “une collision peu violente”, les dernières infos sur sa mort

" ["date_timestamp"]=> int(1642811864) } [4]=> array(11) { ["title"]=> string(61) "Unconscious consumption: Addicted to shopping – Fashionismo" ["link"]=> string(101) "https://theinsidenewshyderabad.com/magazine/unconscious-consumption-addicted-to-shopping-fashionismo/" ["dc"]=> array(1) { ["creator"]=> string(15) "Pauline Moonlky" } ["pubdate"]=> string(31) "Sat, 22 Jan 2022 00:04:45 +0000" ["category"]=> string(57) "MagazineAddictedconsumptionFashionismoshoppingUnconscious" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19505" ["description"]=> string(270) "I have never been addicted to shopping. I’ve always considered myself a measured, calm person and my most “random” spending was more on the food/gastronomy side (hello, taurine) or travel than with clothes and accessories and look at that >blogger here" ["content"]=> array(1) { ["encoded"]=> string(7502) "

I have never been addicted to shopping. I’ve always considered myself a measured, calm person and my most “random” spending was more on the food/gastronomy side (hello, taurine) or travel than with clothes and accessories and look at that >blogger here<. Of course, I've always done good shopping, I've already bought my beloved bags, I've been enjoying buying more jewelry, but it was never a frequent or impulse thing, but a special occasion, but everything has changed.

Whose fault? From the pandemic. Okay my but the pandemic and my hormones (pregnancy) turned a little bit on me r very nervous. What I find funny, and this post is more like a rant than a “tip”, is that with the advent of this pandemic, a lot has been said about “conscious consumption” and that our way of consuming fashion would change… bullshit, I don’t know if I’m (was) already at the level of compulsion, but the fact of being quarantined at home a lot has changed.

Back to 2020, the beginning of the pandemic, everyone locked up at home and me at the beginning of the pregnancy and a mix of euphoria and apprehension. What does a pregnant woman have to do? Yes, building a trousseau for a little person about to be born and that was almost a trigger for me to start buying and buying. Okay, everything had a reason, a purpose, here comes an extra there, an exaggeration there, a thought like “ah it will be the only daughter I will have”. Hence my architect side exacerbated and making the room I had in mind unprecedented, but with some pandemic restrictions.

Behold, I bought 95% of Maria Eduarda’s trousseau/decor at home. I became Prime at Amazon, Level 6 at MercadoLivre and I started to create a habit that I didn’t have that much… that of buying online. I used to buy, but what I didn’t have a live option, because I liked to go to the mall, but then everything became online, easy and behold, I saw my card automatically registered in several kkkry stores.

2021 came, Maria Eduarda in my arms and one more season of Cov1d and new sensations: I PURCHASED BECAUSE I DESERVED IT. “Damn, a pandemic all at home, all right, I’m still puerperal, baby blues and in a breastfeeding resilience work…

And that’s how I kept buying and buying, futility, randomness, puts I changed my car, several colors of masks, we’re not going to get out of this pandemic anyway, prime no rappi, the diaper is over, I bought a second hand bag at a live mall, no I’m going to travel out so soon.

Then we enter a SPIRAL OF FEELINGS AND SHOPPING. I gave myself excuses and they seemed pretty fair. I compensated with shopping. Self-indulgence. Dawn awake with the little pitchulinha that sleeps dripping? A little purchase to give me a cuddle. And so on in the loop.

Then came another stage of this empty mind, but a crowded cart: that of exchanges. I was addicted, or even needy, to change. Mostly due to the fact that certain virtual purchases didn’t actually work, there I was going to the post office with 3 or 4 boxes to return. One fine day I returned a treadmill I bought (it was really bad). And that added by the fact that I didn’t want to go into the changing rooms, sometimes I bought kind of imagining the possibility of the exchange. It’s almost like a bonus feeling, a self-made gift card. The detail is that with each exchange we always give that basic difference. The peak came at Christmas, Rodrigo gave me a YSL bag and I switched hehehelp

Of course, it’s a phase, I didn’t get into debt or anything, I know that the fact of staying at home for a long time and with a newborn baby is subject to certain disparities, yes and each one with its own. I am empathetic with myself (because if I’m not who I’m going to be, right), but I find it curious that at the end of the day the pandemic did not necessarily make us reflect on consumption. If, in fact, I traveled less and went out to dinner less, I tried to compensate in other ways and each one reacts in a different way.

There are people who lose sleep, there are people who ~take it out on food (beginning of the year I got addicted to Lindt’s red bonbon, which thank God passed), there are people who even surrender to a new lifestyle, religion, sport, project. I think it’s up to us to understand our flaws, moments and how much we are able to allow ourselves, forgive and move on with less judgment and more balance!

comprasss

At the beginning of the year I promised to adjust my energy to new projects, I didn’t delete any app from the store, but I deleted all the registered cards, every now and then I’ll allow myself ok, but I feel like I need to get out of the automatic, the justifications and do something more conscious and less on impulse.

A while ago I had disconnected from the precepts of Mindfulness, but I started rereading the book Mindfulness and it has already been effective in feeling reconnected, avoiding justifications and surrendering myself more to the present moment and, above all, conscious.

We would like to say thanks to the author of this short article for this awesome content

Unconscious consumption: Addicted to shopping – Fashionismo

" } ["summary"]=> string(270) "I have never been addicted to shopping. I’ve always considered myself a measured, calm person and my most “random” spending was more on the food/gastronomy side (hello, taurine) or travel than with clothes and accessories and look at that >blogger here" ["atom_content"]=> string(7502) "

I have never been addicted to shopping. I’ve always considered myself a measured, calm person and my most “random” spending was more on the food/gastronomy side (hello, taurine) or travel than with clothes and accessories and look at that >blogger here<. Of course, I've always done good shopping, I've already bought my beloved bags, I've been enjoying buying more jewelry, but it was never a frequent or impulse thing, but a special occasion, but everything has changed.

Whose fault? From the pandemic. Okay my but the pandemic and my hormones (pregnancy) turned a little bit on me r very nervous. What I find funny, and this post is more like a rant than a “tip”, is that with the advent of this pandemic, a lot has been said about “conscious consumption” and that our way of consuming fashion would change… bullshit, I don’t know if I’m (was) already at the level of compulsion, but the fact of being quarantined at home a lot has changed.

Back to 2020, the beginning of the pandemic, everyone locked up at home and me at the beginning of the pregnancy and a mix of euphoria and apprehension. What does a pregnant woman have to do? Yes, building a trousseau for a little person about to be born and that was almost a trigger for me to start buying and buying. Okay, everything had a reason, a purpose, here comes an extra there, an exaggeration there, a thought like “ah it will be the only daughter I will have”. Hence my architect side exacerbated and making the room I had in mind unprecedented, but with some pandemic restrictions.

Behold, I bought 95% of Maria Eduarda’s trousseau/decor at home. I became Prime at Amazon, Level 6 at MercadoLivre and I started to create a habit that I didn’t have that much… that of buying online. I used to buy, but what I didn’t have a live option, because I liked to go to the mall, but then everything became online, easy and behold, I saw my card automatically registered in several kkkry stores.

2021 came, Maria Eduarda in my arms and one more season of Cov1d and new sensations: I PURCHASED BECAUSE I DESERVED IT. “Damn, a pandemic all at home, all right, I’m still puerperal, baby blues and in a breastfeeding resilience work…

And that’s how I kept buying and buying, futility, randomness, puts I changed my car, several colors of masks, we’re not going to get out of this pandemic anyway, prime no rappi, the diaper is over, I bought a second hand bag at a live mall, no I’m going to travel out so soon.

Then we enter a SPIRAL OF FEELINGS AND SHOPPING. I gave myself excuses and they seemed pretty fair. I compensated with shopping. Self-indulgence. Dawn awake with the little pitchulinha that sleeps dripping? A little purchase to give me a cuddle. And so on in the loop.

Then came another stage of this empty mind, but a crowded cart: that of exchanges. I was addicted, or even needy, to change. Mostly due to the fact that certain virtual purchases didn’t actually work, there I was going to the post office with 3 or 4 boxes to return. One fine day I returned a treadmill I bought (it was really bad). And that added by the fact that I didn’t want to go into the changing rooms, sometimes I bought kind of imagining the possibility of the exchange. It’s almost like a bonus feeling, a self-made gift card. The detail is that with each exchange we always give that basic difference. The peak came at Christmas, Rodrigo gave me a YSL bag and I switched hehehelp

Of course, it’s a phase, I didn’t get into debt or anything, I know that the fact of staying at home for a long time and with a newborn baby is subject to certain disparities, yes and each one with its own. I am empathetic with myself (because if I’m not who I’m going to be, right), but I find it curious that at the end of the day the pandemic did not necessarily make us reflect on consumption. If, in fact, I traveled less and went out to dinner less, I tried to compensate in other ways and each one reacts in a different way.

There are people who lose sleep, there are people who ~take it out on food (beginning of the year I got addicted to Lindt’s red bonbon, which thank God passed), there are people who even surrender to a new lifestyle, religion, sport, project. I think it’s up to us to understand our flaws, moments and how much we are able to allow ourselves, forgive and move on with less judgment and more balance!

comprasss

At the beginning of the year I promised to adjust my energy to new projects, I didn’t delete any app from the store, but I deleted all the registered cards, every now and then I’ll allow myself ok, but I feel like I need to get out of the automatic, the justifications and do something more conscious and less on impulse.

A while ago I had disconnected from the precepts of Mindfulness, but I started rereading the book Mindfulness and it has already been effective in feeling reconnected, avoiding justifications and surrendering myself more to the present moment and, above all, conscious.

We would like to say thanks to the author of this short article for this awesome content

Unconscious consumption: Addicted to shopping – Fashionismo

" ["date_timestamp"]=> int(1642809885) } [5]=> array(11) { ["title"]=> string(57) "Elon Musk’s brain chip startup would begin human trials" ["link"]=> string(109) "https://theinsidenewshyderabad.com/influential-people/elon-musks-brain-chip-startup-would-begin-human-trials/" ["dc"]=> array(1) { ["creator"]=> string(11) "Harold Kent" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 21:20:30 +0000" ["category"]=> string(54) "Influential PeopleBrainchipElonhumanMusksstartuptrials" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19499" ["description"]=> string(654) "Elon Musk appears to be close to starting the first human trials of his brain-computer interface technology. A new job offer for “Clinical Trials Director” at Neuralink reveals that the startup neurotech is preparing to take its brain chip research to the next phase. Neuralink has already conducted trials with pigs and monkeys, including a ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6319) "

Elon Musk appears to be close to starting the first human trials of his brain-computer interface technology.

A new job offer for “Clinical Trials Director” at Neuralink reveals that the startup neurotech is preparing to take its brain chip research to the next phase.

Neuralink has already conducted trials with pigs and monkeys, including a successful experiment with a nine-year-old macaque capable of playing video games using only his mind.

The company hopes to use the technology to enable “symbiosis between humans and artificial intelligence.”

The first human trials, which Musk says will take place in 2022, will likely involve paralyzed people using the Neuralink interface to directly control a computer cursor.

The position requires candidates who are “mission driven” and “willing and willing to go above and beyond” to achieve the company’s ambitions.

“As Director of Clinical Trials, you will work closely with some of the most innovative physicians and top engineers, as well as working with Neuralink’s first clinical trial participants,” says the job posting, which was discovered by Bloomberg.

“You will lead and help build the team responsible for enabling Neuralink’s clinical research activities and developing the regulatory interactions that come with a fast-paced and constantly evolving environment.”

In return, Neuralink claims to offer “an opportunity to change the world and work with some of the smartest and most talented experts in different fields.”

The Neuralink device is the size of a coin and can be implanted in the skull

(Neuralink)

The first practical applications of Neuralink’s technology will be in treating people with brain disorders and diseases, according to Musk, who says it will “solve important brain and spine problems with a seamlessly implanted device.”

The tech billionaire, who also runs SpaceX and Tesla, says the potential for Neuralink’s brain chip beyond that is almost limitless.

“It could solve blindness, it could solve paralysis, it could solve hearing,” he said during a company presentation in 2020.

“In the future, you will be able to save and play memories. This sounds more and more like an episode of Black Mirror… Ultimately, you could download them into a new body or a robotic body.”

Since then, he has claimed that the technology will give people “enhanced abilities,” such as being able to stream music directly into their brain.

Neuralink’s monkey was able to move Pong’s virtual paddle just by thinking about it

(Neuralink)

A 2019 paper written by Neuralink researchers describes a brain-computer interface that uses an array of “small, flexible ‘wires’ of electrodes,” which are surgically implanted in the brain by a robot.

The device itself is “the size of a coin” and can apparently replace a piece of the skull without causing any lasting damage to the brain.

Future versions would have an all-day battery and could connect wirelessly to the user’s smartphone.

The latest job posting is one of 84 posted on Neuralink’s website, which includes positions in robotics, software, animal care and surgery.

We would love to thank the writer of this write-up for this amazing web content

Elon Musk’s brain chip startup would begin human trials

" } ["summary"]=> string(654) "Elon Musk appears to be close to starting the first human trials of his brain-computer interface technology. A new job offer for “Clinical Trials Director” at Neuralink reveals that the startup neurotech is preparing to take its brain chip research to the next phase. Neuralink has already conducted trials with pigs and monkeys, including a ... Read more" ["atom_content"]=> string(6319) "

Elon Musk appears to be close to starting the first human trials of his brain-computer interface technology.

A new job offer for “Clinical Trials Director” at Neuralink reveals that the startup neurotech is preparing to take its brain chip research to the next phase.

Neuralink has already conducted trials with pigs and monkeys, including a successful experiment with a nine-year-old macaque capable of playing video games using only his mind.

The company hopes to use the technology to enable “symbiosis between humans and artificial intelligence.”

The first human trials, which Musk says will take place in 2022, will likely involve paralyzed people using the Neuralink interface to directly control a computer cursor.

The position requires candidates who are “mission driven” and “willing and willing to go above and beyond” to achieve the company’s ambitions.

“As Director of Clinical Trials, you will work closely with some of the most innovative physicians and top engineers, as well as working with Neuralink’s first clinical trial participants,” says the job posting, which was discovered by Bloomberg.

“You will lead and help build the team responsible for enabling Neuralink’s clinical research activities and developing the regulatory interactions that come with a fast-paced and constantly evolving environment.”

In return, Neuralink claims to offer “an opportunity to change the world and work with some of the smartest and most talented experts in different fields.”

The Neuralink device is the size of a coin and can be implanted in the skull

(Neuralink)

The first practical applications of Neuralink’s technology will be in treating people with brain disorders and diseases, according to Musk, who says it will “solve important brain and spine problems with a seamlessly implanted device.”

The tech billionaire, who also runs SpaceX and Tesla, says the potential for Neuralink’s brain chip beyond that is almost limitless.

“It could solve blindness, it could solve paralysis, it could solve hearing,” he said during a company presentation in 2020.

“In the future, you will be able to save and play memories. This sounds more and more like an episode of Black Mirror… Ultimately, you could download them into a new body or a robotic body.”

Since then, he has claimed that the technology will give people “enhanced abilities,” such as being able to stream music directly into their brain.

Neuralink’s monkey was able to move Pong’s virtual paddle just by thinking about it

(Neuralink)

A 2019 paper written by Neuralink researchers describes a brain-computer interface that uses an array of “small, flexible ‘wires’ of electrodes,” which are surgically implanted in the brain by a robot.

The device itself is “the size of a coin” and can apparently replace a piece of the skull without causing any lasting damage to the brain.

Future versions would have an all-day battery and could connect wirelessly to the user’s smartphone.

The latest job posting is one of 84 posted on Neuralink’s website, which includes positions in robotics, software, animal care and surgery.

We would love to thank the writer of this write-up for this amazing web content

Elon Musk’s brain chip startup would begin human trials

" ["date_timestamp"]=> int(1642800030) } [6]=> array(11) { ["title"]=> string(120) "“The entire history of economics can be summed up in a deconstruction of the initial postulate of market efficiency”" ["link"]=> string(159) "https://theinsidenewshyderabad.com/opinions/the-entire-history-of-economics-can-be-summed-up-in-a-deconstruction-of-the-initial-postulate-of-market-efficiency/" ["dc"]=> array(1) { ["creator"]=> string(11) "Harold Kent" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 21:16:51 +0000" ["category"]=> string(82) "Opinionsdeconstructioneconomicsefficiencyentirehistoryinitialmarketpostulatesummed" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19493" ["description"]=> string(831) "Tribune. At the end of the XVIIe century in Great Britain, classical political economy is constructed against the state of the Ancien Régime, and denounces the many corsets it imposes on the economy. For the “classics”, Adam Smith, David Ricardo, John Stuart Mill (or in France, Jean-Baptiste Say), the “invisible hand” of competition in markets ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3940) "

Tribune. At the end of the XVIIe century in Great Britain, classical political economy is constructed against the state of the Ancien Régime, and denounces the many corsets it imposes on the economy. For the “classics”, Adam Smith, David Ricardo, John Stuart Mill (or in France, Jean-Baptiste Say), the “invisible hand” of competition in markets free of any public intervention is the most effective mode of coordination between a multitude of actors who, pursuing their individual interests, nevertheless produce the common good and ensure “the wealth of nations”. The role of the State must be reduced to sovereign functions that maintain civil and external peace, and guarantee the proper functioning of markets: enacting property, trade and labor rights; raise and maintain army, police, and justice. The arguments of “orthodox” neoliberal or ordoliberal economists, supporters of a minimum state, are the contemporary extension of this.

However, the entire history of the discipline can be summed up as a deconstruction of the initial postulate of market efficiency. It begins with Marx, who certainly falls within the framework of the classics, but considers that, in the struggle between social classes for the sharing of collective production, the State is the “charged with power of the bourgeoisie”, incapable by nature of making capitalism escape pauperization and the crises engendered, according to him, by the free functioning of markets.

Dominant position of monopolies

The greatest deconstructors were in fact the neoclassicals themselves, from the end of the 19th century.e century. Therefore, like the classics and against Marx, from the postulate of the superiority of free markets, Alfred Marshall (1842-1924), Arthur Pigou (1877-1959) and others were quick to identify and analyze important “market imperfections”, which required the intervention of State.

First, there are “pure public goods” which, once produced, cannot be appropriated, and whose consumption by one does not hinder that of another – for example a public lighting system: only the he State can decide on the volume of a public good to be produced and compel citizens to finance it through taxes. Secondly, certain interactions between economic actors take place outside any market: these are “externalities”. Some are positive (for example the dissemination of knowledge), others negative (for example pollution). The State must correct them, otherwise they take the economy away from the optimum promised by the harmonious functioning of the markets. Third, monopolies abuse their dominant market position. The state must ban them, or dismantle them. In short, the idea that the State should correct these market imperfections was therefore accepted from the beginning of the 20th century.e century.

You have 48.67% of this article left to read. The following is for subscribers only.

We would love to say thanks to the writer of this article for this awesome web content

“The entire history of economics can be summed up in a deconstruction of the initial postulate of market efficiency”

" } ["summary"]=> string(831) "Tribune. At the end of the XVIIe century in Great Britain, classical political economy is constructed against the state of the Ancien Régime, and denounces the many corsets it imposes on the economy. For the “classics”, Adam Smith, David Ricardo, John Stuart Mill (or in France, Jean-Baptiste Say), the “invisible hand” of competition in markets ... Read more" ["atom_content"]=> string(3940) "

Tribune. At the end of the XVIIe century in Great Britain, classical political economy is constructed against the state of the Ancien Régime, and denounces the many corsets it imposes on the economy. For the “classics”, Adam Smith, David Ricardo, John Stuart Mill (or in France, Jean-Baptiste Say), the “invisible hand” of competition in markets free of any public intervention is the most effective mode of coordination between a multitude of actors who, pursuing their individual interests, nevertheless produce the common good and ensure “the wealth of nations”. The role of the State must be reduced to sovereign functions that maintain civil and external peace, and guarantee the proper functioning of markets: enacting property, trade and labor rights; raise and maintain army, police, and justice. The arguments of “orthodox” neoliberal or ordoliberal economists, supporters of a minimum state, are the contemporary extension of this.

However, the entire history of the discipline can be summed up as a deconstruction of the initial postulate of market efficiency. It begins with Marx, who certainly falls within the framework of the classics, but considers that, in the struggle between social classes for the sharing of collective production, the State is the “charged with power of the bourgeoisie”, incapable by nature of making capitalism escape pauperization and the crises engendered, according to him, by the free functioning of markets.

Dominant position of monopolies

The greatest deconstructors were in fact the neoclassicals themselves, from the end of the 19th century.e century. Therefore, like the classics and against Marx, from the postulate of the superiority of free markets, Alfred Marshall (1842-1924), Arthur Pigou (1877-1959) and others were quick to identify and analyze important “market imperfections”, which required the intervention of State.

First, there are “pure public goods” which, once produced, cannot be appropriated, and whose consumption by one does not hinder that of another – for example a public lighting system: only the he State can decide on the volume of a public good to be produced and compel citizens to finance it through taxes. Secondly, certain interactions between economic actors take place outside any market: these are “externalities”. Some are positive (for example the dissemination of knowledge), others negative (for example pollution). The State must correct them, otherwise they take the economy away from the optimum promised by the harmonious functioning of the markets. Third, monopolies abuse their dominant market position. The state must ban them, or dismantle them. In short, the idea that the State should correct these market imperfections was therefore accepted from the beginning of the 20th century.e century.

You have 48.67% of this article left to read. The following is for subscribers only.

We would love to say thanks to the writer of this article for this awesome web content

“The entire history of economics can be summed up in a deconstruction of the initial postulate of market efficiency”

" ["date_timestamp"]=> int(1642799811) } [7]=> array(11) { ["title"]=> string(67) "The game to watch tonight: Medvedev finds a good memory of New York" ["link"]=> string(108) "https://theinsidenewshyderabad.com/sport/the-game-to-watch-tonight-medvedev-finds-a-good-memory-of-new-york/" ["dc"]=> array(1) { ["creator"]=> string(8) "Tim Hall" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 21:06:55 +0000" ["category"]=> string(39) "SportGameMedvedevmemorytonightWatchYork" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19487" ["description"]=> string(642) "After his match against Nick Kyrgios played in a crazy atmosphere on the Rod Laver Arena where the motivation came from itself, the world number two and big favorite of the Australian Open, Daniil Medvedev will find a more caulked atmosphere the next night in his third round match against Dutchman Botic van de Zandschulp ... Read more" ["content"]=> array(1) { ["encoded"]=> string(4919) "

After his match against Nick Kyrgios played in a crazy atmosphere on the Rod Laver Arena where the motivation came from itself, the world number two and big favorite of the Australian Open, Daniil Medvedev will find a more caulked atmosphere the next night in his third round match against Dutchman Botic van de Zandschulp (ATP 57). Focused on his goal of winning his first Grand Slam in Australia, the Russian also has in the back of his mind the status of world premier that he can achieve in the event of final success in Melbourne.

“You know, the higher you go in the rankings, the further you want to go. I’ve been world number 2 for a while and I’m playing pretty well. So yes I want to become first in the ATP ranking and win 25 Grand Slam tournaments. But the most important thing to achieve this is to work hard, to improve my game, to be a better player. And when I enter a competition I want to win it. Look at the last ATP Cup, a team competition, I managed to win three matches with great motivation. I wanted to achieve something big for Russia. Unfortunately we didn’t make it but I arrived in Melbourne well prepared. But winning a Grand Slam is not easy, we meet great opposition. Sometimes you lose early in the board, sometimes you lose late, sometimes you win. My goal is just to play well. And if I play well, my chances of winning big titles will increase. And I can become world number 1, especially with the points that Novak Djokovic will lose because of his absence. We cannot deny this situation. But I am not responsible for his absence. If I manage to become No. 1, even in these circumstances, I think my credit will not be attacked.

And if Daniil Medvedev’s chances of winning the Australian Open are so great, it’s because the Moscow native feels like a fish in water when he plays on hard courts.

“What makes my game so effective on hard court? My shots and my movement, I think. But especially my strikes, I like that my ball crosses the air well. I don’t know if I’m clear, because it’s hard to explain. I make sure my ball doesn’t lose speed after the bounce, because I’m playing quite far from my baseline. A lot of guys trying to play that far would see their ball lose speed, and then the opponent would have an easy shot to play. So many don’t, because it doesn’t make sense to them. I try to develop my game, to improve it in order to find how to interfere with my opponent, regardless of the surface. But, yes, at the moment I’ve been better on hard, because I feel like I know when I have to play the opponent’s forehand, when I have to play their backhand, when I have to play short, when I have to play long. On hard courts, I have this little extra feeling to make the right choice at the right time, which I sometimes manage to have on clay or grass but not in every match. And in Grand Slams you need it in every game for two weeks.”

Facing him next night, Daniil Medvedev will find the Dutchman Botic van de Zandschulp who made a great breakthrough in the world rankings last season thanks in particular to a good run at the US Open where the native of Wageningen came out of qualifying and will join the quarter-finals. Stage of the event where he lost in four sets against… Daniil Medvedev, future winner of the American Grand Slam.

“I had given him a hard time in New York. I was the only one to have taken a set from him. It’s good to know how to play against an opponent. You know his weaknesses, if he has any. I think I’m in better shape now than last year. At the time, I was playing my eighth match, here it will only be my third with Richard Gasquet dropping out in the second round. I spent far fewer hours on the courts.”

Happy with his new status, the one who was still out of the top 100 a few months ago dreams of the day when he will have the chance to face two legends: “I think Federer and Nadal are the greatest players in the history of tennis. It would be cool if I could face them. They are getting old and the question is how long will they keep playing.

We would like to say thanks to the author of this post for this outstanding material

The game to watch tonight: Medvedev finds a good memory of New York

" } ["summary"]=> string(642) "After his match against Nick Kyrgios played in a crazy atmosphere on the Rod Laver Arena where the motivation came from itself, the world number two and big favorite of the Australian Open, Daniil Medvedev will find a more caulked atmosphere the next night in his third round match against Dutchman Botic van de Zandschulp ... Read more" ["atom_content"]=> string(4919) "

After his match against Nick Kyrgios played in a crazy atmosphere on the Rod Laver Arena where the motivation came from itself, the world number two and big favorite of the Australian Open, Daniil Medvedev will find a more caulked atmosphere the next night in his third round match against Dutchman Botic van de Zandschulp (ATP 57). Focused on his goal of winning his first Grand Slam in Australia, the Russian also has in the back of his mind the status of world premier that he can achieve in the event of final success in Melbourne.

“You know, the higher you go in the rankings, the further you want to go. I’ve been world number 2 for a while and I’m playing pretty well. So yes I want to become first in the ATP ranking and win 25 Grand Slam tournaments. But the most important thing to achieve this is to work hard, to improve my game, to be a better player. And when I enter a competition I want to win it. Look at the last ATP Cup, a team competition, I managed to win three matches with great motivation. I wanted to achieve something big for Russia. Unfortunately we didn’t make it but I arrived in Melbourne well prepared. But winning a Grand Slam is not easy, we meet great opposition. Sometimes you lose early in the board, sometimes you lose late, sometimes you win. My goal is just to play well. And if I play well, my chances of winning big titles will increase. And I can become world number 1, especially with the points that Novak Djokovic will lose because of his absence. We cannot deny this situation. But I am not responsible for his absence. If I manage to become No. 1, even in these circumstances, I think my credit will not be attacked.

And if Daniil Medvedev’s chances of winning the Australian Open are so great, it’s because the Moscow native feels like a fish in water when he plays on hard courts.

“What makes my game so effective on hard court? My shots and my movement, I think. But especially my strikes, I like that my ball crosses the air well. I don’t know if I’m clear, because it’s hard to explain. I make sure my ball doesn’t lose speed after the bounce, because I’m playing quite far from my baseline. A lot of guys trying to play that far would see their ball lose speed, and then the opponent would have an easy shot to play. So many don’t, because it doesn’t make sense to them. I try to develop my game, to improve it in order to find how to interfere with my opponent, regardless of the surface. But, yes, at the moment I’ve been better on hard, because I feel like I know when I have to play the opponent’s forehand, when I have to play their backhand, when I have to play short, when I have to play long. On hard courts, I have this little extra feeling to make the right choice at the right time, which I sometimes manage to have on clay or grass but not in every match. And in Grand Slams you need it in every game for two weeks.”

Facing him next night, Daniil Medvedev will find the Dutchman Botic van de Zandschulp who made a great breakthrough in the world rankings last season thanks in particular to a good run at the US Open where the native of Wageningen came out of qualifying and will join the quarter-finals. Stage of the event where he lost in four sets against… Daniil Medvedev, future winner of the American Grand Slam.

“I had given him a hard time in New York. I was the only one to have taken a set from him. It’s good to know how to play against an opponent. You know his weaknesses, if he has any. I think I’m in better shape now than last year. At the time, I was playing my eighth match, here it will only be my third with Richard Gasquet dropping out in the second round. I spent far fewer hours on the courts.”

Happy with his new status, the one who was still out of the top 100 a few months ago dreams of the day when he will have the chance to face two legends: “I think Federer and Nadal are the greatest players in the history of tennis. It would be cool if I could face them. They are getting old and the question is how long will they keep playing.

We would like to say thanks to the author of this post for this outstanding material

The game to watch tonight: Medvedev finds a good memory of New York

" ["date_timestamp"]=> int(1642799215) } [8]=> array(11) { ["title"]=> string(84) "Prato lancia Tipo: le fabbriche diventano oggetto di una nuova esperienza di viaggio" ["link"]=> string(129) "https://theinsidenewshyderabad.com/lifestyle/prato-lancia-tipo-le-fabbriche-diventano-oggetto-di-una-nuova-esperienza-di-viaggio/" ["dc"]=> array(1) { ["creator"]=> string(12) "Paula Hooper" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 18:04:15 +0000" ["category"]=> string(74) "LifestylediventanoesperienzafabbrichelancianuovaoggettoPratotipounaviaggio" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19481" ["description"]=> string(763) "Prato lancia Tipo: un progetto immersivo ed esperienziale pensato per tutti coloro che vogliono scoprire la nuova frontiera del turismo, quello industriale. Nell’ultimo weekend del mese, fino a maggio 2022, i visitatori saranno guidati in un percorso emozionale che, partendo dagli inizi della manifattura pratese, li condurrà nel cuore delle fabbriche moderne, apprezzate per qualità ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5667) "

Prato lancia Tipo: un progetto immersivo ed esperienziale pensato per tutti coloro che vogliono scoprire la nuova frontiera del turismo, quello industriale. Nell’ultimo weekend del mese, fino a maggio 2022, i visitatori saranno guidati in un percorso emozionale che, partendo dagli inizi della manifattura pratese, li condurrà nel cuore delle fabbriche moderne, apprezzate per qualità e varietà dei lavorati e per l’investimento in processi produttivi rispettosi della natura che hanno reso Prato Città per la circolarità: una città tra le più europee e contemporanee d’Italia, anagraficamente giovane, multiculturale e multietnica, impegnata da alcuni anni sui temi della rigenerazione urbana e della transizione ecologica, circolare e digitale. Il progetto Tipo, dopo una fase di sperimentazione a fine 2021, è pronto per rivolgersi a un pubblico più ampio con un programma che si svolgerà fino a maggio 2022 e riprenderà nuovamente dopo l’estate.

«Anche se il territorio è a vocazione tessile – commenta Eugenio Giani, presidente della Regione Toscana – vi è un profilo culturale molto originale. Le fabbriche pratesi raccontano storie e creano manufatti conosciuti in tutto il mondo. Entrare nelle fabbriche, conoscerne la storia, è un’esperienza unica in Italia. Speriamo che questo turismo espressivo di un made in Tuscany possa diventare un esempio per gli altri distretti industriali».

Tipo Prato è un modello di turismo contemporaneo: un “dentro e fuori” dalle fabbriche, tra eventi culturali, spettacoli, trekking urbano e momenti per le famiglie, nella città del museo del Tessuto, del centro Pecci e del Mumat – Museo delle macchine tessili di Vernio, modello di imprenditorialità, cura dell’ambiente e progettazione culturale. Ogni sabato dell’ultimo fine settimana del mese Tipo proporrà spettacoli in luoghi della produzione tessile solitamente non aperti al pubblico; la domenica ci si muoverà invece sul territorio, per scoprire il patrimonio di architettura industriale e di ex fabbriche rigenerate con progetti di innovazione urbana. In programma anche laboratori didattici per bambini al museo del Tessuto, al centro Pecci e al Mumat.

«Si tratta di un progetto che parla di noi: siamo noi, ci rappresenta con la nostra cultura  – spiega il sindaco di Prato, Matteo Biffoni – E quando poi il turista arriva in città può esplorare molto altro: Filippo Lippi, palazzo Pretorio, l’arte contemporanea del Pecci».

Il 29 gennaio il palcoscenico sarà così quello dell’azienda Picchi, con uno spettacolo del musicista, comico e blogger Elianto. Il 30 gennaio toccherà al lanificio Lucchesi, con laboratori per famiglie. Il 26 febbraio l’azienda Ricceri ospiterà il giornalista Federico Rampini e il suo spettacolo Moriremo cinesi?, tema doppiamente di attualità in un distretto connotato da una forte presenza di aziende e immigrati provenienti dal grande paese asiatico.  Il 27 febbraio occhi puntati sulla rigenerazione urbana e sulle trasformazioni subite da grandi edifici industriali del passato diventati ‘altro’: dal polo Campolmi, che in pieno centro della città ospita oggi il museo del Tessuto e la biblioteca Lazzerini, all’ex lanificio Bini nella corte di via Genova, oggi effervescente realtà artistica e sociale, fino alla ex Anonima Calamai, tra i più grandi complessi industriali cittadini, e il Macrolotto Zero.

A marzo ci si sposta in provincia: il 26 alla cartaia di Vaiano, dove si esibirà il musicista Fabio Celenza, e il 27 alle origini della grande industria tessile pratese, dal museo delle Macchine tessili di Vernio all’ex lanificio Romei di Cerbaia e al villaggio fabbrica Forti de La Briglia.  Tutti i dettagli su www.tipo.prato.it.

Il progetto è promosso da comune di Prato, fondazione museo del Tessuto, fondazione Cdse Centro di documentazione storico etnografica e dai comuni di Cantagallo, Carmignano, Poggio a Caiano, Montemurlo, Vaiano e Vernio in collaborazione con Acte (Associazione comunità tessili europee), Visit Tuscany e Prato Turismo. La direzione artistica degli spettacoli è a cura di Fonderia Cultart.

Un invito quindi a visitare l’altra Toscana, quella al di fuori dei soliti itinerari più conosciuti.

«I viaggi di affari – aggiunge Leonardo Marras, assessore al Turismo della regione – si sono trasformati: oltre a un evento commerciale hanno bisogno di esperienze. E qui l’idea geniale è stata trasformare quell’esperienza in fabbrica in qualcosa di popolare. L’impresa che si apre lo fa abbracciando la sicurezza e la trasparenza: un manifesto di chiarezza anche dal punto di vista dell’identità valoriale».

 

 

We would like to say thanks to the author of this article for this remarkable web content

Prato lancia Tipo: le fabbriche diventano oggetto di una nuova esperienza di viaggio

" } ["summary"]=> string(763) "Prato lancia Tipo: un progetto immersivo ed esperienziale pensato per tutti coloro che vogliono scoprire la nuova frontiera del turismo, quello industriale. Nell’ultimo weekend del mese, fino a maggio 2022, i visitatori saranno guidati in un percorso emozionale che, partendo dagli inizi della manifattura pratese, li condurrà nel cuore delle fabbriche moderne, apprezzate per qualità ... Read more" ["atom_content"]=> string(5667) "

Prato lancia Tipo: un progetto immersivo ed esperienziale pensato per tutti coloro che vogliono scoprire la nuova frontiera del turismo, quello industriale. Nell’ultimo weekend del mese, fino a maggio 2022, i visitatori saranno guidati in un percorso emozionale che, partendo dagli inizi della manifattura pratese, li condurrà nel cuore delle fabbriche moderne, apprezzate per qualità e varietà dei lavorati e per l’investimento in processi produttivi rispettosi della natura che hanno reso Prato Città per la circolarità: una città tra le più europee e contemporanee d’Italia, anagraficamente giovane, multiculturale e multietnica, impegnata da alcuni anni sui temi della rigenerazione urbana e della transizione ecologica, circolare e digitale. Il progetto Tipo, dopo una fase di sperimentazione a fine 2021, è pronto per rivolgersi a un pubblico più ampio con un programma che si svolgerà fino a maggio 2022 e riprenderà nuovamente dopo l’estate.

«Anche se il territorio è a vocazione tessile – commenta Eugenio Giani, presidente della Regione Toscana – vi è un profilo culturale molto originale. Le fabbriche pratesi raccontano storie e creano manufatti conosciuti in tutto il mondo. Entrare nelle fabbriche, conoscerne la storia, è un’esperienza unica in Italia. Speriamo che questo turismo espressivo di un made in Tuscany possa diventare un esempio per gli altri distretti industriali».

Tipo Prato è un modello di turismo contemporaneo: un “dentro e fuori” dalle fabbriche, tra eventi culturali, spettacoli, trekking urbano e momenti per le famiglie, nella città del museo del Tessuto, del centro Pecci e del Mumat – Museo delle macchine tessili di Vernio, modello di imprenditorialità, cura dell’ambiente e progettazione culturale. Ogni sabato dell’ultimo fine settimana del mese Tipo proporrà spettacoli in luoghi della produzione tessile solitamente non aperti al pubblico; la domenica ci si muoverà invece sul territorio, per scoprire il patrimonio di architettura industriale e di ex fabbriche rigenerate con progetti di innovazione urbana. In programma anche laboratori didattici per bambini al museo del Tessuto, al centro Pecci e al Mumat.

«Si tratta di un progetto che parla di noi: siamo noi, ci rappresenta con la nostra cultura  – spiega il sindaco di Prato, Matteo Biffoni – E quando poi il turista arriva in città può esplorare molto altro: Filippo Lippi, palazzo Pretorio, l’arte contemporanea del Pecci».

Il 29 gennaio il palcoscenico sarà così quello dell’azienda Picchi, con uno spettacolo del musicista, comico e blogger Elianto. Il 30 gennaio toccherà al lanificio Lucchesi, con laboratori per famiglie. Il 26 febbraio l’azienda Ricceri ospiterà il giornalista Federico Rampini e il suo spettacolo Moriremo cinesi?, tema doppiamente di attualità in un distretto connotato da una forte presenza di aziende e immigrati provenienti dal grande paese asiatico.  Il 27 febbraio occhi puntati sulla rigenerazione urbana e sulle trasformazioni subite da grandi edifici industriali del passato diventati ‘altro’: dal polo Campolmi, che in pieno centro della città ospita oggi il museo del Tessuto e la biblioteca Lazzerini, all’ex lanificio Bini nella corte di via Genova, oggi effervescente realtà artistica e sociale, fino alla ex Anonima Calamai, tra i più grandi complessi industriali cittadini, e il Macrolotto Zero.

A marzo ci si sposta in provincia: il 26 alla cartaia di Vaiano, dove si esibirà il musicista Fabio Celenza, e il 27 alle origini della grande industria tessile pratese, dal museo delle Macchine tessili di Vernio all’ex lanificio Romei di Cerbaia e al villaggio fabbrica Forti de La Briglia.  Tutti i dettagli su www.tipo.prato.it.

Il progetto è promosso da comune di Prato, fondazione museo del Tessuto, fondazione Cdse Centro di documentazione storico etnografica e dai comuni di Cantagallo, Carmignano, Poggio a Caiano, Montemurlo, Vaiano e Vernio in collaborazione con Acte (Associazione comunità tessili europee), Visit Tuscany e Prato Turismo. La direzione artistica degli spettacoli è a cura di Fonderia Cultart.

Un invito quindi a visitare l’altra Toscana, quella al di fuori dei soliti itinerari più conosciuti.

«I viaggi di affari – aggiunge Leonardo Marras, assessore al Turismo della regione – si sono trasformati: oltre a un evento commerciale hanno bisogno di esperienze. E qui l’idea geniale è stata trasformare quell’esperienza in fabbrica in qualcosa di popolare. L’impresa che si apre lo fa abbracciando la sicurezza e la trasparenza: un manifesto di chiarezza anche dal punto di vista dell’identità valoriale».

 

 

We would like to say thanks to the author of this article for this remarkable web content

Prato lancia Tipo: le fabbriche diventano oggetto di una nuova esperienza di viaggio

" ["date_timestamp"]=> int(1642788255) } [9]=> array(11) { ["title"]=> string(115) "Big Data help fight illegal fishing – Christien Absil concludes her series on shady fishing practices – Foodlog" ["link"]=> string(152) "https://theinsidenewshyderabad.com/magazine/big-data-help-fight-illegal-fishing-christien-absil-concludes-her-series-on-shady-fishing-practices-foodlog/" ["dc"]=> array(1) { ["creator"]=> string(15) "Pauline Moonlky" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 18:03:00 +0000" ["category"]=> string(81) "MagazineAbsilChristienconcludesdatafightfishingFoodlogillegalpracticesseriesshady" ["guid"]=> string(43) "https://theinsidenewshyderabad.com/?p=19475" ["description"]=> string(837) "For centuries, fishermen operated out of sight and often out of mind. Certainly the fishing vessels on the open ocean could go about their business almost uncontrollably. Independent fisheries observers have one of the most dangerous jobs in the world: taking on hostile crew members, especially when they discover things like illegal fishing, human trafficking ... Read more" ["content"]=> array(1) { ["encoded"]=> string(13017) "

For centuries, fishermen operated out of sight and often out of mind. Certainly the fishing vessels on the open ocean could go about their business almost uncontrollably. Independent fisheries observers have one of the most dangerous jobs in the world: taking on hostile crew members, especially when they discover things like illegal fishing, human trafficking or shark finning. Harassment is common. It often happens that observers disappear without a trace.

But the observers are getting support: High-resolution satellite imagery, drones, and other tracking systems are making it increasingly difficult for ships to operate illegally.

Ten years ago, it was impossible to get open access images of global fishing activity. But thanks to advances in satellite technology and machine learning, you can now

Global Fishing Watch

Ten years ago it was impossible to open access-Get images of global fishing activity. But thanks to advances in satellite technology and machine learning can now. Global Fishing Watch is the result of a collaboration between three partners: a major international ocean conservation organization, a technology company that uses satellite imagery and data to protect the environment, and Google Earth. Global Fishing Watch promotes ocean management through greater transparency of human activities at sea. By creating and publicly sharing chart visualizations, data and analytics tools, Global Fishing Watch is driving a transformation in how we manage the ocean. Researchers and NGO’s can use satellite technology to detect illegal fishing.

For example, the program also recognizes suspicious activities such as the to expand of the automatic tracking system AIS. Environmental organization Oceana stopped the international list of suspected IUU fishing vessels in the program. As it turned out: they could only manage 2 of the 168 ships on that list realtime to follow. So it seems that the rest do not want to be followed, although authorities assume that ships always have this safety system on.

Track down overchargers
A practice known as transhipment – the transfer of catch between ships – allows fishermen to stay at sea for months. Transhipment and bunkering on the high seas can contribute to illegal fishing and even forced labour, as it allows captains to keep their crews at sea for months or even years at a time.

But, as with the climate problem, getting global agreement is difficult. That is why the WTO negotiations on subsidies have also been going on for 20 years

To better understand this complex network of support vessels, Global Fishing Watch has developed its machine learningtechnology applied to analyze billions of Global Position System (GPS) data points transmitted by fishing, transport and bunker vessels from 2012-2019. By studying their positions and behaviors, they were able to determine when and where these ships met at sea. Using AIS they discovered something else: many bunker or supply ships that were stationary at sea never had another ship in view. That means ships that don’t want to be seen.

with such Big Datatechnology can slowly close the net around illegal fishing. That is, if countries also start taking measures against ships suspected of illegal fishing. And it is precisely with those measures that things do not go very smoothly.

The best, of course, is to tackle illegal fishing at a global level. But, as with the climate problem, getting global agreement is also the trickiest. That is why the WTO negotiations on subsidies have also been going on for 20 years. The European Commission did not wait for global agreements and introduced rules itself in 2010 to prevent illegally caught fish from entering the EU market.

European measures
From EU Regulation Preventing, Combating and Eliminating Illegal, Unreported and Unregulated (IUU) fishing is the most effective anti-IUU legislation of its kind to date. The regulation should ensure that:

The flag states must therefore guarantee the origin and legality of the fish, ensuring that all fish traded to and from the EU is fully traceable. When a country fails to ensure the legality of the fish, the European Commission will help.

The IUU Regulation has 2 main components:

Catch Certificate
This is an import document approved by the flag state: the fish is caught according to that country’s rules. More than 250,000 catch certificates are received every year across the EU. Some countries receive as many as 150 a day. They are paper or copies of paper certificates. That makes the system as leaky as a basket at the moment. A few countries, including Spain and the Netherlands, have set up their own digital control system for catch certificates. But an EU-wide database is of course much better.

In 2019, the EU launched version 1.0 of such an internationally standardized digital system: CATCH. It is now fully operational, making it possible to share and cross-check information on certificates between Member States. Inspectors can also more easily identify parties with a higher risk.

In 2019, the EU launched version 1.0 of such an internationally standardized digital system: CATCH.

The use of CATCH is voluntary at this time. As a result, there is still no harmonized control by the EU Member States. This is only possible if the member states commit to systematic use of the CATCH system. They don’t seem to be in a hurry.

Yellow card
The IUU regulation allows the EU to issue a ‘yellow card’ to non-EU countries if they don’t do enough to fight illegal fishing. If these countries fail to implement the required reforms on time, the EU will issue a ‘red card’: they will no longer be allowed to export to the EU.

The EU has helped more than 60 countries fight IUU fishing since the card system was introduced. 27 countries were given yellow cards to improve their fisheries management. The European Commission is also helping them with this. Of these, 14 have undergone reforms and have been scrapped. Six countries did too little and received a red card. Four of these countries – Cambodia, the Comoros, Saint Vincent and the Grenadines – still have red cards to this day.

More than 250,000 catch certificates are received every year across the EU. Some countries receive as many as 150 a day. They are paper or copies of paper certificates. That makes the system as leaky as a basket at the moment

Critics wonder whether such a yellow card system works. After all, a country can also export to other countries if it is not allowed to Europe. Research showed that it would work best if other major importing countries, such as the US and Japan, also worked with such a system. Fortunately, that is now happening. Furthermore, it is very good – in any case – that individual countries receive help to get their fisheries management in order.

We cannot arrange everything at European level. In many cases, this creates an uneven playing field. For example, the obligation of a unique vessel number (UVI), such as the International Maritime Organization (IMO) uses.

Mandatory unique ship number
An important means of identifying a fishing boat is a unique vessel identifier (UVI). A UVI is a permanent number that stays with a vessel from construction to scrap. This is mandatory on EU ships, but not yet abroad. This complicates the control of catch certificates, and there is no question of level playing field between EU fishermen and beyond. Making it globally mandatory to number boats above a certain minimum length would make it a lot more difficult for illegally operating ships to go undetected.

Havencontroles
Nearly all commercially sold fish has to come through a port on its way to market. And that makes port controls a crucial part of the solution for IUU fishing.

As long as global, European or national agreements are slowly implemented, it is up to the fish buyers themselves to check how much risk they run from illegal fishing and related criminal matters. More and more retailers therefore demand better traceability of fish products

These port controls are regulated in the Port States Measures Agreement. By regulating how fishing and fishing related vessels can access ports of countries affiliated to the PSMA and how they can use those ports, illegal fish can land less easily. The agreement was concluded within the framework of the Food and Agriculture Organization of the United Nations (FAO). It was adopted in 2009 and entered into force in 2016. The EU was one of the first parties to ratify the agreement and has consistently promoted its ratification and implementation by countries. Today, the agreement has 69 parties, but governments around the world have a lot of work to do to translate the PSMA requirements into national practice.

Better traceability
As long as global, European or national agreements are slowly implemented, it is up to the fish buyers themselves to check how much risk they run from illegal fishing and related criminal matters. More and more retailers therefore demand better traceability of fish products. Unfortunately, most traders are not so keen on more administration. Because that’s what it comes down to, that’s the opinion. But digital recording of product data has already been introduced in most parts of the food industry. It is a matter of expanding and linking data. An organization was recently created especially for this purpose: De Global Dialogue on Seafood Traceability. The consumers, retailers and also the European Commission with the Farm to Fork strategy want a transparent food chain. Now just wrap up.

This is the third and final volume on illegal fishing by Christien Absil. Previous parts appeared on January 8 and January 14.

We wish to thank the author of this post for this outstanding material

Big Data help fight illegal fishing – Christien Absil concludes her series on shady fishing practices – Foodlog

" } ["summary"]=> string(837) "For centuries, fishermen operated out of sight and often out of mind. Certainly the fishing vessels on the open ocean could go about their business almost uncontrollably. Independent fisheries observers have one of the most dangerous jobs in the world: taking on hostile crew members, especially when they discover things like illegal fishing, human trafficking ... Read more" ["atom_content"]=> string(13017) "

For centuries, fishermen operated out of sight and often out of mind. Certainly the fishing vessels on the open ocean could go about their business almost uncontrollably. Independent fisheries observers have one of the most dangerous jobs in the world: taking on hostile crew members, especially when they discover things like illegal fishing, human trafficking or shark finning. Harassment is common. It often happens that observers disappear without a trace.

But the observers are getting support: High-resolution satellite imagery, drones, and other tracking systems are making it increasingly difficult for ships to operate illegally.

Ten years ago, it was impossible to get open access images of global fishing activity. But thanks to advances in satellite technology and machine learning, you can now

Global Fishing Watch

Ten years ago it was impossible to open access-Get images of global fishing activity. But thanks to advances in satellite technology and machine learning can now. Global Fishing Watch is the result of a collaboration between three partners: a major international ocean conservation organization, a technology company that uses satellite imagery and data to protect the environment, and Google Earth. Global Fishing Watch promotes ocean management through greater transparency of human activities at sea. By creating and publicly sharing chart visualizations, data and analytics tools, Global Fishing Watch is driving a transformation in how we manage the ocean. Researchers and NGO’s can use satellite technology to detect illegal fishing.

For example, the program also recognizes suspicious activities such as the to expand of the automatic tracking system AIS. Environmental organization Oceana stopped the international list of suspected IUU fishing vessels in the program. As it turned out: they could only manage 2 of the 168 ships on that list realtime to follow. So it seems that the rest do not want to be followed, although authorities assume that ships always have this safety system on.

Track down overchargers
A practice known as transhipment – the transfer of catch between ships – allows fishermen to stay at sea for months. Transhipment and bunkering on the high seas can contribute to illegal fishing and even forced labour, as it allows captains to keep their crews at sea for months or even years at a time.

But, as with the climate problem, getting global agreement is difficult. That is why the WTO negotiations on subsidies have also been going on for 20 years

To better understand this complex network of support vessels, Global Fishing Watch has developed its machine learningtechnology applied to analyze billions of Global Position System (GPS) data points transmitted by fishing, transport and bunker vessels from 2012-2019. By studying their positions and behaviors, they were able to determine when and where these ships met at sea. Using AIS they discovered something else: many bunker or supply ships that were stationary at sea never had another ship in view. That means ships that don’t want to be seen.

with such Big Datatechnology can slowly close the net around illegal fishing. That is, if countries also start taking measures against ships suspected of illegal fishing. And it is precisely with those measures that things do not go very smoothly.

The best, of course, is to tackle illegal fishing at a global level. But, as with the climate problem, getting global agreement is also the trickiest. That is why the WTO negotiations on subsidies have also been going on for 20 years. The European Commission did not wait for global agreements and introduced rules itself in 2010 to prevent illegally caught fish from entering the EU market.

European measures
From EU Regulation Preventing, Combating and Eliminating Illegal, Unreported and Unregulated (IUU) fishing is the most effective anti-IUU legislation of its kind to date. The regulation should ensure that:

The flag states must therefore guarantee the origin and legality of the fish, ensuring that all fish traded to and from the EU is fully traceable. When a country fails to ensure the legality of the fish, the European Commission will help.

The IUU Regulation has 2 main components:

Catch Certificate
This is an import document approved by the flag state: the fish is caught according to that country’s rules. More than 250,000 catch certificates are received every year across the EU. Some countries receive as many as 150 a day. They are paper or copies of paper certificates. That makes the system as leaky as a basket at the moment. A few countries, including Spain and the Netherlands, have set up their own digital control system for catch certificates. But an EU-wide database is of course much better.

In 2019, the EU launched version 1.0 of such an internationally standardized digital system: CATCH. It is now fully operational, making it possible to share and cross-check information on certificates between Member States. Inspectors can also more easily identify parties with a higher risk.

In 2019, the EU launched version 1.0 of such an internationally standardized digital system: CATCH.

The use of CATCH is voluntary at this time. As a result, there is still no harmonized control by the EU Member States. This is only possible if the member states commit to systematic use of the CATCH system. They don’t seem to be in a hurry.

Yellow card
The IUU regulation allows the EU to issue a ‘yellow card’ to non-EU countries if they don’t do enough to fight illegal fishing. If these countries fail to implement the required reforms on time, the EU will issue a ‘red card’: they will no longer be allowed to export to the EU.

The EU has helped more than 60 countries fight IUU fishing since the card system was introduced. 27 countries were given yellow cards to improve their fisheries management. The European Commission is also helping them with this. Of these, 14 have undergone reforms and have been scrapped. Six countries did too little and received a red card. Four of these countries – Cambodia, the Comoros, Saint Vincent and the Grenadines – still have red cards to this day.

More than 250,000 catch certificates are received every year across the EU. Some countries receive as many as 150 a day. They are paper or copies of paper certificates. That makes the system as leaky as a basket at the moment

Critics wonder whether such a yellow card system works. After all, a country can also export to other countries if it is not allowed to Europe. Research showed that it would work best if other major importing countries, such as the US and Japan, also worked with such a system. Fortunately, that is now happening. Furthermore, it is very good – in any case – that individual countries receive help to get their fisheries management in order.

We cannot arrange everything at European level. In many cases, this creates an uneven playing field. For example, the obligation of a unique vessel number (UVI), such as the International Maritime Organization (IMO) uses.

Mandatory unique ship number
An important means of identifying a fishing boat is a unique vessel identifier (UVI). A UVI is a permanent number that stays with a vessel from construction to scrap. This is mandatory on EU ships, but not yet abroad. This complicates the control of catch certificates, and there is no question of level playing field between EU fishermen and beyond. Making it globally mandatory to number boats above a certain minimum length would make it a lot more difficult for illegally operating ships to go undetected.

Havencontroles
Nearly all commercially sold fish has to come through a port on its way to market. And that makes port controls a crucial part of the solution for IUU fishing.

As long as global, European or national agreements are slowly implemented, it is up to the fish buyers themselves to check how much risk they run from illegal fishing and related criminal matters. More and more retailers therefore demand better traceability of fish products

These port controls are regulated in the Port States Measures Agreement. By regulating how fishing and fishing related vessels can access ports of countries affiliated to the PSMA and how they can use those ports, illegal fish can land less easily. The agreement was concluded within the framework of the Food and Agriculture Organization of the United Nations (FAO). It was adopted in 2009 and entered into force in 2016. The EU was one of the first parties to ratify the agreement and has consistently promoted its ratification and implementation by countries. Today, the agreement has 69 parties, but governments around the world have a lot of work to do to translate the PSMA requirements into national practice.

Better traceability
As long as global, European or national agreements are slowly implemented, it is up to the fish buyers themselves to check how much risk they run from illegal fishing and related criminal matters. More and more retailers therefore demand better traceability of fish products. Unfortunately, most traders are not so keen on more administration. Because that’s what it comes down to, that’s the opinion. But digital recording of product data has already been introduced in most parts of the food industry. It is a matter of expanding and linking data. An organization was recently created especially for this purpose: De Global Dialogue on Seafood Traceability. The consumers, retailers and also the European Commission with the Farm to Fork strategy want a transparent food chain. Now just wrap up.

This is the third and final volume on illegal fishing by Christien Absil. Previous parts appeared on January 8 and January 14.

We wish to thank the author of this post for this outstanding material

Big Data help fight illegal fishing – Christien Absil concludes her series on shady fishing practices – Foodlog

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